If the discrepancy should be painful to the reader,
let him understand that to the writer it has been more so.
let him understand that to the writer it has been more so.
Elizabeth Browning
--and, if God choose,
I shall but love thee better after death.
XLIV.
Beloved, thou hast brought me many flowers
Plucked in the garden, all the summer through
And winter, and it seemed as if they grew
In this close room, nor missed the sun and showers.
So, in the like name of that love of ours,
Take back these thoughts which here unfolded too,
And which on warm and cold days I withdrew
From my heart's ground. Indeed, those beds and bowers
Be overgrown with bitter weeds and rue,
And wait thy weeding; yet here's eglantine,
Here's ivy! --take them, as I used to do
Thy flowers, and keep them where they shall not pine.
Instruct thine eyes to keep their colours true,
And tell thy soul their roots are left in mine.
CASA GUIDI WINDOWS
A Poem, IN TWO PARTS
ADVERTISEMENT TO THE FIRST EDITION.
This poem contains the impressions of the writer upon events in
Tuscany of which she was a witness. "From a window," the critic may
demur. She bows to the objection in the very title of her work. No
continuous narrative nor exposition of political philosophy is
attempted by her. It is a simple story of personal impressions, whose
only value is in the intensity with which they were received, as
proving her warm affection for a beautiful and unfortunate country,
and the sincerity with which they are related, as indicating her own
good faith and freedom from partisanship.
Of the two parts of this poem, the first was written nearly three
years ago, while the second resumes the actual situation of 1851. The
discrepancy between the two parts is a sufficient guarantee to the
public of the truthfulness of the writer, who, though she certainly
escaped the epidemic "falling sickness" of enthusiasm for Pio Nono,
takes shame upon herself that she believed, like a woman, some royal
oaths, and lost sight of the probable consequences of some obvious
popular defects.
If the discrepancy should be painful to the reader,
let him understand that to the writer it has been more so. But such
discrepancies we are called upon to accept at every hour by the
conditions of our nature, implying the interval between aspiration
and performance, between faith and disillusion, between hope and
fact.
"O trusted broken prophecy,
O richest fortune sourly crost,
Born for the future, to the future lost! "
Nay, not lost to the future in this case. The future of Italy shall
not be disinherited.
FLORENCE, 1851.
CASA GUIDI WINDOWS.
PART I.
I heard last night a little child go singing
'Neath Casa Guidi windows, by the church,
_O bella liberta, O bella! _--stringing
The same words still on notes he went in search
So high for, you concluded the upspringing
Of such a nimble bird to sky from perch
Must leave the whole bush in a tremble green,
And that the heart of Italy must beat,
While such a voice had leave to rise serene
'Twixt church and palace of a Florence street:
A little child, too, who not long had been
By mother's finger steadied on his feet,
And still _O bella liberta_ he sang.
Then I thought, musing, of the innumerous
Sweet songs which still for Italy outrang
From older singers' lips who sang not thus
Exultingly and purely, yet, with pang
Fast sheathed in music, touched the heart of us
So finely that the pity scarcely pained.
I thought how Filicaja led on others,
Bewailers for their Italy enchained,
And how they called her childless among mothers,
Widow of empires, ay, and scarce refrained
Cursing her beauty to her face, as brothers
Might a shamed sister's,--"Had she been less fair
She were less wretched;"--how, evoking so
From congregated wrong and heaped despair
Of men and women writhing under blow,
Harrowed and hideous in a filthy lair,
Some personating Image wherein woe
Was wrapt in beauty from offending much,
They called it Cybele, or Niobe,
Or laid it corpse-like on a bier for such,
Where all the world might drop for Italy
Those cadenced tears which burn not where they touch,--
"Juliet of nations, canst thou die as we?
And was the violet crown that crowned thy head
So over-large, though new buds made it rough,
It slipped down and across thine eyelids dead,
O sweet, fair Juliet? " Of such songs enough,
Too many of such complaints! behold, instead,
Void at Verona, Juliet's marble trough:[2]
As void as that is, are all images
Men set between themselves and actual wrong,
To catch the weight of pity, meet the stress
Of conscience,--since 't is easier to gaze long
On mournful masks and sad effigies
Than on real, live, weak creatures crushed by strong.
