The Browning Cyclopædia: A Guide to the Study of the Works of Robert Browning. Edward Berdoe

the mount, gliding by semitones, glancing back at the heights he is leaving, till at last, finding his true resting-place in the C Major of this life, soothed and sweetly lulled by the heavenly harmonies, he falls asleep. The Esoteric system of the Cabbalah was largely the outcome of Neo-Platonism and Gnosticism, and from these have sprung the theosophy of Meister Eckhart and Jacob Boehme. It is certain that Mr. Browning was a student of the latter “theosophist” par excellence. In his poem Transcendentalism he refers to the philosopher by name, and there are evidences that the poet’s mind was deeply tinctured with his ideas. The influence of Paracelsus on Boehme’s mind is conspicuous in his works, and the sympathy with that great medical reformer which the poem of Paracelsus betrays on every page was no doubt largely due to Boehme’s teaching. The curious blending of theosophy and science which is found in the poem of Paracelsus is not a less faithful picture of Mr. Browning’s philosophical system than of that of his hero. Professor Andrew Seth, in the article on theosophy in the Encyclopædia Britannica, thus expounds Boehme’s speculation on evil: it turns “upon the necessity of reconciling the existence and the might of evil with the existence of an all-embracing and all-powerful God… He faces the difficulty boldly – he insists on the necessity of the Nay to the Yea, of the negative to the positive.” Eckhart seems to have largely influenced Boehme. We have in this poem what has been aptly called “the richest, deepest, fullest poem on music in the language.” (Symons.) Mr. Browning was a thorough musician himself, and no poet ever wrote what the musician felt till he penned the wonderful music-poems Abt Vogler, Master Hugues of Saxe Gotha and A Toccata of Galuppi’s. The comparison between music and architecture is as old as it is beautiful. Amphion built the walls of Thebes to the sound of his lyre – fitting the stones together by the power of his music, and “Ilion’s towers,” they say, “rose with life to Apollo’s song.” The “Keeley Motor” was an attempt in this direction. Coleridge, too, in Kubla Khan, with “music loud and long would build that dome in air.” In the May 1891 number of the Century Magazine there is a very curious and a very interesting account by Mrs. Watts Hughes of certain “Voice-figures” which have lately excited so much interest in scientific and musical circles. “By a simple method figures of sounds are produced which remain permanent. On a thin indiarubber membrane, stretched across the bottom of a tube of sufficient diameter for the purpose, is poured a small quantity of water or some denser liquid, such as glycerine; and into this liquid are sprinkled a few grains of some ordinary solid pigment. A note of music is then sung down the tube by Mrs. Watts Hughes, and immediately the atoms of suspended pigment arrange themselves in a definite form, many of the forms bearing a curious resemblance to some of the most beautiful objects in Nature – flowers, shells, or trees. After the note has ceased to sound the forms remain, and the pictorial representations given in the Century show how wonderfully accurate is the lovely mimicry of the image-making music.” (Spectator, May 16th, 1891.) The thought of some soul of permanence behind the transience of music, provided the motive of Adelaide Procter’s Lost Chord. In the Idylls of the King Lord Tennyson says —

      “The city is built

      To music, therefore never built at all,

      And therefore built for ever.”

      Cardinal Newman, too, as the writer in the Spectator points out, expresses the same thought in his Oxford sermon, “The Theory of Development in Christian Doctrine.” The preacher said: “Take another example of an outward and earthly form of economy, under which great wonders unknown seem to be typified – I mean musical sounds, as they are exhibited most perfectly in instrumental harmony. There are seven notes in the scale: make them fourteen; yet what a slender outfit for so vast an enterprise! What science brings so much out of so little? Out of what poor elements does some great master create his new world! Shall we say that all this exuberant inventiveness is a mere ingenuity or trick of art, like some fashion of the day, without reality, without meaning?.. Is it possible that inexhaustible evolution and disposition of notes, so rich yet so simple, so intricate yet so regulated, so various yet so majestic, should be a mere sound which is gone and perishes? Can it be that those mysterious stirrings of heart, and keen emotions, and strange yearnings after we know not what, and awful impressions from we know not whence, should be wrought in us by what is unsubstantial, and comes and goes, and begins and ends in itself? It is not so! It cannot be.”

