What I can record about him is mostly of a personal character, and I only trust that, if any member of a Browning Society happens to come across these pages, he will not resent my inability to add more than a few descriptive touches to what is already known of the poet.
He was well aware that I had never really studied his works, in fact that I had only read a small portion of them; but he made allowances for that, as for my other shortcomings. He also knew that when, by dint6 of perseverance7, I did master some difficult pages of his writing, none could more warmly appreciate the subtle beauties they contained than his humble9 friend.
"Last night I read Bishop10 Blougram," I told him on one occasion. "I went as far below the surface as I could get, but I need not tell you I did not reach the bottom."
"Try again," was all he answered; and when I asked who had been his models, he said that Cardinal11 Wiseman was his Bishop, and that Gigadibs was not sketched12 from any one particular person. The Cardinal, he told me, had himself reviewed the poem favourably14.
I first met Browning at my cousins the Bensons. They occupied one of those unique houses in that finest of avenues, Kensington Palace Gardens. Notwithstanding the name, the houses really have gardens, and command an unlimited16 view over the grounds which extend from Kensington to Hyde Park. Inside the hospitable17 mansion18 all that was best in the world of art and literature would assemble, and men and women of note felt so much at home there, that they would just lay down their laurel wreaths and wipe off their war-paint, before they came in, and move about as if they were ordinary mortals. They ate and drank too, as if anxious to show their appreciation19 of Mrs. Benson's table; she certainly made a point of placing the best of nectar and ambrosia20 before the gods, her guests. And the chef saw to it, that the menus should be worded with due regard to historical truth. I recollect21 one occasion when he had introduced "Cotelettes à la Charles Dickens" on the programme.
"You had better change that," said Mrs. Benson, "and put 'à la Thackeray'; he is dining with us to-night."
"Oh, madam," protested the chef, "surely you don't mean that; everybody would at once recognise them as 'Cotelettes à la Dickens.'"
Dinner was usually followed by the most perfect music, for the gods loved to play to one another, and it needed no pressure to induce a Joachim to open his violin-case, or to lead the pianist of the day straight to the piano. But on one occasion, I forget why, there was some difficulty with Madame Schumann; she had certainly not taken one or two broad hints to the effect that she was wanted. I was, to be sure erroneously, supposed to be devoid22 of all shyness, and was therefore deputed to get her to the piano. I had known her years ago when, as a girl, she came to Leipsic with her father, and I remember exchanging knowing winks23 with my sisters behind old Wieck's back, when he held forth24 about his unique and incomparable method of teaching, as exemplified in his daughters Clara and Marie. He had a queer way of putting it, but he was certainly not far wrong in his estimate of the method and its results.
When I asked Madame Schumann whether she was inclined to play, I was very badly received. She was "particularly disinclined," so I changed the conversation. But presently—quite by chance to be sure—I mentioned her husband's "Carnaval." "There is one part," I said, "which I particularly love: the 'March of the Davidsbündler,' you know. If I could only hear you play just that page or two!"
"Page or two indeed," she said, boiling over with indignation. "Wenn man den3 Carnaval spielt, spielt man ihn ganz!" (If you play the "Carnival," you play it from beginning to end.)
And an instant afterwards she was at the piano, throwing her whole soul into that wonderful piece of tone-painting.
Elizabeth Benson was one of the many gifted members of the Lehmann family; the two eminent25 painters Henri and Rudolf Lehmann were her brothers; so too Frederick, her husband's partner in the well-known firm of ironmasters, Naylor, Vickers & Co. And he, Mr. Benson, was a shrewd German-American who had amassed27 a fortune in business and lived in perfect style. Being a man of culture and refined tastes, he had a remarkably28 well selected library and had surrounded himself with many choice works of art.
Browning's son—he had but one child—was also a welcome guest at 10 Kensington Palace Gardens. He was equally gifted as a musician and as a painter, so much so, that for a time he seemed inclined to sit down between two stools and await events. This caused his father some anxiety, and it was evidently with a feeling of relief, that he came to tell me one day, that Pen had got up and made his choice of stools in favour of the one marked Painting. The decision was due to Millais. Pen had accompanied him on a visit to Scotland, and whilst Millais was painting his picture of "Scotch30 Firs," his young friend made a study of the same subject, which gave evidence of so much talent that Millais unhesitatingly advised him to devote himself to art. When Browning came to tell me of the very satisfactory incident, he asked my advice as to the best opportunity for study open to him. In those days, very different from the days we can boast of now, the best advice to give was that he should go abroad. I suggested Antwerp, and further recommended my friend Heyermans as the best teacher I knew. My advice was taken, and it led to so excellent a result that Browning never tired of expressing his gratitude to me for having found the right man and having put his son in the right place. Under the guidance of that right man Pen made rapid progress and soon produced very striking work.
When he began to exhibit, no father could be more anxious about a son's reputation or prouder of his successes, than was Browning. Praise such as came from the lips or pens of Leighton, Millais, and other friends, warmed his heart, confirming, as it did, his belief in Pen's powers. He could be very sensitive too, when full justice was not done to that son, as when his statue of Driope was refused at the Royal Academy. Young Browning, not content with using the brush to give shape to his artistic32 conceptions, had taken to the sculptor's tools. These he had learned to handle when, after a prolonged stay in Antwerp, he went to Paris and studied sculpture under Rodin, an advantage of which to this day he is particularly proud. This life-size figure of Driope was the outcome of much study and thought, and had been so warmly appreciated on all sides, that it was deemed worthy34 of being cast in bronze. When it was rejected at the Royal Academy, Browning was indignant, eloquently35 indignant, and well he might be, for the work was a remarkable36 one, and as it now stands in the vast Entrance Hall of the Palazzo Rezzonico, many think as I do, that it can challenge comparison with some of the great masterpieces in Venice.
I need scarcely say that the adverse37 verdict of the rulers at Burlington House did not shake his confidence in Pen or in his first teacher. The poet's gratitude to the latter was expressed in ever-varying forms. He writes to him: "I have to repeat—what I never can be tired of repeating, however inadequately38 I make my words correspond with my feelings—how deeply grateful I am to you for your instrumentality in the success of my son, which I am sure he will have attributed to the admirable master whose true 'son' in art he is bound to consider himself." When, some years later, Heyermans settled in London, Browning never lost an opportunity of smoothing the artist's path among strangers, in the country which has since become the country of his adoption39.
As I may presently allow myself to speak of some of my pictures which Browning liked, it may not be inappropriate to record here that there were others which he disliked. Such were some Japanese subjects, which my love of the newly imported art had impelled41 me to paint. At the time I am speaking of—in the early seventies—the work of the Japanese was only just coming to the front; there was no shop to display it in all London or Paris. The first things of the kind I can remember here were some of those cheap paper fans on sale at a very popular little shop in the Brompton Road, Harrod's, now developed into one of London's monster emporiums. In Holland I had previously42 come across some wonderful specimens43 of Japanese painting and weaving, and when I next saw a unique collection of such work in the Paris Exhibition, my admiration45 was fairly kindled46 into enthusiasm. Shortly afterwards the same exhibits found their way into the hands of those syrens with the ivory hammer, known as Christie & Manson's, and on that occasion my savings47 found their way into the same hands. I was equally fascinated by Japanese art at Farmer & Rogers', where I soon made friends with one of their staff, a promising48 young connoisseur49, Mr. Liberty, the same who now rules supreme50 in Regent Street.
Now Browning worshipped—I thought rather exclusively—at the shrine51 of old Italian art, and I do not think he ever really appreciated the Japanese. Certain it is that he disliked the pictures I painted when my Japano-mania was at its height; notably52 one entitled "On the Banks of the Kanagawa," which he condemned53, perhaps not without good reason, for I had never been on the banks of that or any other Jap river, and my figures, although clad in the beautiful dresses I had bought, were more or less evolved from my inner consciousness. In fact I would not hesitate to say that the picture was bad, were I not afraid of being thought wanting in respect to the august body of Royal Academicians, who gave it a very excellent place on their walls. As their judgment54 is known to be infallible, Browning, for once in the way, must have been labouring under a misconception.
If so, he but too generously made up for it in later years when, on many occasions, he showed the greatest interest in my work. He became a frequent visitor at the studio, and the hours he spent with me are amongst the happiest in my artistic experience. To him it was a never-failing source of pleasure to visit his artist friends, and with more than one of them did he make himself thoroughly55 at home. He had the gift of putting everybody at his ease, sometimes exchanging a few pleasant words with the servant who came to answer the door, sometimes chatting with the models; he was quite unconventional, and would just as soon say, "He don't" as "He doesn't." A great friend of his was Jack56 Turner, a charming specimen44 of the London waif, a perfect little angel in his tenth year, but an angel, as it unfortunately proved, with a stumble and a fall, in consequence of which he had to do his growing up in a reformatory, and who asks for the price of a glass of beer when I meet him now. "Good morning, Mr. Browning." "Thank you, Mr. Browning," the little angel would say, for he had quickly realised that the name had a good sound, and the poet would stroke his curly hair and press the price of an ounce of sweets into his innocent little hand.
Then there was Laura, a model, who had one of the most sculptural figures I have ever seen. She had come to me in the regular course of business to get work, accompanied by another young girl; her features were not regular, but mobile and expressive57, her eyes restless, and her hair rebellious58 as it hung in brown wavelets over her forehead. Her friend was a contrast—the regular blue-eyed maiden59, fair-haired and fair-skinned. I took their names and addresses, putting them down as head models, for, in answer to my question whether they sat for the figure, Laura had replied, "No; certainly not." It was the close of the season, and I had much work to finish before I could leave town. I told my visitors so, and returned to my easel, but they were evidently disinclined to go; they looked around as if fascinated by the artistic surroundings, and after a whispered consultation60, they hinted, carefully veiling their words, that they had no insuperable objection to unveiling. It was evident that they were fired with lofty ambitions of "the altogether" kind. (Immortal61 creation of my friend Du Maurier, that word, the altogether, which lulls62 suspicion and alarm in the breast of the Philistine63, and checks the blush that would rise to the cheek of the British matron.) I bluntly told my would-be models that I was working against time, and that for some months to come I should not be able to use them, whether in sections or as a whole. But they were not to be dissuaded64, once having made up their minds to qualify for the altogether.
Befittingly coy and shy, Laura's friend emerged from the dressing-room, the type of the English maiden, the rosebud65 of sweet seventeen. The milk of human beauty flowed in her veins66, tinting67 her with creamy whites from head to foot; one only wanted some dove-coloured greys to model her forms, till at the extremities68 one would put in a few touches of pink madder or of Laque de garance rose dorée. It is a beautiful little type, "rosed from top to toe in flush of youth." Greuze could paint it, and others too; but whenever I attempted it, I have found that I was not good at rendering70 the girlish forms and the strawberry-and-cream colour.
Very different was Laura. She came into the room as if to the manner born, freely and easily. She had seemed rather short of stature71 and awkward in her movements. Now she was tall and graceful72, and so sculptural in form that at first you would scarcely notice her colour. You could not render her dull bronze-like tints73 without mixing your light-reds with cobalt blue or with real ultramarine at a guinea an ounce, if you could afford it.