For me who stand in Italy to-day
Where worthier poets stood and sang before,
I kiss their footsteps yet their words gainsay.
I shall but love thee better after death.
XLIV.
Beloved, thou hast brought me many flowers
Plucked in the garden, all the summer through
And winter, and it seemed as if they grew
In this close room, nor missed the sun and showers.
So, in the like name of that love of ours,
Take back these thoughts which here unfolded too,
And which on warm and cold days I withdrew
From my heart's ground. Indeed, those beds and bowers
Be overgrown with bitter weeds and rue,
And wait thy weeding; yet here's eglantine,
Here's ivy! --take them, as I used to do
Thy flowers, and keep them where they shall not pine.
Instruct thine eyes to keep their colours true,
And tell thy soul their roots are left in mine.
CASA GUIDI WINDOWS
A Poem, IN TWO PARTS
ADVERTISEMENT TO THE FIRST EDITION.
This poem contains the impressions of the writer upon events in
Tuscany of which she was a witness. "From a window," the critic may
demur. She bows to the objection in the very title of her work. No
continuous narrative nor exposition of political philosophy is
attempted by her. It is a simple story of personal impressions, whose
only value is in the intensity with which they were received, as
proving her warm affection for a beautiful and unfortunate country,
and the sincerity with which they are related, as indicating her own
good faith and freedom from partisanship.
Of the two parts of this poem, the first was written nearly three
years ago, while the second resumes the actual situation of 1851. The
discrepancy between the two parts is a sufficient guarantee to the
public of the truthfulness of the writer, who, though she certainly
escaped the epidemic "falling sickness" of enthusiasm for Pio Nono,
takes shame upon herself that she believed, like a woman, some royal
oaths, and lost sight of the probable consequences of some obvious
popular defects.
If the discrepancy should be painful to the reader,
let him understand that to the writer it has been more so. But such
discrepancies we are called upon to accept at every hour by the
conditions of our nature, implying the interval between aspiration
and performance, between faith and disillusion, between hope and
fact.
"O trusted broken prophecy,
O richest fortune sourly crost,
Born for the future, to the future lost! "
Nay, not lost to the future in this case. The future of Italy shall
not be disinherited.
FLORENCE, 1851.
CASA GUIDI WINDOWS.
PART I.
I heard last night a little child go singing
'Neath Casa Guidi windows, by the church,
_O bella liberta, O bella! _--stringing
The same words still on notes he went in search
So high for, you concluded the upspringing
Of such a nimble bird to sky from perch
Must leave the whole bush in a tremble green,
And that the heart of Italy must beat,
While such a voice had leave to rise serene
'Twixt church and palace of a Florence street:
A little child, too, who not long had been
By mother's finger steadied on his feet,
And still _O bella liberta_ he sang.
Then I thought, musing, of the innumerous
Sweet songs which still for Italy outrang
From older singers' lips who sang not thus
Exultingly and purely, yet, with pang
Fast sheathed in music, touched the heart of us
So finely that the pity scarcely pained.
I thought how Filicaja led on others,
Bewailers for their Italy enchained,
And how they called her childless among mothers,
Widow of empires, ay, and scarce refrained
Cursing her beauty to her face, as brothers
Might a shamed sister's,--"Had she been less fair
She were less wretched;"--how, evoking so
From congregated wrong and heaped despair
Of men and women writhing under blow,
Harrowed and hideous in a filthy lair,
Some personating Image wherein woe
Was wrapt in beauty from offending much,
They called it Cybele, or Niobe,
Or laid it corpse-like on a bier for such,
Where all the world might drop for Italy
Those cadenced tears which burn not where they touch,--
"Juliet of nations, canst thou die as we?
And was the violet crown that crowned thy head
So over-large, though new buds made it rough,
It slipped down and across thine eyelids dead,
O sweet, fair Juliet? " Of such songs enough,
Too many of such complaints! behold, instead,
Void at Verona, Juliet's marble trough:[2]
As void as that is, are all images
Men set between themselves and actual wrong,
To catch the weight of pity, meet the stress
Of conscience,--since 't is easier to gaze long
On mournful masks and sad effigies
Than on real, live, weak creatures crushed by strong.
For me who stand in Italy to-day
Where worthier poets stood and sang before,
I kiss their footsteps yet their words gainsay.