      Notes. – Stanza I. “Solomon willed.” Jewish legend gave Solomon sovereignty over the demons and a lordship over the powers of Nature. In the Moslem East these fables have found a resting-place in much of its literature, from the Koran onwards. Solomon was thought to have owed his power over the spiritual world to the possession of a seal on which the “most great name of God was engraved” (see Lane, Arabian Nights, Introd., note 21, and chap. i., note 15). In Eastern philosophy, the “Upādana” or the intense desire produces WILL, and it is the will which develops force, and the latter generates matter, or an object having form (see Isis Unveiled, Blavatsky, vol. ii., p. 320). “Pile him a palace.” Goethe called architecture “petrified music.” “The ineffable Name”: the unspeakable name of God. Jehovah is the European transcription of the sacred tetragrammaton יהוה. The later Jews substituted the word Adonai in reading the ineffable Name in their law and prayers. Mysterious names of the Deity are common in other religions than the Jewish. In the Egyptian Funeral Ritual, and in a hymn of the Soul, the Word and the Name are referred to in connection with hidden secrets. The Jewish enemies of Christ said that the miracles were wrought by the power of the ineffable Name, which had been stolen from the Sanctuary. (See Isis Unveiled, vol. ii, p. 387.) – Stanza III. Rampired: an old form of ramparted. “The Illumination of Rome’s Dome.” One of the great sights of Rome used to be the illumination of the dome of St. Peter’s on great festivals, such as that of Easter. Since the occupation of Rome by the Italian Government such spectacles, if not wholly discontinued, have been shorn of most of their splendour. – Stanza IV. “No more near nor far.” Hegel says that “Music frees us from the phenomena of time and space,” and shows that they are not essentials, but accidents of our condition here. – Stanza V. “Protoplast.” The thing first formed, as a copy to be imitated. – Stanza VII. “That out of three sounds he frame, not a fourth sound, but a star.” “A star is perfect and beautiful, and rays of light come from it.” Stanza XII. “Common chord.” A chord consisting of the fundamental tone with its third and fifth. “Blunt it into a ninth.” A ninth is (a) An interval containing an octave and a second; (b) a chord consisting of the common chord, with the eighth advanced one note. “C Major of this life.” Miss Helen Ormerod, in a paper read to the Browning Society of London, November 30th, 1888, has explained these musical terms and expressions. “C Major is what may be called the natural scale, having no sharps or flats in its signature. A Minor, with A (a third below C) for its keynote, has the same signature, but sharps are introduced for the formation of correct intervals. Pauer says that minor keys are chosen for expressing ‘intense seriousness, soft melancholy, longing, sadness, and passionate grief’; whilst major keys with sharps and flats in their signatures are said to have distinctive qualities; – perhaps Browning chose C major for the key, as the one most allied to matters of everyday life, including rest and sleep. The common chord, as it is called, the keynote with its third and fifth, contains the rudiments of all music.”

Adam, Lilith, and Eve (Jocoseria, 1883). The Talmudists, in their fanciful commentaries on the Old Testament, say that Adam had a wife before he married Eve, who was called Lilith; she was the mother of demons, and flew away from Adam, and the Lord then created Eve from one of his ribs. Lilith had been formed of clay, and was sensual and disobedient; the more spiritual Eve became his saviour from the snares of his first wife. Mr. Browning in this poem merely uses the names, and makes no reference to the Talmudic or Gnostic legends connected with them. Under the terror inspired by a thunderstorm, two women begin a confession of which they make light when the danger has passed away. The man says he saw through the joke, and the episode was over. It is a powerful and suggestive story of falsehood, fear, and a forgiveness too readily accorded by a man who makes a joke of guilt when he has lost nothing by it.

      Adelaide, The Tuscan (Sordello), was the second wife of Eccelino da Romano, of the