I did not break out into Pygmalionic enthusiasm, but I felt that I must leave all else and study the line that started from the neck, and went straight down to the heel, unimpeded by petty details or any of those non-essentials which just mark the difference between the real in Nature and the ideal in Art. The next day I began a picture of her which has since found its way to America. My friend Legros chancing to look in when she was sitting, so warmly appreciated her that I invited him to come and make studies from her at my studio occasionally; of those I have a very beautiful one drawn74 for his bas-relief "La Fontaine," which many will remember having seen at one of the early exhibitions in the Grosvenor Gallery.
Couldn't Browning be indignant when the British matron presumed to misinterpret the artist's glow of enthusiasm! Doubly indignant, when the matron took the shape of a patron or the title of a Royal Academician with a vote on the Council of selection, or a hand on the Hanging Committee.
"The impropriety lies in the objection," he would say, "and I have put what I think of it in my Furini."[17]
Browning had a marked predilection75 for a certain chair in my studio. It is a cross-breed between what the French call a crapaud and we an easy-chair. In this he was installed one afternoon, when Laura was perched on the model-table, artificially supported, as best she could be, to give me a flying position. I was at work on one of two companion pictures which, for want of a better title, I had called "The Cloud-Compeller" and "The Cloud-Dispeller." In the first a deep-toned figure gathers the rolling clouds together; in the second, a brighter child of the skies peeps out from behind them.
"You might take some lines from Shelley's 'Cloud' for those pictures," suggested Browning.
"Yes—Shelley's Cloud," I answered. "To be sure—Let me see—Oh yes, it is one of those beautiful poems I know, but can't remember."
"Oh," he began, leaning back in the easy-chair—"Don't you remember?
"'I bring fresh showers for the thirsting flowers
From the seas and the streams;
I bring light shades——'"
And once started, he recited the whole poem. Recited is scarcely the word. He simply told us all about "The daughter of the earth and the nursling of the sky," and he conjured76 up, with the slightest of emphasis, pictures of "the whirlwinds unfurled, the stars that reel and swim," and
"That orbed maiden with white fire laden77
Whom mortals call the moon."
I went on painting—and listened. Laura kept on flying—and listened. She was an educated girl, and knew as well as I did that we might consider ourselves privileged listeners.
Laura had had quite a long spell of work, considering that the office of a cloud-compeller is not a sinecure78, and she was well entitled to a rest. Browning said something to that effect as he rose to go, and, adding that she was a brave and conscientious79 model, he slipped half-a-crown into her hand. When I laid down my palette to go to the door with him, the usual little word-squabble had to be gone through. No argument of mine would ever persuade him that I had a right to see him to the door, but I often did so, heedless of his protest. On the other hand, no argument of his could ever persuade me that he was justified80 in seeing me to his door, but he always managed to do so, whether I was persuaded or not. He had stairs to go down and up again; I had not, so it was most unfair, but that was Browning all over—always afraid to give trouble, ever ready to take it.
When I got back to the studio, a new picture met my eye. I found Laura giving vent29 to her feelings in a wild dance of jubilation81, the half-crown sparkling above her head as she held it up triumphantly82 with both hands, whilst clusters of brown hair which had been carefully pinned up out of the way, for I was painting her back, now cascaded83 over her shoulders and down to her waist, suggesting new and original shapes for fashionable capes84 or opera-cloaks. When Nature's mantle85 had once more been pinned up and a drapery substituted for it, she settled down in the chair the master had just vacated, and proceeded to discuss the grave question as to what should be done with the half-crown. She scorned my suggestion that she should spend it on a pair of gloves, and then and there decided86 to have it made into a brooch as a memento87 of the memorable88 afternoon.
The next day I received a letter from Browning indicating the particular passages from Shelley's poem which he thought would be suitable to my pictures.
That Laura was a queer girl; it was not till months after her first visit to me that I chanced to find out she was a good pianist and had a pretty voice, and only when she had got quite acclimatised in the studio did I elicit89 the truth about that first visit. She had always put me off with the evasive answer that "a friend" had given her my address, but at last she confided90 to me that there was no friend in the case.
"We were walking down Sloane Street," she said, "Amy Stewart and I, when we saw your board up with 'The Studio, Cadogan Gardens' on it. Your dog was at the gate wagging his tail, and seemed like asking us in. I patted him, and said to Amy, 'Let's go in for a lark91 and say we are models.' And she said, 'Yes; you go first.' So we rang the bell and asked for the artist. You said you were busy and hadn't much time to look at us, and you didn't seem to want us—so we stopped." Her father, I then found out, was a well-to-do builder, much absorbed in his business. No, she said, in answer to my question, he was not aware that she was sitting; her mother was, but had never asked for particulars. Let well alone, I thought, anxious as I was not to lose my model. But not long afterwards I was much startled by Laura's announcement that the sittings must henceforth be given up. She was very sorry, but she was forbidden to come any more.
"What has happened?" I asked in dismay; "your father? your mother?" "Oh no." "Well, do have it out; nobody else surely has a right to interfere92." "Well, yes," she said; "Father O'Brien has." I saw it all; she was a good Roman Catholic, and her father confessor had become alarmed, and had put in his veto. "Is that all?" I broke in, much relieved. "Well, Laura, you did startle me—thank goodness, it is only a priest; he of all people couldn't have meant it seriously. He wouldn't be so ungrateful after all we artists have done for the Church. Think of the old masters, Laura; you must go to Father O'Brien and remind him of Raphael and all the saints and Madonnas he painted. Why, to be sure, he must know that even the divine Raphael could not have given us their souls without their bodies, and that even he would never have draped his models till he had made a careful study of those respected bodies. Oh no, there is nothing to be feared from a good priest; you must go at once, Laura, and speak to him."
Whether she went or not, and whether, having duly weighed my argument, Father O'Brien was struck with remorse93, I do not know, but certain it is that Laura came, sat, and helped me conquer the difficulties yet to be grappled with in two pictures I had begun from her.
I was travelling from the sunny South back to the cheerless North. It was in January, and I was returning from Italy, where I had spent some months, to my own home and hearth94; back to the chimney that I knew would smoke, to the pipes that would probably burst, and the blacks that would certainly fly. Serpentining95 along the coast of the Riviera, I awoke in the early morning and peeped through the window just by my side in the sleeping-car. Farewell to the sea and to the sparkle on the playful little waves that were gently breaking against the shrub-covered rocks; farewell to the middle distance and to the distance, and generally to anything worthy to be termed a horizon. Presently all that will be replaced by somebody's stone wall opposite my own stone wall, or by a growler or a Piccadilly lamp-post in a fog. And I shall wear a thick overcoat out of doors, and sit peacefully installed at my own writing-table in-doors. And the organ-grinder will come to grind under my windows, and to remind me of the country I love so well—and he will keep on grinding till it is time to get up and conduct him to the nearest police-station.
Then, too, I shall meet my friends, and they will ask me where I have been, and tell me where they have been; and, one and all, they will want to know what I am painting for the Royal Academy, and not have the slightest notion how insulting the question is, particularly if—il n'y a que la vérité qui blesse—I have been painting for the Royal Academy.
That is what I was thinking as we popped into tunnels and out again into the bright sunshine. Then—I don't know whether I fell asleep or whether I kept awake—but I certainly dreamt the most beautiful pictures ever painted. I could not put them on canvas to save my life, any more than I could put them on paper; but there they were, just across borderland, and I saw them with my own eyes, and not as one usually sees them, cramped97 by ugly gold mouldings at so much a foot.
There was one creature of extraordinary beauty—a goddess she must have been—with tresses of molten gold; she had got into a big shell which I had bought in Naples (they call it terebra), and, stretching herself full length in it, she had fallen asleep. Then other shells I had left behind in those stalls that line Santa Lucia came up from the deep, and a little lithe-limbed urchin98—I felt sure I had seen him before—ensconced himself in one of them as in an arm-chair; and next—such are dreams—two darling little nieces of mine came toddling99 along from Tedworth Square, S.W. London, stark100 naked, and straightway condensed themselves into one meditative101 water-baby, that loved the shells as I did, and cuddled them as I couldn't.
Dreams to be sure—fancies, mocking visions of beauty, not to be realised, I know it well, but to the artist life would not be worth living if it were not for the glorious excitement of hunting the will-o'-the-wisp.
So I began what I called the shell-picture shortly after my return to London. Browning was in sympathy with my subject, and often came when I was tackling it. In the afternoons he was a man of leisure, his mornings being devoted102 to his own work, which he would take up when he had read the Times and answered his letters. After luncheon103 he very rarely returned to his study. He would go out about two o'clock, perhaps to walk down to the Athen?um Club, where on Saturdays he was to be seen very regularly, reading the weekly papers, or he would visit his friends. Amongst those his artist friends were the most favoured, and more than one of them, I am sure, would be better qualified104 than I am to fill a chapter of reminiscences, headed "Browning at the Studio." He himself often speaks in his letters of the pleasure it gives him to associate with them.
"I scribble105 this," he writes on one occasion, "in case I should be unable to look in to-morrow afternoon—as I will, if I can, however: always enjoying, as I do, the sight of creation by another process than that of the head, with only pen and paper to help. How expeditiously106 the brush works!"
And another time he says—
"As for the visits to your studio, be assured they are truly a delight to me, for the old aspirations107 come thickly back to memory when I see you at work as—who knows but I myself might have worked once? Only it was not to be; but these are consolations—seeing that I am anyhow
"Yours sympathisingly,
"Robert Browning."
The aspirations he speaks of he had in former years sought to satisfy. When living in Florence he had arranged the large corner room on the first floor of the Casa Guidi as a studio. There he used to make life-size drawings of the human figure from casts, working on a specially108 prepared canvas, which enabled him to rub out his studies and to replace them by others. He never painted; form had more attraction for him than colour. When in Rome he worked several hours daily in Storey's studio, and when he returned to England he intended taking up modelling seriously. He did indeed begin in Warwick Crescent, but he eventually abandoned the attempt, carried away by mightier109 impulses. The regret that he had not been able to cultivate his taste for the plastic art, would however often find expression in words.
What he might have done as an artist is a matter of speculation110, but he certainly made a most obliging and excellent sitter, as I can vouch111 for, having been one of those who had the privilege of painting him. He sat for me in 1884, and my portrait has found a permanent place in the Armour112 Institute in Chicago.
As my shell-picture advanced, I became ambitious to find a better name than the one I had given it temporarily, and as usual Browning was consulted. Isaac Henderson, the novelist of "Agatha Page" fame, happened to be at the Studio, and between them the matter was at first facetiously113 discussed. On this occasion my name had the proud distinction of drawing from Browning the only pun I ever heard him make. "Why not call it more shells by Moschels?" he said.
Later on he quoted various passages from poems that seemed to fit my subject, but he felt himself that they were only partially114 suited to it. In the evening, recalling our conversation, I wrote to him that, knowing as I did exactly what I was trying to express on canvas, I felt sure it would be difficult to find lines quite adaptable115 to my meaning. "Why not," I asked, "in default of a real poet, sign an imaginary name, Grelice di Napoli, for instance?" Grelice was meant for an Italian version of the name which I had composed when I first met the Gre-te who was to link her name to that of Fe-lix. The pseudonym117 was adopted, and we are best known to our friends in every part of the world as "The Grelix."
