[87646] in Discussion of MIT-community interests
Diabetes Gone in 7 Days?
daemon@ATHENA.MIT.EDU (Forget Me Not)
Sun Aug 28 21:44:14 2016
Date: Sun, 28 Aug 2016 21:40:20 -0400
From: "Forget Me Not" <forget-me-not@ambers.stream>
To: <mit-talk-mtg@charon.mit.edu>
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<p>Diabetes Gone in 7 Days?<br /> I waited some days after the arrival o=
f your Book and Letter, thinking I might be able to say more of my sense of=
your goodness: but I can do no more now than a week ago. You " hope I=
shall not find too much to disapprove of" : what I ought to protest a=
gainst, is " a load to sink a navy -- too much honor" : how can I=
put aside your generosity, as if cold justice -- however befitting myself =
-- would be in better agreement with your nature? Let it remain as an assur=
ance to younger poets that, after fifty years' work unattended by any consp=
icuous recognition, an over-payment may be made, if there be such another m=
unificent appreciator as I have been privileged to find, in which case let =
them, even if more deserving, be equally grateful. I have not observed anyt=
hing in need of correction in the notes. The " little Tablet" was=
a famous " Last Supper" , mentioned by Vasari, (page. 232), and =
gone astray long ago from the Church of S. Spirito: it turned up, according=
to report, in some obscure corner, while I was in Florence, and was at onc=
e acquired by a stranger. I saw it, genuine or no, a work of great beauty. =
(Page 156.) " A canon" , in music, is a piece wherein the subject=
is repeated -- in various keys: and being strictly obeyed in the repetitio=
n, becomes the " Canon" -- the imperative law -- to what follows.=
Fifty of such parts would be indeed a notable peal: to manage three is eno=
ugh of an achievement for a good musician. And now, -- here is Christmas: a=
ll my best wishes go to you and Mrs Corson. Those of my sister also. She wa=
s indeed suffering from grave indisposition in the summer, but is happily r=
ecovered. I could not venture, under the circumstances, to expose her conva=
lescence to the accidents of foreign travel: hence our contenting ourselves=
with Wales rather than Italy. Shall you be again induced to visit us? Pres=
ent or absent, you will remember me always, I trust, as Yours most affectio=
nately Robert Browning. " Quanta subtilitate ipsa corda hominum resera=
t, intimos mentis recessus explorat, varios animi motus perscrutatur. Quod =
ad tragoediam antiquiorem attinet, interpretatus est, uti nostis omnes, non=
modo Aeschylum quo nemo sublimior, sed etiam Euripidem quo nemo humanior; =
quo fit ut etiam illos qui Graece nesciunt, misericordia tangat Alcestis, t=
errore tangat Hercules. Recentiora argumenta tragica cum lyrico quodam scri=
bendi genere coniunxit, duas Musas et Melpomenen et Euterpen simul veneratu=
s. Musicae miracula quis dignius cecinit? Pictoris Florentini sine fraude v=
itam quasi inter crepuscula vesperascentem coloribus quam vividis depinxit.=
Vesperi quotiens, dum foco adsidemus, hoc iubente resurgit Italia. Vesperi=
nuper, dum huius idyllia forte meditabar, Cami inter arundines mihi videba=
r vocem magnam audire clamantis, Pa\n o` me/gas ou' te/qnhken. Vivit adhuc =
Pan ipse, cum Marathonis memoria et Pheidippidis velocitate immortali conso=
ciatus." -- Eulogium pronounced by Mr. J. E. Sandys, Public Orator at =
the University of Cambridge, on presenting Mr. Browning for the honorary de=
gree of Doctor of Laws, June 10, 1879. PREFACE. The purpose of the present =
volume is to afford some aid and guidance in the study of Robert Browning' =
s Poetry, which, being the most complexly subjective of all English poetry,=
is, for that reason alone, the most difficult. And then the poet' s favori=
te art-form, the dramatic, or, rather, psychologic, monologue, which is qui=
te original with himself, and peculiarly adapted to the constitution of his=
genius and to the revelation of themselves by the several " dramatis =
personae" , presents certain structural difficulties, but difficulties=
which, with an increased familiarity, grow less and less. The exposition p=
resented in the Introduction, of its constitution and skilful management, a=
nd the Arguments given of the several poems included in the volume, will, i=
t is hoped, reduce, if not altogether remove, the difficulties of this kind=
In the same section of the Introduction, certain peculiarities of the poe=
t' s diction, which sometimes give a check to the reader' s understanding o=
f a passage, are presented and illustrated. I think it not necessary to off=
er any apology for my going all the way back to Chaucer, and noting the Ebb=
and Flow in English Poetry down to the present time, of the spirituality w=
hich constitutes the real life of poetry, and which should, as far as possi=
ble, be brought to the consciousness and appreciation of students. What I m=
ean by spirituality is explained in my treatment of the subject. The degree=
to which poetry is quickened with it should always enter into an estimate =
of its absolute worth. It is that, indeed, which constitutes its absolute w=
orth. The weight of thought conveyed, whatever that be, will not compensate=
for the absence of it. The study of poetry, in our institutions of learnin=
g, so far as I have taken note of it, and the education induced thereby, ar=
e almost purely intellectual. The student' s spiritual nature is left to ta=
ke care of itself; and the consequence is that he becomes, at best, only a =
thinking and analyzing machine. The spiritual claims of the study of poetry=
are especially demanded in the case of Browning' s poetry. Browning is gen=
erally and truly regarded as the most intellectual of poets. No poetry in E=
nglish literature, or in any literature, is more charged with discursive th=
ought than his. But he is, at the same time, the most spiritual and transce=
ndental of poets, the " subtlest assertor of the Soul in Song" . =
His thought is never an end to itself, but is always subservient to an ulte=
rior spiritual end -- always directed towards " a presentment of the c=
orrespondency of the universe to Deity, of the natural to the spiritual, an=
d of the actual to the ideal" ; and it is all-important that students =
should be awakened, and made, as far as possible, responsive to this spirit=
ual end. The sections of the Introduction on Personality and Art were read =
before the Browning Society of London, in June, 1882. I have seen no reason=
for changing or modifying, in any respect, the views therein expressed. Th=
e idea of personality as a quickening, regenerating power, and the idea of =
art as an intermediate agency of personality, are, perhaps, the most reiter=
ated (implicitly, not explicitly) in Browning' s poetry, and lead up to the=
dominant idea of Christianity, the idea of a Divine Personality; the idea =
that the soul, to use an expression from his earliest poem, `Pauline' , mus=
t " rest beneath some better essence than itself in weakness" . T=
he notes to the poems will be found, I trust, to cover all points and featu=
res of the text which require explanation and elucidation. I have not, at a=
ny rate, wittingly passed by any real difficulties. Whether my explanations=
and interpretations will in all cases be acceptable, remains to be seen.</=
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