I suggested then that Grelice di Napoli should have said something of this kind:—
"And as I walked along those lovely shores, and breathed the air of balmy climes, I waking dreamt of living forms that wedded118 opalescent119 shells; of peace, and rest, and blissful harmonies."
I was at work the next day when the post brought Browning's answer, and as I read it I broke into a hearty120 fit of laughter. He had written five lines of poetry, and signed them: Felix Moscheles. They ran thus:—
"And as I wandered by the happy shores
And breathed the sunset air of balmy climes,
I waking dreamt of some transcendent shape,
A woman's—framed by opalescent shells,
Peacefully lulled121 by Nature's harmonies."
A day or two later he came to bring me another version which, he explained, he thought I should "like better." This was adopted, and the picture was christened, "The Isle's Enchantress," and described by the following lines:—
"Wind-wafted from the sunset, o'er the swell122
Of summer's slumb'rous sea, herself asleep,
Came shoreward, in her iridescent123 shell
Cradled, the isle's enchantress.
The day was approaching when, with other work, I was to show that "Isle's Enchantress." Picture show-day they call it. Soft-soap day would be more correct, for every artist expects his friends to give him as much of flattery as they can find it in their consciences to give. And as a rule consciences are elastic124; a little encouragement from the artist goes a long way, and, once he satisfies his friends that he is of an unsuspecting nature, they will lay it on thick in the pleasantest of ways.
To be sure the day brings its little trials too, but of those another time.
It had occurred to me that some of the friends I had invited to meet my Enchantress, might like to have a copy of Browning's lines; so I went round one evening to 29 De Vere Gardens to ask whether he had any objection to their being printed.
"None whatever," he said, in answer to my question.
I thanked him and added, "To be sure I want to put your name to them."
"Oh, you can't do that," he said; "they are not mine, they are yours."
"Mine! Why, you know, I couldn't write verse to save my life."
"Ah, but you did; you sent me the substance and put it into blank verse."
"Blank verse!"—Blank was my astonishment125, and I felt like the man in Molière when he was told he had been speaking prose all his life.
Well, we sat by the fireside in that drawing-room of his and discussed the matter, and he would have it that I was the author and that he had only put my idea into shape.
"If I had suggested alterations126 in your picture," he said, "or if I had advised you to introduce a coral-reef here and a dolphin there, would that have justified me in signing your picture?"
"No, perhaps not," I agreed, "but if you had laid on the last coat of paint, the one the public was to see, you certainly could have done so."
And so the skirmishing went on with varying fortunes, till, by some happy fluke, I hit upon an argument which settled the matter in my favour.
"Well," I said, "I can't give you a reason for it—in fact I have never been able to understand why it is so—but it is an undeniable fact that the public will make a marked difference between your style and mine, and if your version is to be adopted, it must stand in your name."
"Very well, then," he said, "have it your own way. I am sure you are welcome to anything I can do for you."
"Truly kind you are, and truly grateful am I, and plucky127 too I beg you to believe, for I don't care a pin if people do say: 'There goes Moscheles hanging on to the tail of Pegasus!'"
I meant it then, and I mean it to-day. You may laugh if you like, but I have the best of it; it isn't everybody who can boast of having written five lines of poetry together with Robert Browning.
The picture I have now. It just fits a recess128 in my dining-room, measuring about five feet by seven. I daily sit opposite it at meals, and when I watch the golden rays of the sun as they come pouring through the garden-window, and steal across the canvas, I see a beautiful picture which I certainly never painted.
First the light plays on the flowing hair where it dips into the water, and gives it just the aureate tints I tried in vain to mix; then steadily129 creeping on, it illuminates130, first the closed eyes and the parted lips, then the body and the seaweed straggling across it, and presently it reaches the urchin in the Concha, and would fain make me imagine that I could paint an iridescent shell and a child of flesh and blood.
Those are moments of happy delusions131 and I acknowledge it gratefully, for it is not vouchsafed132 to every one to paint his pictures together with the blessed sun, any more than it is to write his poems together with Robert Browning, or indeed to sit down daily to a square meal, and to have before him a canvas into which he can weave pleasant memories of the Past.
* * * * * *
A portrait I was painting of Sir James Ingham, the Bow Street magistrate133, led to the following incident. I was telling my sitter how great were the difficulties I had to contend with as a host and an impresario134 when I had a musical At home at the Studio.
Which of one's talented friends should be asked first? Should Signora Cantilena come before or after Madame Pianota? Singers to be sure are entitled to most consideration. They are invariably affected135 by the weather, whilst the pianists are only out of practice. If I want la Signora to sing at about eleven o'clock, I begin asking her to favour us at a quarter-past ten, allowing her from forty to fifty minutes to get over the insurmountable difficulties which, just to-day, stand in the way of her acceding136 to my request. But then, in the kindness of her heart, when once she begins, she is inclined to go on till she has successfully illustrated137 the wonderful variety of her talent. And there is Heir Thumpen Krasch, who is waiting all the while to get to the piano, and when he is there, he is naturally disinclined to play his best pieces first, and reserves his Monster-Rhapsody on Wagner's Trilogy, the success of the season, for what I call the after-end. As for myself, I forget my duties and go into raptures138, delighted as I am to think that my friends sing and play their best in the genial139 atmosphere of the Studio. But oh, the other virtuosi who are waiting to be heard! "Ote-toi, que je m'y mette" is the motto of every true artist, and my friends are all true artists.
"Yes," said Sir James, "those troubles are as old as the hills. Don't you recollect the lines Horace wrote two thousand years ago?" and he quoted them.
"Splendid! I wish you would write them down for me; my Latin is rather rusty140, and I should like to remember them."
So he wrote:—
Horace, 3rd Satire141.
"Omnibus hoc vitium
Est cantoribus, inter26 amicos
Ut nunquam inducant
Animum cantare
rogati
Injussi nunquam
desistant."
The same day Browning came in, and seeing the lines, he took up a pen and wrote without pausing to think—
"All sorts of singers have this common vice31:
To sing 'mid96 friends you have to ask them twice!
If you don't ask them, that's another thing:
Until the judgment-day be sure they'll sing!
—Impromptu142 Translation, July 10, '83."
How rapidly his mind worked I had occasional opportunities of witnessing. He would let us give him a number of rhymes, perhaps twenty or thirty, to be embodied143 in an impromptu poem. This he would read to us just once, and, as he spoke144 the last words, he would ruthlessly tear it up into small fragments and scatter145 them to the winds. Nothing would induce him to stay his iconoclastic146 hand, and on such occasions it only remained for me to regret that I was not some sensitive plate, some uncanny Edisonian Poetophone, to preserve the spontaneous creation of his mind.
"Do you ever listen to Reciters?" my wife asked him one day; "I mean to Reciters of Browning's poems?"
"Oh, I do the Reciting myself," he said, "when I am amongst a few sympathetic friends. I will read to you with pleasure. What have you got?"
The few sympathetic ones were not wanting that Sunday afternoon; I gave him the volume of "Selections" from his poems, and turning over the pages he said, "As we are in an artist's studio, I will read 'Andrea del Sarto.'"
There was not a shadow of declamation147 in his reading. For the time being he was just Andrea talking to his wife, the "Faultless Painter" as they called him, who knew his own faults but had not the strength to battle with them. It was Andrea himself we were in touch with, his dreamy sadness that we shared. His yearnings for requited148 love, his longings149 for the unattainable in art, drew us to him, and we would have helped him had we been able. That sorry business with the King of France was disgraceful—there was no denying it. He admitted himself that he had abused the king's friendship and misused150 his moneys, but surely for such a man as was Del Sarto, something could be done to settle matters, and once more to turn his genius to account.
And that Lucretia, his wife! his "serpentining beauty, rounds on rounds!" Why will she not answer? The right words from her spoken now might yet make of him the good man and the great artist that a God may create, but that a woman must consecrate151. One just felt as if one could give her a good shaking, if only to make her break the aggravating152 silence she so imperturbably153 maintains whilst he so pathetically pleads. As for the cousin, one would have liked to go out and give him a sound thrashing to stop his whistling once for all.
We were so impressed at the close of his reading that for a moment we remained hushed in a silence which none of us cared to break. He looked round at us, anxious lest he should not have brought home his meaning, and said, "Have I made it clear?"
It is rather a sudden transition from Del Sarto to myself, and from "sober pleasant Fiesole" in the background, to the Royal Academy in Piccadilly; but all artists of all times, the little ones as well as the great ones, have their grievous disappointments, and one place is as good or as bad as another to crush some of their fondest hopes.
Annually154 then, towards the end of April, when the judges at Burlington House had spoken, Browning had his visits of condolence to pay. How helpful and encouraging he would be, none of as, I am sure, could forget. I thanked him on one occasion, telling him that I valued his good opinion more than any other man's, and reminding him of his own words:—
"And that's no way of holding up the soul,
Which nobler, needs men's praise perhaps, yet knows
One wise man's verdict outweighs155 all the fools."
The one wise man always found a word of encouragement—
"Beware of despairing thoughts," he answered. "The darkest days, wait but till to-morrow, will have passed away."
In his ever simple, unassuming way he compared himself to me, recalling his failures, and telling me how for many years not a poem of his was read or could boast of a publisher willing to take it, and how now 3500 copies of the new edition of his works had been sold in a month. "To be sure, one must live long enough," he added, and quoted Philip von Artevelde's first speech, in which he says so many die before they've had a chance, and—
"Then comes the man who has the luck to live,
And he's a miracle."
Unvarying kindness too he showed me when, as he put it, I "entrusted156 him with a piece of business." Such a piece was my preface to the Mendelssohn Letters. In this he made six or eight corrections, suggestions he insisted on calling them, when he brought the paper back himself that he might explain verbally why he had substituted a word here and added another there. At the end he had pencilled: "Excellent. R. B.," and I felt as proud as a peacock and as happy as a schoolboy.
When the book finally came out he was in Italy, and I sent him a copy of it.
It was characteristic of him that his kind heart prompting him, and his unlimited powers of expression aiding him, he would, even on the most trivial occasions, write in the warmest and the most affectionate terms. So he did when he answered acknowledging the receipt of the book, and mentioning the photo of a picture which I had painted for A. P. Rockwell, a dear friend of mine and a great fur-merchant in New York. It showed a life-size female figure stretched on a tiger-skin and frankly157 nude158, but for the white Mongolian and other furs thrown around and about her.
He dates from Casa Alvisi, Canal Grande, Venezia, October, 29, '88, and after a few introductory sentences, he says:—
"I concluded that on leaving Scotland you would proceed elsewhere than homewards, and it seemed best to wait till I was sure of finding you. Even now—I am sorry exceedingly to be still far from sure that this will go to you safely housed within the old easy reach of De Vere Gardens—for there shall I live and probably die—not in the Rezzonico, which is not mine but Pen's: I am staying here only as the guest of a dearest of friends, Mrs. Bronson, who has cared for the comfort of my sister and myself this many a year. No; once missing my prize of the superlatively beautiful Manzoni Palazzo, I have not been tempted69 to try a fresh spring unbaulked by rascality159. So much for the causes of my tardiness160 in thanking you most heartily161 for the charming Lady of the Furs: why not give her that title? Everybody here paid the due tribute to her beauty and your skill. You promised I should witness the beginning and ending of such another picture—and it is not to be—if things are as I apprehend162. Wherever you go, may all good go with you and your delightful163 wife; my two precious friends!
"And now here is a second occasion of sincere thanksgiving. Your letter arrived yesterday—and I supposed that the gift referred to had been consigned164 to the Kensington house: whereas, while I sat preparing the paper whereon to write, came the very book itself—the dearest of boons165 just now. The best way will be to thank you at once, and be certain of finding plenty more to thank you for when I have read what will interest me more than anything else I can imagine in the way of biography. Let me squeeze your hand in spirit, over the many miles, this glorious day—a sun floods the room from the open window, while an autumnal freshness makes it more than enjoyable, almost intoxicating166. In half-an-hour I shall be on the Lido—perhaps in a month I may cower167 by the fireside in Kensington. Meanwhile and ever, my dear Moscheles, believe me, gratefully and affectionately yours,
"Robert Browning."
He was with me one day when a distinguished168 German officer, Graf D., unexpectedly came in. The count was in London to attend some grand military pageant169 organised for the benefit of the German Emperor. His Majesty170, on a visit to his royal grandmother, was being entertained with a right royal show of death-dealing ships and other instruments of warfare171. He seems to have enjoyed it thoroughly, and in return for attentions shown him, he was graciously pleased to raise the aforesaid grandmother to the dignity of "Colonel of the First Regiment172 of Dragoons, stationed in Berlin." As a specimen of the officers to serve under her, Graf D. was ordered to London. He told us that he had dined twice at the royal table, and that he had found the ceremonial on such occasions rather less exacting173 than in Germany; the Queen herself was somewhat reserved, but the rest of the company were pretty free to talk or to laugh as they liked.
I had questioned him on the subject, recollecting174 how indignant Rubinstein was at the hushed silence prevailing175 in the presence of her Majesty. He could not and would not stand it, he said, and spoke out as he would have done elsewhere.
When D. had gone, I told Browning that the count was not only a gallant176 soldier, but a man to be held in great esteem177, on account of his moral courage. It was a bold thing for a man in his position to side with the Jews at a time when the antisemitic movement was at its height. That an officer and a scion178 of a noble family should associate with bourgeois179 of the Jewish persuasion180 as he unhesitatingly did, was an unheard-of thing. No wonder it should be commented upon amongst his brother officers. Whatever their prejudices may have been, he had once for all checked their utterance181 by stating in unmistakable language that he would tolerate no disparaging182 remarks on any one of those whose houses he frequented.
Browning was naturally in sympathy with the count's broader views and his chivalrous183 conduct. "Is it possible," he said, "that men should seek to sever8 themselves from those who are as they are—all made of mortal clay!"
When I alluded184 to the difference in appearance, and especially in manners, so marked in Germany between the Christians185 and the Jews of a certain class, and sought thereby186 to explain the repugnance187 these so often inspire, he said—
"Naturally; their characteristics would become more intensified188 through long exclusion189 from other groups of men; their manners would be unlike those of others with whom they were not allowed to mix. No wonder if, hedged in as they were, those peculiarities190 took offensive shapes. Does not every development, to become normal, require space? Why, our very foot, if you restrict and hedge it in, throws out a corn in self-defence!"
On the 7th of May, it was in 1889, Browning came in after luncheon. "It is my birthday to-day," he said, "and so I came to sit with you and your wife for a while, if you'll let me."
I rejoiced, and at once thought of work in his presence, always a source of double pleasure to me. My wife thought of the pleasure it would give her to offer him some little present by way of marking the happy day.
"I have been out model-hunting this morning," I told him, "and have caught the very specimen I wanted for the boy lolling against the door of the public-house in the 'Drink' picture. I was in luck; for I went to Victoria Station with the definite purpose of finding a typical 'Cheeky,' and I found him. He is just having a square meal as an introduction to business, and I am burning to paint him and his cheek. Will you come in with me and let me start?"
"The very thing I should like to see you do," said Browning, and we adjourned191 to the Studio. Little Cheeky, the veriest young vagabond, uncombed and untamed, cap over ear and cigarette-stump in mouth, was happily transferred to canvas in an hour or two, and his effigy192 has ever since remained with me in memory of the friend who sat by me on that day. In the meanwhile my wife had bethought herself of a little piece of antique embroidery193 framed and under glass, which, but lately, we had picked up in Rome; that seemed worthy to be offered to Browning, and she pressed him to accept it, but in vain. Warmly she persisted, firmly he resisted. At last, and lest he should displease194 or pain her, he said—
"Well, my dear friend, let us make a compromise. You keep it for me for a year and give it to me on my next birthday."
We have it still! He was never to see that next birthday!
He died on the 12th of December in the Palazzo Rezzonico in Venice.
When Pen's telegram with the fatal news reached me I was standing15 by another deathbed.
On the last day of the year 1889 he was buried in Westminster Abbey. It had been proposed to transfer the remains195 of Elizabeth Barrett Browning from Florence to be laid by the side of her husband, but the idea was abandoned as not being likely to meet with the approval of the municipality and the English colony of that city. Browning himself had never expressed any wish on the subject of his resting-place, further than mentioning on one occasion the Norwood Cemetery196 as a fitting place, and saying that, if he died in Paris, he wished to be buried near his father.
Shortly after his death I painted a water-colour of his study in De Vere Gardens. Everything had remained intact. "All here—only our poet's away," as he says in "Asolando." The empty chair by the writing-table which bears his initials, the desk which he looked upon as a relic116. His father had used it when a lad, and had taken it with him on his voyage to the West Indies. The poet possessed197 it from his earliest boyhood, and used it all his life; everything he wrote in England, so his sister told me, was written on that desk. The little dumb keyboard I have already mentioned in the first of these pages; it had five notes over which he would mechanically run his fingers. He had a way too of beating a tattoo198 on his knee, or he would just for a few seconds mark time, moving his arm backwards199 and forwards. Sometimes he would squeeze up his eyes and look out of the window, or he would take up some little object and scrutinise it closely, whilst his thoughts were busy elsewhere.
On his table lay a book he had shown me as one he treasured: a little Greek Bible. On the last leaf was written: "My wife's book and mine." Pictures by his son hung on the walls; so too a portrait of his wife when a little girl, by Hayter; one of Hope End, the house in which she lived, and one of the tomb in the English Cemetery in Florence where she lies buried. Another reminiscence of her is the low chair to the right of the table; she at all times liked low seats, and this chair was a favourite with her.
Among the things on the walls was a pen-and-ink drawing of Tennyson by Dante Gabriel Rossetti. On the back of it Browning wrote—
"Tennyson read his poem of 'Maud' to E. B. B., R. B., Arabella, and Rossetti on the evening of September 27, 1855, at 13 Dorset Street, Manchester Square. Rossetti made this sketch13 of Tennyson as he sat reading to E. B. B., who occupied the other end of the sofa.—R. B., March 6, 1874, 19 Warwick Crescent."
μεταπ?πτοντο?
δα?μονο?
On the drawing is written in Mrs. Browning's hand—
"I hate the dreadful hollow
Behind the little wood."
The larger bookcase which made up the background for my drawing, he designed himself. The fine old oak-carvings he had bought many years ago in Florence, where they had adorned200 the refectory of some old monastery201; when he got them home, he put them together, with the assistance of an ordinary carpenter, according to his own design, chalked out on the carpet, and ever after he took great pride in the result. The bookcase held to the end of his days the many rare and beautiful volumes he prized so highly.
Another bookcase he wanted to accommodate piles of books he had brought from Warwick Crescent when he moved to De Vere Gardens. I suggested a certain one that had belonged to Sheridan and was now for sale at Joshua Binns's, then the king of dilapidators. But he preferred a severely202 useful piece of furniture in mahogany which we found close to my studio at Taylor's Depository. Books he would always handle very carefully. He would never leave a book open or place it face downwards—or, worst of all in his eyes, deface it by turning the corner of a page. His strong dislike of the imperfect was characteristic. Anything mended he objected to, and he would rather a thing he valued were broken outright203 than chipped or cracked.
The manuscript of "Aurora204 Leigh" was a treasure he guarded lovingly. It had been lost with other things in a trunk forwarded from Italy to England, but, when search already seemed hopeless, it was found in Marseilles. I have heard him say, referring to the incident: "She thought more of Pen's laces and collars than of that book." He wanted to have the manuscript bound, but could not make up his mind to part with it even for that purpose. Three times he replaced it on the shelf before he let it go. It is now in Pen's possession, as is the MS. of "Asolando," both eventually to be left to Balliol College, Oxford205, as others already bequeathed to that institution.
After his wife's death, Browning took the house in Warwick Crescent, originally to find a place for the furniture which he had had forwarded from Florence; the neighbourhood was selected because a sister of Mrs. Browning's, Arabella Moulton Barrett, lived in Delamere Terrace, but he strongly disliked the house, and always had a wish finally to settle in the Kensington district. It was, however, only towards the close of his life that he left Warwick Crescent and made his home in De Vere Gardens.
Stiff staircases such as he found there he never objected to; in fact, whether at home or when travelling, he had a marked preference for being located in one of the upper storeys. So it was on the second floor he had established his library and study.
His sister, Miss Browning, to whom so frequent reference is made in his letters as Sarianna, lived with him and ever devoted herself to the task of securing his comfort and happiness. She would write out his poems and otherwise make herself useful as his amanuensis; frequent too were the opportunities the brother and sister took to travel together, and when abroad, they would enjoy nothing better than a walk of several hours.
The last time I saw him at the Studio, he had come to tell me that he was shortly leaving for Italy. He spoke with enthusiasm of Asolo, describing its beauties in glowing colours, and he told me how, some forty years ago, as a young man, he had reached it when on a walking tour through the Venetian province.
"How many a year, my Asolo,
Since—one step just from sea to land—
I found you!"
It was the old tower crowning the hills, the Rocca, at that time tenanted by hawks207, that had made the most lasting208 impression on his mind. He had been there again in later years with his sister, and now he was elated at the prospect209 of once more revisiting it and the picturesque210 old city he loved so well. He went, and it was there he wrote his last work, "Asolando."
Prompted by the desire to ramble211 over the ground he had so lately trodden, and to gather what evidence I could of his passage, I went to Venice and Asolo in the following year, and painted a series of water-colours (some fourteen or fifteen) in illustration of notes I took during my stay in these places. Some of those notes may not be out of place here to complete my sketch of Browning.[18]
A couple of hours' ride by rail took me from Venice to Cornuda, two more by diligence to my destination. Leaving the plain an excellent road, cut into the flanks of the hill on which the town is built, soon brought me to the summit. I had only risen six or seven hundred feet, but a magnificent view greeted me on all sides. "In clear weather you can see Venice," the driver told me; but I was anxious to look forward, not backward, and alighting at the entrance to a narrow street, I walked along the Sotto-portici, formed by a series of quaint213 thick-set arches supporting the upper storeys. A few steps brought me to the house in which, as the tablet on the wall says, had lived the "Somma Poeta."
"What a curious place to select!" was my first thought as I stood at the door of the old house. I walked up twelve or fifteen hard stone steps, grasping the banister to guide myself in the dark, and was soon warmly welcomed by Signora Nina Tabacchi, as, passing through the kitchen, I was ushered214 into the sitting-room215. "Scrupulously216 clean and neat," was my next impression, but how plain! The room was only a piece of the kitchen partitioned off, a glass door and window separating the two. The thin cotton curtain might possibly screen the mysteries of the culinary process from the poet's eye, but his ear must have been caught by occasional sounds of hacking217 and chopping, and certainly no kettle could have boiled, no wood could crackle, or incense218 arise from that adjacent hearth without making itself distinctly noticeable. Such was his study and his drawing-room, a multum in parvo about twelve feet square.
I had ample time to study my surroundings, for I spent some weeks in the rooms vacated by the poet. The furniture was of the good old lodging-house type. In the centre of the little sitting-room was a round pedestal table, half of which was devoted to Browning's papers; on the other half, luncheon was served for himself and his sister. A full-length sofa, uncompromisingly hard, took up the greater part of one wall, and a kind of sideboard stood opposite. On the chiffonnier, between the two windows, rested the looking-glass, and half-a-dozen mahogany chairs, cane-bottomed and severe backed, completed the arrangements. On the flesh-coloured walls hung a series of prints, illustrating219 the history of Venice. Doges disporting220 themselves in most conventional attitudes, the vanquished221 kneeling before the victors, gave one the impression that history involves a great amount of bowing and scraping. In pleasant contrast with such triumphs were the domestic joys as depicted222 by the photographer. Looking up from his papers, Browning's eye must have rested on that shell-adorned frame which encircled the usual specimens of family portraits. There were the inevitable223 aunts and uncles, the young man pressing into the focus, to meet the clever dog seated on the table by his side, and a typical presentment of the mother and child as conceived by the lens.
To Luigi, the landlady's son, Browning was from the first very friendly; but how this lad, ever on the alert to make himself useful, could have kept any length of time in his good graces, is a mystery to me. He owns that on one or two occasions the sturdy master sent him flying, when he would imprudently insist on opening the door for him, or on lighting212 him down the dark staircase.
On his arrival Browning had bought a plain glass inkstand and a few wooden penholders; they were still there, on a blue-patterned china plate, just as he had left them. I reverently224 put them aside, but I might as well have used them; for just as he would never allow me to make the slightest fuss of him, the living friend, so he would not have expected me to stand on ceremony with the inanimate objects that survived him. A pen was just a pen, as "A flower is just a flower."
Asolo boasted of a theatre, and the performances must have been none of the worst, for, out of twenty, Browning only missed three. He would sit in his friend Mrs. Bronson's box, and follow the actors as they told the story of Hamlet, Othello, or Mary Queen of Scots, or as they played Goldoni's popular comedies. The performance usually wound up with a short farce226. From that he would escape, leaving Gigi (that is Luigi), who was his frequent companion, to do the screaming laughter. About half-past eleven or twelve he got home, and by five or six in the morning he was up again. His bedroom was about 16 feet by 9, and 10 feet high. A really good rococo227 design, speaking of an artistic past, embossed and picked out in grey, decorated the whitewashed228 walls. Rafters brought out the irregularities of the ceiling, and bricks, very much wrinkled and worn with age, paved the floor. Signora Tabacchi had offered to procure229 a carpet, but had met with an energetic refusal. There was a funny little looking-glass, and a wash-hand stand with a diminutive230 basin, and over the glass door a towel was neatly231 tacked232 to insure privacy.
And what in this land of vistas233 greeted the poet's eye as he opened his shutters234? A blank wall and another set of shutters. They would be opened presently to be sure when the sun left the neighbour's wall, and then a flood of light would burst into the centre corridor of his house, and the reflections from the marble floor would carry the quivering rays along to another window beyond, through which you caught a lovely glimpse of the hills on the other side of the valley. In that particular glimpse Browning delighted. When his son came to Asolo, he was struck, as I was later, by the uncongenial outlook.
"Wait, Pen, till they open those shutters," Browning had said. Pen waited and was duly impressed and pleased. It was well so, for had it been otherwise, his father's pleasure would have been incomplete.
The people of Asolo are of the kindliest nature; simple, peaceful folk, hard-working and contented235. Perched on high in their picturesque dwellings236, they seem raised above at least some of our terrestrial troubles. They live sheltered by solid masses of medi?val stone, and surrounded by the gardens they cultivate; the vine is here, there, and everywhere, zig-zagging along rough stone terraces and gliding237 down the slopes, or creeping into the windows. A tangle238 of massive foliage239 springs from one knows not where, large leaves that dwarf240 all else elbow their way to the front, and here and there in their midst a big yellow gourd241 comfortably rests on a stone cornice or on an artificial prop40.
The fig33 leaves, though certainly overshadowed by their bulky neighbours, hold their own in the universal struggle for air and space. And somewhere in the distance is a little graceful figure stretching upward to train the vine in the way it should go, and right or wrong you straightway jump to the conclusion, if you are an artist, that that figure belongs to a beautiful girl.
The children are out of doors; so are the pigs. Whilst the latter always seem grumbling242 and dissatisfied, the former are as happy as sunshine and polenta can make a child. The sight of an approaching stranger carrying the artist's paraphernalia243, at once suggests to a sturdy urchin the idea that he should rush for a chair, and to the woman at her door, that she should offer you a hearty welcome. No wonder if some of these good people were destined244 to entertain an angel or a poet unawares. Browning might not have manifested himself as such, but there was something about him that endeared him to all he met. Faces brightened as I spoke of him; voices deepened as they answered, "Ah poveretto! how kind he was—proprio buono! Here he used to sit and chat with us;" or, "I showed him the way to the Rocca eleven years ago." This last remark came from the postmaster, who took the deepest interest in everything concerning Browning. He was very anxious that I should paint a picture of the post-office, as being the historical place the poet had many a time visited. "It was over that counter of mine," he said, "that his last work, the immortal 'Asolando,' was handed. On me he relied to transmit it with the greatest care, for he assured me he had kept no copy of it. Yes, it went per book-post, registered and addressed, I well recollect, to the publisher Mr. Smith, of London, and he was surprised it should cost so little—only seventy centimes; it weighed 450 grammes, you see, and so that was the postage."
I may add that the manuscript thus sent, and since returned to the poet's son, is written in Browning's neatest and distinctest hand. There are but few corrections or erasures. Of these one has perhaps a special interest, as applying to the last line he ever published. The "Epilogue" he first ended thus:—
"'Strive and thrive' cry 'God to speed,
Fight ever there as here.'"
This he changed to—
"'Strive and thrive' cry 'Speed fight-on,
Fare ever there as here.'"
On hearing that the manuscript had safely reached its destination, Browning's kind thoughts at once reverted245 to the postmaster, good and true, and he went to thank him for his share in the transaction.
Little can have changed at the Rocca since Browning visited it. The stones roll down the narrow path from under your feet, as you ascend246 through vineyards and orchards247, past stray poultry248 and groups of sleeping ducks. In a few minutes you reach the crest249 of the hill, and find the old strong-hold, turret-flanked and loopholed, that had for generations frowned upon the valley below, as was the way of citadels250 in the bad old times. Now it is all smiles, garland-wreathed and happy in its green old age.
During his stay in Asolo Browning and his sister spent much time in the house of Mrs. Bronson, the Mrs. Arthur Bronson to whom the poet dedicated251 his last book of verses, and whom he thanked in his preface for "yet another experience of the gracious hospitality bestowed252 on me for so many years." In the afternoon they would all take long drives together.
It was on one of these occasions that Browning hit upon the title he would give his volume of poems. His son suggesting that it should in some way be connected with the name of Asolo, he bethought himself of the verb asolare. "Have you a good dictionary?" he asked his hostess. "I feel sure it was Cardinal Bembo who used the word, but I must look it up." He did, the well-known result being the adoption of the title and the explanation given in the introductory lines.
At Mrs. Bronson's it was quite understood that he should come and go as he liked, and that he should consider "La Mura" as much his home as he would his own house. A spacious253 loggia had recently been added to the old building, virtually forming a new room, roofed in, but open to the air on three sides. Here Browning spent many hours walking up and down or reading, or he would sit in the arm-chair and "drink in the air," as he used to say.
From that point of vantage he would watch Nature's ever-varying moods, and muse254 over the historical recollections evoked255 by Caterina Cornaro's palace and the other old buildings on the hills opposite. Often he would hurry back to the house, anxious lest he should miss the sunset as viewed from that loggia.
A constant source of enjoyment to him was an old spinet256, marked and dated, "Ferdinando Ferrari, Ravenna, 1522." Knowing how much pleasure this little instrument had given him during former stays at her house in Venice, his hostess had had it brought to Asolo, and, here as there, he delighted in playing upon it of an evening, simple, restful melodies that had been familiar to him for years, or quaint scraps257 of early German or Italian music.
From the spinet he would go to the books. "What have you got?" he asked on the first evening of his stay. "What shall I read to you? Shakespeare? What! You don't mean to say you haven't brought your Shakespeare! I am shocked."
On this, as on other occasions, he was always most deprecatory when asked to read something of his own. But the new edition of his works which he had presented to his friend, being at hand, he would take down a volume and relate, in his own words, and with his unaffected intonation258, the story of a Paracelsus or a Strafford. And that would afterwards lead him to speak with ever fresh enthusiasm of the historical associations connected with such names. In the course of the exhaustive studies that always preceded the composition of any work of his, he made himself intimately acquainted with every fact concerning the lives of those whom he was about to pourtray. Whatever detail history had preserved he made his own, and what his mind had once assimilated, his memory ever retained.
The pilgrim to Asolo would naturally look about for some clue to the poems written there. He would hope to meet with some of the models, animate225 or inanimate, that might have suggested one or the other of the "Facts and Fancies." But, reticent259 as Browning always was concerning his work, even with those nearest to him, he has left no trace to guide us.
It was quite exceptional when, one day returning from a drive, he said, "I've composed a poem since we've been out; it is all in my head, and when I get home I will write it down."
"What is it about?" very naturally asked his companions.
"No, no, no; that I won't say. You know I never can speak of what I am writing."
"Ah, but now you have told us so much, you must tell us all," pleaded Mrs. Bronson; and as she resolutely260 declared she would not take No for an answer, he gave way, and said—
"Very well then, I will tell you. It is all about the ladies wearing birds in their hats. I've put it pretty strong, and I don't know how they'll take it."
The proof-sheets of his book of poems he had given to Mrs. Bronson. "Did you understand them all?" he asked. "Did you understand the flute261 music? Ah, not quite. Well, some day I'll tell you all about it." But the day never came! He little knew that he was postponing262 it for ever; on the contrary, he was planning pleasant things for the future.
"If I were only ten years younger," he said, "I should like to have a place here in Asolo. Now the Asilo Infantile; if I could get that, I would complete it and call it Pippa's tower. It is more for Pen. I may not enjoy it long; but after all, I do think I am good for another ten years."
The Asilo Infantile he spoke of was a large unfinished building, originally intended to do service as a schoolhouse. It stood opposite the loggia on the ridge263 of the hills that push forward into the valley.
Pippa and her sister-weavers were often uppermost in the poet's mind, and he would tell how formerly264 the girls used to sit at their work in the doorways265 all along the Sotto-portici and weave cheerful songs into their web. Now the trade had gone to Cornuda and elsewhere. He had visions of what he would like to do for the poor girls thus dispossessed, should he come to live among them—visions that were in a great measure to be realised by those who bear his name, and who have inherited his world-wide sympathies.
Negotiations266 were opened with the Town Council with the view of acquiring the building and grounds to be dedicated to Pippa. It was the first time that municipal property was to be sold, so the matter had carefully to be considered by those in authority. The negotiations took their due course; but alas267! they came to a close too late. The intending tenant206 was never to obtain possession.
The day and hour that a favourable268 decision was arrived at, was also the day and hour of the poet's death.
THE END
点击
收听单词发音
收听单词发音 |
1
enjoyment
|
|
| n.乐趣；享有；享用 | |
参考例句： |
|
|
|
|
2
trifling
|
|
| adj.微不足道的；没什么价值的 | |
参考例句： |
|
|
|
|
3
den
|
|
| n.兽穴；秘密地方；安静的小房间，私室 | |
参考例句： |
|
|
|
|
4
gratitude
|
|
| adj.感激，感谢 | |
参考例句： |
|
|
|
|
5
honourable
|
|
| adj.可敬的；荣誉的，光荣的 | |
参考例句： |
|
|
|
|
6
dint
|
|
| n.由于，靠；凹坑 | |
参考例句： |
|
|
|
|
7
perseverance
|
|
| n.坚持不懈，不屈不挠 | |
参考例句： |
|
|
|
|
8
sever
|
|
| v.切开，割开；断绝，中断 | |
参考例句： |
|
|
|
|
9
humble
|
|
| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
参考例句： |
|
|
|
|
10
bishop
|
|
| n.主教，（国际象棋）象 | |
参考例句： |
|
|
|
|
11
cardinal
|
|
| n.(天主教的)红衣主教；adj.首要的，基本的 | |
参考例句： |
|
|
|
|
12
sketched
|
|
| v.草拟（sketch的过去式与过去分词形式） | |
参考例句： |
|
|
|
|
13
sketch
|
|
| n.草图；梗概；素描；v.素描；概述 | |
参考例句： |
|
|
|
|
14
favourably
|
|
| adv. 善意地，赞成地 =favorably | |
参考例句： |
|
|
|
|
15
standing
|
|
| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
参考例句： |
|
|
|
|
16
unlimited
|
|
| adj.无限的，不受控制的，无条件的 | |
参考例句： |
|
|
|
|
17
hospitable
|
|
| adj.好客的；宽容的；有利的，适宜的 | |
参考例句： |
|
|
|
|
18
mansion
|
|
| n.大厦，大楼；宅第 | |
参考例句： |
|
|
|
|
19
appreciation
|
|
| n.评价；欣赏；感谢；领会，理解；价格上涨 | |
参考例句： |
|
|
|
|
20
ambrosia
|
|
| n.神的食物；蜂食 | |
参考例句： |
|
|
|
|
21
recollect
|
|
| v.回忆，想起，记起，忆起，记得 | |
参考例句： |
|
|
|
|
22
devoid
|
|
| adj.全无的，缺乏的 | |
参考例句： |
|
|
|
|
23
winks
|
|
| v.使眼色( wink的第三人称单数 )；递眼色（表示友好或高兴等）；（指光）闪烁；闪亮 | |
参考例句： |
|
|
|
|
24
forth
|
|
| adv.向前；向外，往外 | |
参考例句： |
|
|
|
|
25
eminent
|
|
| adj.显赫的，杰出的，有名的，优良的 | |
参考例句： |
|
|
|
|
26
inter
|
|
| v.埋葬 | |
参考例句： |
|
|
|
|
27
amassed
|
|
| v.积累，积聚( amass的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
28
remarkably
|
|
| ad.不同寻常地，相当地 | |
参考例句： |
|
|
|
|
29
vent
|
|
| n.通风口，排放口；开衩；vt.表达，发泄 | |
参考例句： |
|
|
|
|
30
scotch
|
|
| n.伤口，刻痕；苏格兰威士忌酒；v.粉碎，消灭，阻止；adj.苏格兰(人)的 | |
参考例句： |
|
|
|
|
31
vice
|
|
| n.坏事；恶习；[pl.]台钳，老虎钳；adj.副的 | |
参考例句： |
|
|
|
|
32
artistic
|
|
| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
参考例句： |
|
|
|
|
33
fig
|
|
| n.无花果(树) | |
参考例句： |
|
|
|
|
34
worthy
|
|
| adj.(of)值得的，配得上的；有价值的 | |
参考例句： |
|
|
|
|
35
eloquently
|
|
| adv. 雄辩地(有口才地, 富于表情地) | |
参考例句： |
|
|
|
|
36
remarkable
|
|
| adj.显著的，异常的，非凡的，值得注意的 | |
参考例句： |
|
|
|
|
37
adverse
|
|
| adj.不利的；有害的；敌对的，不友好的 | |
参考例句： |
|
|
|
|
38
inadequately
|
|
| ad.不够地；不够好地 | |
参考例句： |
|
|
|
|
39
adoption
|
|
| n.采用，采纳，通过；收养 | |
参考例句： |
|
|
|
|
40
prop
|
|
| vt.支撑；n.支柱，支撑物；支持者，靠山 | |
参考例句： |
|
|
|
|
41
impelled
|
|
| v.推动、推进或敦促某人做某事( impel的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
42
previously
|
|
| adv.以前，先前（地） | |
参考例句： |
|
|
|
|
43
specimens
|
|
| n.样品( specimen的名词复数 )；范例；（化验的）抽样；某种类型的人 | |
参考例句： |
|
|
|
|
44
specimen
|
|
| n.样本，标本 | |
参考例句： |
|
|
|
|
45
admiration
|
|
| n.钦佩，赞美，羡慕 | |
参考例句： |
|
|
|
|
46
kindled
|
|
| （使某物）燃烧，着火( kindle的过去式和过去分词 )； 激起（感情等）； 发亮，放光 | |
参考例句： |
|
|
|
|
47
savings
|
|
| n.存款，储蓄 | |
参考例句： |
|
|
|
|
48
promising
|
|
| adj.有希望的，有前途的 | |
参考例句： |
|
|
|
|
49
connoisseur
|
|
| n.鉴赏家，行家，内行 | |
参考例句： |
|
|
|
|
50
supreme
|
|
| adj.极度的，最重要的；至高的，最高的 | |
参考例句： |
|
|
|
|
51
shrine
|
|
| n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣 | |
参考例句： |
|
|
|
|
52
notably
|
|
| adv.值得注意地，显著地，尤其地，特别地 | |
参考例句： |
|
|
|
|
53
condemned
|
|
| adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
参考例句： |
|
|
|
|
54
judgment
|
|
| n.审判；判断力，识别力，看法，意见 | |
参考例句： |
|
|
|
|
55
thoroughly
|
|
| adv.完全地，彻底地，十足地 | |
参考例句： |
|
|
|
|
56
jack
|
|
| n.插座，千斤顶，男人；v.抬起，提醒，扛举；n.（Jake）杰克 | |
参考例句： |
|
|
|
|
57
expressive
|
|
| adj.表现的，表达…的，富于表情的 | |
参考例句： |
|
|
|
|
58
rebellious
|
|
| adj.造反的，反抗的，难控制的 | |
参考例句： |
|
|
|
|
59
maiden
|
|
| n.少女，处女；adj.未婚的，纯洁的，无经验的 | |
参考例句： |
|
|
|
|
60
consultation
|
|
| n.咨询；商量；商议；会议 | |
参考例句： |
|
|
|
|
61
immortal
|
|
| adj.不朽的；永生的，不死的；神的 | |
参考例句： |
|
|
|
|
62
lulls
|
|
| n.间歇期（lull的复数形式）vt.使镇静，使安静（lull的第三人称单数形式） | |
参考例句： |
|
|
|
|
63
philistine
|
|
| n.庸俗的人；adj.市侩的，庸俗的 | |
参考例句： |
|
|
|
|
64
dissuaded
|
|
| 劝（某人）勿做某事，劝阻( dissuade的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
65
rosebud
|
|
| n.蔷薇花蕾，妙龄少女 | |
参考例句： |
|
|
|
|
66
veins
|
|
| n.纹理；矿脉( vein的名词复数 )；静脉；叶脉；纹理 | |
参考例句： |
|
|
|
|
67
tinting
|
|
| 着色，染色（的阶段或过程） | |
参考例句： |
|
|
|
|
68
extremities
|
|
| n.端点( extremity的名词复数 )；尽头；手和足；极窘迫的境地 | |
参考例句： |
|
|
|
|
69
tempted
|
|
| v.怂恿（某人）干不正当的事；冒…的险（tempt的过去分词） | |
参考例句： |
|
|
|
|
70
rendering
|
|
| n.表现，描写 | |
参考例句： |
|
|
|
|
71
stature
|
|
| n.（高度）水平，（高度）境界，身高，身材 | |
参考例句： |
|
|
|
|
72
graceful
|
|
| adj.优美的，优雅的；得体的 | |
参考例句： |
|
|
|
|
73
tints
|
|
| 色彩( tint的名词复数 )； 带白的颜色； （淡色）染发剂； 痕迹 | |
参考例句： |
|
|
|
|
74
drawn
|
|
| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
参考例句： |
|
|
|
|
75
predilection
|
|
| n.偏好 | |
参考例句： |
|
|
|
|
76
conjured
|
|
| 用魔术变出( conjure的过去式和过去分词 )； 祈求，恳求； 变戏法； （变魔术般地） 使…出现 | |
参考例句： |
|
|
|
|
77
laden
|
|
| adj.装满了的；充满了的；负了重担的；苦恼的 | |
参考例句： |
|
|
|
|
78
sinecure
|
|
| n.闲差事，挂名职务 | |
参考例句： |
|
|
|
|
79
conscientious
|
|
| adj.审慎正直的，认真的，本着良心的 | |
参考例句： |
|
|
|
|
80
justified
|
|
| a.正当的，有理的 | |
参考例句： |
|
|
|
|
81
jubilation
|
|
| n.欢庆，喜悦 | |
参考例句： |
|
|
|
|
82
triumphantly
|
|
| ad.得意洋洋地；得胜地；成功地 | |
参考例句： |
|
|
|
|
83
cascaded
|
|
| 级联的 | |
参考例句： |
|
|
|
|
84
capes
|
|
| 碎谷； 斗篷( cape的名词复数 )； 披肩； 海角； 岬 | |
参考例句： |
|
|
|
|
85
mantle
|
|
| n.斗篷，覆罩之物，罩子；v.罩住，覆盖，脸红 | |
参考例句： |
|
|
|
|
86
decided
|
|
| adj.决定了的，坚决的；明显的，明确的 | |
参考例句： |
|
|
|
|
87
memento
|
|
| n.纪念品，令人回忆的东西 | |
参考例句： |
|
|
|
|
88
memorable
|
|
| adj.值得回忆的，难忘的，特别的，显著的 | |
参考例句： |
|
|
|
|
89
elicit
|
|
| v.引出,抽出,引起 | |
参考例句： |
|
|
|
|
90
confided
|
|
| v.吐露（秘密，心事等）( confide的过去式和过去分词 )；（向某人）吐露（隐私、秘密等） | |
参考例句： |
|
|
|
|
91
lark
|
|
| n.云雀，百灵鸟；n.嬉戏，玩笑；vi.嬉戏 | |
参考例句： |
|
|
|
|
92
interfere
|
|
| v.(in)干涉，干预；(with)妨碍，打扰 | |
参考例句： |
|
|
|
|
93
remorse
|
|
| n.痛恨，悔恨，自责 | |
参考例句： |
|
|
|
|
94
hearth
|
|
| n.壁炉炉床，壁炉地面 | |
参考例句： |
|
|
|
|
95
serpentining
|
|
| v.像蛇般蜷曲的，蜿蜒的( serpentine的现在分词 ) | |
参考例句： |
|
|
|
|
|
96
mid
|
|
| adj.中央的，中间的 | |
参考例句： |
|
|
|
|
97
cramped
|
|
| a.狭窄的 | |
参考例句： |
|
|
|
|
98
urchin
|
|
| n.顽童；海胆 | |
参考例句： |
|
|
|
|
99
toddling
|
|
| v.（幼儿等）东倒西歪地走( toddle的现在分词 )；蹒跚行走；溜达；散步 | |
参考例句： |
|
|
|
|
100
stark
|
|
| adj.荒凉的；严酷的；完全的；adv.完全地 | |
参考例句： |
|
|
|
|
101
meditative
|
|
| adj.沉思的，冥想的 | |
参考例句： |
|
|
|
|
102
devoted
|
|
| adj.忠诚的，忠实的，热心的，献身于...的 | |
参考例句： |
|
|
|
|
103
luncheon
|
|
| n.午宴，午餐，便宴 | |
参考例句： |
|
|
|
|
104
qualified
|
|
| adj.合格的，有资格的，胜任的，有限制的 | |
参考例句： |
|
|
|
|
105
scribble
|
|
| v.潦草地书写，乱写，滥写；n.潦草的写法，潦草写成的东西，杂文 | |
参考例句： |
|
|
|
|
106
expeditiously
|
|
| adv.迅速地，敏捷地 | |
参考例句： |
|
|
|
|
107
aspirations
|
|
| 强烈的愿望( aspiration的名词复数 )； 志向； 发送气音； 发 h 音 | |
参考例句： |
|
|
|
|
108
specially
|
|
| adv.特定地；特殊地；明确地 | |
参考例句： |
|
|
|
|
109
mightier
|
|
| adj. 强有力的，强大的，巨大的 adv. 很，极其 | |
参考例句： |
|
|
|
|
110
speculation
|
|
| n.思索，沉思；猜测；投机 | |
参考例句： |
|
|
|
|
111
vouch
|
|
| v.担保；断定；n.被担保者 | |
参考例句： |
|
|
|
|
112
armour
|
|
| （=armor）n.盔甲；装甲部队 | |
参考例句： |
|
|
|
|
113
facetiously
|
|
| adv.爱开玩笑地；滑稽地，爱开玩笑地 | |
参考例句： |
|
|
|
|
114
partially
|
|
| adv.部分地，从某些方面讲 | |
参考例句： |
|
|
|
|
115
adaptable
|
|
| adj.能适应的，适应性强的，可改编的 | |
参考例句： |
|
|
|
|
116
relic
|
|
| n.神圣的遗物，遗迹，纪念物 | |
参考例句： |
|
|
|
|
117
pseudonym
|
|
| n.假名，笔名 | |
参考例句： |
|
|
|
|
118
wedded
|
|
| adj.正式结婚的；渴望…的，执著于…的v.嫁，娶，（与…）结婚( wed的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
119
opalescent
|
|
| adj.乳色的，乳白的 | |
参考例句： |
|
|
|
|
120
hearty
|
|
| adj.热情友好的；衷心的；尽情的，纵情的 | |
参考例句： |
|
|
|
|
121
lulled
|
|
| vt.使镇静，使安静（lull的过去式与过去分词形式） | |
参考例句： |
|
|
|
|
122
swell
|
|
| vi.膨胀，肿胀；增长，增强 | |
参考例句： |
|
|
|
|
123
iridescent
|
|
| adj.彩虹色的，闪色的 | |
参考例句： |
|
|
|
|
124
elastic
|
|
| n.橡皮圈，松紧带；adj.有弹性的；灵活的 | |
参考例句： |
|
|
|
|
125
astonishment
|
|
| n.惊奇，惊异 | |
参考例句： |
|
|
|
|
126
alterations
|
|
| n.改动( alteration的名词复数 )；更改；变化；改变 | |
参考例句： |
|
|
|
|
127
plucky
|
|
| adj.勇敢的 | |
参考例句： |
|
|
|
|
128
recess
|
|
| n.短期休息，壁凹（墙上装架子，柜子等凹处） | |
参考例句： |
|
|
|
|
129
steadily
|
|
| adv.稳定地；不变地；持续地 | |
参考例句： |
|
|
|
|
130
illuminates
|
|
| v.使明亮( illuminate的第三人称单数 )；照亮；装饰；说明 | |
参考例句： |
|
|
|
|
131
delusions
|
|
| n.欺骗( delusion的名词复数 )；谬见；错觉；妄想 | |
参考例句： |
|
|
|
|
132
vouchsafed
|
|
| v.给予，赐予( vouchsafe的过去式和过去分词 )；允诺 | |
参考例句： |
|
|
|
|
133
magistrate
|
|
| n.地方行政官，地方法官，治安官 | |
参考例句： |
|
|
|
|
134
impresario
|
|
| n.歌剧团的经理人；乐团指挥 | |
参考例句： |
|
|
|
|
135
affected
|
|
| adj.不自然的，假装的 | |
参考例句： |
|
|
|
|
136
acceding
|
|
| v.（正式）加入( accede的现在分词 )；答应；（通过财产的添附而）增加；开始任职 | |
参考例句： |
|
|
|
|
137
illustrated
|
|
| adj. 有插图的，列举的 动词illustrate的过去式和过去分词 | |
参考例句： |
|
|
|
|
138
raptures
|
|
| 极度欢喜( rapture的名词复数 ) | |
参考例句： |
|
|
|
|
139
genial
|
|
| adj.亲切的，和蔼的，愉快的，脾气好的 | |
参考例句： |
|
|
|
|
140
rusty
|
|
| adj.生锈的；锈色的；荒废了的 | |
参考例句： |
|
|
|
|
141
satire
|
|
| n.讽刺，讽刺文学，讽刺作品 | |
参考例句： |
|
|
|
|
142
impromptu
|
|
| adj.即席的，即兴的；adv.即兴的(地)，无准备的(地) | |
参考例句： |
|
|
|
|
143
embodied
|
|
| v.表现( embody的过去式和过去分词 )；象征；包括；包含 | |
参考例句： |
|
|
|
|
144
spoke
|
|
| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
参考例句： |
|
|
|
|
145
scatter
|
|
| vt.撒，驱散，散开；散布/播；vi.分散，消散 | |
参考例句： |
|
|
|
|
146
iconoclastic
|
|
| adj.偶像破坏的，打破旧习的 | |
参考例句： |
|
|
|
|
147
declamation
|
|
| n. 雄辩，高调 | |
参考例句： |
|
|
|
|
148
requited
|
|
| v.报答( requite的过去式和过去分词 )；酬谢；回报；报复 | |
参考例句： |
|
|
|
|
149
longings
|
|
| 渴望，盼望( longing的名词复数 ) | |
参考例句： |
|
|
|
|
150
misused
|
|
| v.使用…不当( misuse的过去式和过去分词 )；把…派作不正当的用途；虐待；滥用 | |
参考例句： |
|
|
|
|
151
consecrate
|
|
| v.使圣化，奉…为神圣；尊崇；奉献 | |
参考例句： |
|
|
|
|
152
aggravating
|
|
| adj.恼人的，讨厌的 | |
参考例句： |
|
|
|
|
153
imperturbably
|
|
| adv.泰然地，镇静地，平静地 | |
参考例句： |
|
|
|
|
154
annually
|
|
| adv.一年一次，每年 | |
参考例句： |
|
|
|
|
155
outweighs
|
|
| v.在重量上超过( outweigh的第三人称单数 )；在重要性或价值方面超过 | |
参考例句： |
|
|
|
|
156
entrusted
|
|
| v.委托，托付( entrust的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
157
frankly
|
|
| adv.坦白地，直率地；坦率地说 | |
参考例句： |
|
|
|
|
158
nude
|
|
| adj.裸体的；n.裸体者，裸体艺术品 | |
参考例句： |
|
|
|
|
159
rascality
|
|
| 流氓性，流氓集团 | |
参考例句： |
|
|
|
|
|
160
tardiness
|
|
| n.缓慢；迟延；拖拉 | |
参考例句： |
|
|
|
|
161
heartily
|
|
| adv.衷心地，诚恳地，十分，很 | |
参考例句： |
|
|
|
|
162
apprehend
|
|
| vt.理解，领悟，逮捕，拘捕，忧虑 | |
参考例句： |
|
|
|
|
163
delightful
|
|
| adj.令人高兴的，使人快乐的 | |
参考例句： |
|
|
|
|
164
consigned
|
|
| v.把…置于（令人不快的境地）( consign的过去式和过去分词 )；把…托付给；把…托人代售；丟弃 | |
参考例句： |
|
|
|
|
165
boons
|
|
| n.恩惠( boon的名词复数 )；福利；非常有用的东西；益处 | |
参考例句： |
|
|
|
|
166
intoxicating
|
|
| a. 醉人的,使人兴奋的 | |
参考例句： |
|
|
|
|
167
cower
|
|
| v.畏缩，退缩，抖缩 | |
参考例句： |
|
|
|
|
168
distinguished
|
|
| adj.卓越的，杰出的，著名的 | |
参考例句： |
|
|
|
|
169
pageant
|
|
| n.壮观的游行；露天历史剧 | |
参考例句： |
|
|
|
|
170
majesty
|
|
| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
参考例句： |
|
|
|
|
171
warfare
|
|
| n.战争(状态)；斗争；冲突 | |
参考例句： |
|
|
|
|
172
regiment
|
|
| n.团，多数，管理；v.组织，编成团，统制 | |
参考例句： |
|
|
|
|
173
exacting
|
|
| adj.苛求的，要求严格的 | |
参考例句： |
|
|
|
|
174
recollecting
|
|
| v.记起，想起( recollect的现在分词 ) | |
参考例句： |
|
|
|
|
175
prevailing
|
|
| adj.盛行的；占优势的；主要的 | |
参考例句： |
|
|
|
|
176
gallant
|
|
| adj.英勇的，豪侠的；(向女人)献殷勤的 | |
参考例句： |
|
|
|
|
177
esteem
|
|
| n.尊敬，尊重；vt.尊重，敬重；把…看作 | |
参考例句： |
|
|
|
|
178
scion
|
|
| n.嫩芽，子孙 | |
参考例句： |
|
|
|
|
179
bourgeois
|
|
| adj./n.追求物质享受的(人)；中产阶级分子 | |
参考例句： |
|
|
|
|
180
persuasion
|
|
| n.劝说；说服；持有某种信仰的宗派 | |
参考例句： |
|
|
|
|
181
utterance
|
|
| n.用言语表达，话语，言语 | |
参考例句： |
|
|
|
|
182
disparaging
|
|
| adj.轻蔑的，毁谤的v.轻视( disparage的现在分词 )；贬低；批评；非难 | |
参考例句： |
|
|
|
|
183
chivalrous
|
|
| adj.武士精神的；对女人彬彬有礼的 | |
参考例句： |
|
|
|
|
184
alluded
|
|
| 提及，暗指( allude的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
185
Christians
|
|
| n.基督教徒( Christian的名词复数 ) | |
参考例句： |
|
|
|
|
186
thereby
|
|
| adv.因此，从而 | |
参考例句： |
|
|
|
|
187
repugnance
|
|
| n.嫌恶 | |
参考例句： |
|
|
|
|
188
intensified
|
|
| v.（使）增强， （使）加剧( intensify的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
189
exclusion
|
|
| n.拒绝，排除，排斥，远足，远途旅行 | |
参考例句： |
|
|
|
|
190
peculiarities
|
|
| n. 特质, 特性, 怪癖, 古怪 | |
参考例句： |
|
|
|
|
191
adjourned
|
|
| （使）休会， （使）休庭( adjourn的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
192
effigy
|
|
| n.肖像 | |
参考例句： |
|
|
|
|
193
embroidery
|
|
| n.绣花，刺绣；绣制品 | |
参考例句： |
|
|
|
|
194
displease
|
|
| vt.使不高兴，惹怒；n.不悦，不满，生气 | |
参考例句： |
|
|
|
|
195
remains
|
|
| n.剩余物，残留物；遗体，遗迹 | |
参考例句： |
|
|
|
|
196
cemetery
|
|
| n.坟墓，墓地，坟场 | |
参考例句： |
|
|
|
|
197
possessed
|
|
| adj.疯狂的；拥有的，占有的 | |
参考例句： |
|
|
|
|
198
tattoo
|
|
| n.纹身，(皮肤上的)刺花纹；vt.刺花纹于 | |
参考例句： |
|
|
|
|
199
backwards
|
|
| adv.往回地，向原处，倒，相反，前后倒置地 | |
参考例句： |
|
|
|
|
200
adorned
|
|
| [计]被修饰的 | |
参考例句： |
|
|
|
|
201
monastery
|
|
| n.修道院，僧院，寺院 | |
参考例句： |
|
|
|
|
202
severely
|
|
| adv.严格地；严厉地；非常恶劣地 | |
参考例句： |
|
|
|
|
203
outright
|
|
| adv.坦率地；彻底地；立即；adj.无疑的；彻底的 | |
参考例句： |
|
|
|
|
204
aurora
|
|
| n.极光 | |
参考例句： |
|
|
|
|
205
Oxford
|
|
| n.牛津（英国城市） | |
参考例句： |
|
|
|
|
206
tenant
|
|
| n.承租人；房客；佃户；v.租借，租用 | |
参考例句： |
|
|
|
|
207
hawks
|
|
| 鹰( hawk的名词复数 )； 鹰派人物，主战派人物 | |
参考例句： |
|
|
|
|
208
lasting
|
|
| adj.永久的，永恒的；vbl.持续，维持 | |
参考例句： |
|
|
|
|
209
prospect
|
|
| n.前景，前途；景色，视野 | |
参考例句： |
|
|
|
|
210
picturesque
|
|
| adj.美丽如画的，（语言）生动的，绘声绘色的 | |
参考例句： |
|
|
|
|
211
ramble
|
|
| v.漫步，漫谈，漫游；n.漫步，闲谈，蔓延 | |
参考例句： |
|
|
|
|
212
lighting
|
|
| n.照明，光线的明暗，舞台灯光 | |
参考例句： |
|
|
|
|
213
quaint
|
|
| adj.古雅的，离奇有趣的，奇怪的 | |
参考例句： |
|
|
|
|
214
ushered
|
|
| v.引，领，陪同( usher的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
215
sitting-room
|
|
| n.（BrE）客厅，起居室 | |
参考例句： |
|
|
|
|
216
scrupulously
|
|
| adv.一丝不苟地；小心翼翼地，多顾虑地 | |
参考例句： |
|
|
|
|
217
hacking
|
|
| n.非法访问计算机系统和数据库的活动 | |
参考例句： |
|
|
|
|
218
incense
|
|
| v.激怒；n.香，焚香时的烟，香气 | |
参考例句： |
|
|
|
|
219
illustrating
|
|
| 给…加插图( illustrate的现在分词 )； 说明； 表明； （用示例、图画等）说明 | |
参考例句： |
|
|
|
|
220
disporting
|
|
| v.嬉戏，玩乐，自娱( disport的现在分词 ) | |
参考例句： |
|
|
|
|
221
vanquished
|
|
| v.征服( vanquish的过去式和过去分词 )；战胜；克服；抑制 | |
参考例句： |
|
|
|
|
222
depicted
|
|
| 描绘，描画( depict的过去式和过去分词 )； 描述 | |
参考例句： |
|
|
|
|
223
inevitable
|
|
| adj.不可避免的，必然发生的 | |
参考例句： |
|
|
|
|
224
reverently
|
|
| adv.虔诚地 | |
参考例句： |
|
|
|
|
225
animate
|
|
| v.赋于生命，鼓励；adj.有生命的，有生气的 | |
参考例句： |
|
|
|
|
226
farce
|
|
| n.闹剧，笑剧，滑稽戏；胡闹 | |
参考例句： |
|
|
|
|
227
rococo
|
|
| n.洛可可；adj.过分修饰的 | |
参考例句： |
|
|
|
|
228
whitewashed
|
|
| 粉饰，美化，掩饰( whitewash的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
229
procure
|
|
| vt.获得，取得，促成；vi.拉皮条 | |
参考例句： |
|
|
|
|
230
diminutive
|
|
| adj.小巧可爱的，小的 | |
参考例句： |
|
|
|
|
231
neatly
|
|
| adv.整洁地，干净地，灵巧地，熟练地 | |
参考例句： |
|
|
|
|
232
tacked
|
|
| 用平头钉钉( tack的过去式和过去分词 )； 附加，增补； 帆船抢风行驶，用粗线脚缝 | |
参考例句： |
|
|
|
|
233
vistas
|
|
| 长条形景色( vista的名词复数 )； 回顾； 展望； （未来可能发生的）一系列情景 | |
参考例句： |
|
|
|
|
234
shutters
|
|
| 百叶窗( shutter的名词复数 )； （照相机的）快门 | |
参考例句： |
|
|
|
|
235
contented
|
|
| adj.满意的，安心的，知足的 | |
参考例句： |
|
|
|
|
236
dwellings
|
|
| n.住处，处所( dwelling的名词复数 ) | |
参考例句： |
|
|
|
|
237
gliding
|
|
| v. 滑翔 adj. 滑动的 | |
参考例句： |
|
|
|
|
238
tangle
|
|
| n.纠缠；缠结；混乱；v.(使)缠绕；变乱 | |
参考例句： |
|
|
|
|
239
foliage
|
|
| n.叶子，树叶，簇叶 | |
参考例句： |
|
|
|
|
240
dwarf
|
|
| n.矮子，侏儒，矮小的动植物；vt.使…矮小 | |
参考例句： |
|
|
|
|
241
gourd
|
|
| n.葫芦 | |
参考例句： |
|
|
|
|
242
grumbling
|
|
| adj. 喃喃鸣不平的, 出怨言的 | |
参考例句： |
|
|
|
|
243
paraphernalia
|
|
| n.装备；随身用品 | |
参考例句： |
|
|
|
|
244
destined
|
|
| adj.命中注定的；(for)以…为目的地的 | |
参考例句： |
|
|
|
|
245
reverted
|
|
| 恢复( revert的过去式和过去分词 )； 重提； 回到…上； 归还 | |
参考例句： |
|
|
|
|
246
ascend
|
|
| vi.渐渐上升，升高；vt.攀登，登上 | |
参考例句： |
|
|
|
|
247
orchards
|
|
| （通常指围起来的）果园( orchard的名词复数 ) | |
参考例句： |
|
|
|
|
248
poultry
|
|
| n.家禽，禽肉 | |
参考例句： |
|
|
|
|
249
crest
|
|
| n.顶点；饰章；羽冠；vt.达到顶点；vi.形成浪尖 | |
参考例句： |
|
|
|
|
250
citadels
|
|
| n.城堡，堡垒( citadel的名词复数 ) | |
参考例句： |
|
|
|
|
251
dedicated
|
|
| adj.一心一意的；献身的；热诚的 | |
参考例句： |
|
|
|
|
252
bestowed
|
|
| 赠给，授予( bestow的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
253
spacious
|
|
| adj.广阔的，宽敞的 | |
参考例句： |
|
|
|
|
254
muse
|
|
| n.缪斯（希腊神话中的女神），创作灵感 | |
参考例句： |
|
|
|
|
255
evoked
|
|
| [医]诱发的 | |
参考例句： |
|
|
|
|
256
spinet
|
|
| n.小型立式钢琴 | |
参考例句： |
|
|
|
|
257
scraps
|
|
| 油渣 | |
参考例句： |
|
|
|
|
258
intonation
|
|
| n.语调，声调；发声 | |
参考例句： |
|
|
|
|
259
reticent
|
|
| adj.沉默寡言的；言不如意的 | |
参考例句： |
|
|
|
|
260
resolutely
|
|
| adj.坚决地，果断地 | |
参考例句： |
|
|
|
|
261
flute
|
|
| n.长笛；v.吹笛 | |
参考例句： |
|
|
|
|
262
postponing
|
|
| v.延期，推迟( postpone的现在分词 ) | |
参考例句： |
|
|
|
|
263
ridge
|
|
| n.山脊；鼻梁；分水岭 | |
参考例句： |
|
|
|
|
264
formerly
|
|
| adv.从前，以前 | |
参考例句： |
|
|
|
|
265
doorways
|
|
| n.门口，门道( doorway的名词复数 ) | |
参考例句： |
|
|
|
|
266
negotiations
|
|
| 协商( negotiation的名词复数 )； 谈判； 完成（难事）； 通过 | |
参考例句： |
|
|
|
|
267
alas
|
|
| int.唉(表示悲伤、忧愁、恐惧等) | |
参考例句： |
|
|
|
|
268
favourable
|
|
| adj.赞成的，称赞的，有利的，良好的，顺利的 | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |