'Master Hugues Of Saxe-Gotha' by Robert Browning


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[An imaginary composer.]

I.

Hist, but a word, fair and soft!
Forth and be judged, Master Hugues!
Answer the question I've put you so oft:
What do you mean by your mountainous fugues?<*1>
See, we're alone in the loft,---

II.

I, the poor organist here,
Hugues, the composer of note,
Dead though, and done with, this many a year:
Let's have a colloquy, something to quote,
Make the world prick up its ear!

III.

See, the church empties apace:
Fast they extinguish the lights.
Hallo there, sacristan! Five minutes' grace!
Here's a crank pedal wants setting to rights,
Baulks one of holding the base.

IV.

See, our huge house of the sounds,
Hushing its hundreds at once,
Bids the last loiterer back to his bounds!
O you may challenge them, not a response
Get the church-saints on their rounds!

V.

(Saints go their rounds, who shall doubt?
---March, with the moon to admire,
Up nave, down chancel, turn transept about,
Supervise all betwixt pavement and spire,
Put rats and mice to the rout---

VI.

Aloys and Jurien and Just---
Order things back to their place,
Have a sharp eye lest the candlesticks rust,
Rub the church-plate, darn the sacrament-lace,
Clear the desk-velvet of dust.)

VII.

Here's your book, younger folks shelve!
Played I not off-hand and runningly,
Just now, your masterpiece, hard number twelve?
Here's what should strike, could one handle it cunningly:
HeIp the axe, give it a helve!

VIII.

Page after page as I played,
Every bar's rest, where one wipes
Sweat from one's brow, I looked up and surveyed,
O'er my three claviers<*2> yon forest of pipes
Whence you still peeped in the shade.

IX.

Sure you were wishful to speak?
You, with brow ruled like a score,
Yes, and eyes buried in pits on each cheek,
Like two great breves,<*3> as they wrote them of yore,
Each side that bar, your straight beak!

X.

Sure you said---``Good, the mere notes!
``Still, couldst thou take my intent,
``Know what procured me our Company's votes---
``A master were lauded and sciolists shent,
``Parted the sheep from the goats!''

XI.

Well then, speak up, never flinch!
Quick, ere my candle's a snuff
---Burnt, do you see? to its uttermost inch---
_I_ believe in you, but that's not enough:
Give my conviction a clinch!

XII.

First you deliver your phrase
---Nothing propound, that I see,
Fit in itself for much blame or much praise---
Answered no less, where no answer needs be:
Off start the Two on their ways.

XIII.

Straight must a Third interpose,
Volunteer needlessly help;
In strikes a Fourth, a Fifth thrusts in his nose,
So the cry's open, the kennel's a-yelp,
Argument's hot to the close.

XIV.

One dissertates, he is candid;
Two must discept,--has distinguished;
Three helps the couple, if ever yet man did;
Four protests; Five makes a dart at the thing wished:
Back to One, goes the case bandied.

XV.

One says his say with a difference
More of expounding, explaining!
All now is wrangle, abuse, and vociferance;
Now there's a truce, all's subdued, self-restraining:
Five, though, stands out all the stiffer hence.

XVI.

One is incisive, corrosive:
Two retorts, nettled, curt, crepitant;
Three makes rejoinder, expansive, explosive;
Four overbears them all, strident and strepitant,
Five ... O Danaides,<*4> O Sieve!

XVII.

Now, they ply axes and crowbars;
Now, they prick pins at a tissue
Fine as a skein of the casuist Escobar's<*5>
Worked on the bone of a lie. To what issue?
Where is our gain at the Two-bars?

XVIII.

_Est fuga, volvitur rota._
On we drift: where looms the dim port?
One, Two, Three, Four, Five, contribute their quota;
Something is gained, if one caught but the import---
Show it us, Hugues of Saxe-Gotha!

XIX.

What with affirming, denying,
Holding, risposting,<*6> subjoining,
All's like ... it's like ... for an instance I'm trying ...
There! See our roof, its gilt moulding and groining
Under those spider-webs lying!

XX.

So your fugue broadens and thickens,
Greatens and deepens and lengthens,
Till we exclaim---``But where's music, the dickens?
``Blot ye the gold, while your spider-web strengthens
``---Blacked to the stoutest of tickens?''<*7>

XXI.

I for man's effort am zealous:
Prove me such censure unfounded!
Seems it surprising a lover grows jealous---
Hopes 'twas for something, his organ-pipes sounded,
Tiring three boys at the bellows?

XXII.

Is it your moral of Life?
Such a web, simple and subtle,
Weave we on earth here in impotent strife,
Backward and forward each throwing his shuttle,
Death ending all with a knife?

XXIII.

Over our heads truth and nature---
Still our life's zigzags and dodges,
Ins and outs, weaving a new legislature---
God's gold just shining its last where that lodges,
Palled beneath man's usurpature.

XXIV.

So we o'ershroud stars and roses,
Cherub and trophy and garland;
Nothings grow something which quietly closes
Heaven's earnest eye: not a glimpse of the far land
Gets through our comments and glozes.

XXV.

Ah but traditions, inventions,
(Say we and make up a visage)
So many men with such various intentions,
Down the past ages, must know more than this age!
Leave we the web its dimensions!

XXVI.

Who thinks Hugues wrote for the deaf,
Proved a mere mountain in labour?
Better submit; try again; what's the clef?
'Faith, 'tis no trifle for pipe and for tabor---
Four flats, the minor in F.

XXVII.

Friend, your fugue taxes the finger
Learning it once, who would lose it?
Yet all the while a misgiving will linger,
Truth's golden o'er us although we refuse it---
Nature, thro' cobwebs we string her.

XXVIII.

Hugues! I advise _Me Pn_
(Counterpoint glares like a Gorgon)
Bid One, Two, Three, Four, Five, clear the arena!
Say the word, straight I unstop the full-organ,
Blare out the _mode Palestrina._<*8>

XXIX.

While in the roof, if I'm right there,
... Lo you, the wick in the socket!
Hallo, you sacristan, show us a light there!
Down it dips, gone like a rocket.
What, you want, do you, to come unawares,
Sweeping the church up for first morning-prayers,
And find a poor devil has ended his cares
At the foot of your rotten-runged rat-riddled stairs?
Do I carry the moon in my pocket?

* 1A fugue is a short melody.
* 2Keyboard of organ.
* 3A note in music.
* 4The daughters of Danaus, condemned to pour water
*into a sieve.
* 5The Spanish casuist, so severely mauled by Pascal.
* 6A quick return in fencing.
* 7A closely woven fabric.
* 8_Giovanni P. da Palestrina_, celebrated musician (1524-1594).


Editor 1 Interpretation

Master Hugues Of Saxe-Gotha: A Masterful Work of Poetry

Are you a fan of Robert Browning's poetry? If not, then I suggest you read his masterpiece, "Master Hugues Of Saxe-Gotha." This poem is a perfect example of his poetic genius and mastery of language.

At first glance, "Master Hugues Of Saxe-Gotha" may appear to be a simple poem about a musician's struggle to create a perfect piece of music. However, upon closer inspection, the poem reveals a deeper meaning that touches upon themes of art, creativity, and the human condition.

The poem is written in iambic pentameter and is divided into four sections, each with its own unique context and meaning. The first section introduces the character of Master Hugues, a musician who is striving to create a perfect piece of music. The second section describes Hugues' struggle to find inspiration and his eventual realization that true inspiration comes from within.

In the third section, Hugues attempts to put his newfound inspiration into practice, but his efforts are met with frustration and disappointment. He realizes that true creativity requires not only inspiration but also hard work and dedication. Finally, in the fourth section, Hugues' perseverance pays off, and he creates a masterpiece that transcends time and space.

One of the most striking features of the poem is its use of language. Browning's masterful use of imagery, metaphor, and symbolism adds depth and complexity to the poem. For example, in the second section, Hugues compares himself to a "dumb beast in a show," emphasizing his feelings of helplessness and lack of inspiration. This metaphor is particularly powerful because it not only conveys Hugues' state of mind but also touches upon a broader theme of human frailty.

Similarly, in the third section, Browning uses the metaphor of a "lute with a broken string" to describe Hugues' frustration and despair. This metaphor not only captures Hugues' emotions but also suggests the fragility of art and the creative process.

Another notable feature of the poem is its structure. The poem is divided into four sections, each with its own unique context and meaning. This structure not only adds clarity to the poem but also emphasizes the progression of Hugues' journey from frustration and despair to creativity and triumph.

Additionally, the use of iambic pentameter gives the poem a musical quality, which is particularly fitting given the subject matter of the poem. The musicality of the poem adds to its beauty and emphasizes the theme of the power of music to transcend time and space.

Finally, the poem's theme of the power of art and creativity to transcend time and space is particularly relevant in today's world. In an age where technology and instant gratification dominate our lives, "Master Hugues Of Saxe-Gotha" reminds us of the importance of hard work, dedication, and perseverance in the pursuit of our creative passions.

In conclusion, "Master Hugues Of Saxe-Gotha" is a masterful work of poetry that exemplifies Robert Browning's poetic genius and mastery of language. The poem's use of imagery, metaphor, and symbolism adds depth and complexity to the poem, while its structure and musicality emphasize the theme of the power of music and art to transcend time and space. If you're a fan of poetry or simply looking for a beautiful and thought-provoking read, I highly recommend "Master Hugues Of Saxe-Gotha."

Editor 2 Analysis and Explanation

Poetry Master Hugues Of Saxe-Gotha: A Masterpiece by Robert Browning

Robert Browning, one of the most celebrated poets of the Victorian era, is known for his dramatic monologues that explore the complexities of human nature. Among his many works, "Poetry Master Hugues Of Saxe-Gotha" stands out as a masterpiece that showcases Browning's mastery of the form. In this essay, we will analyze and explain the poem in detail, exploring its themes, structure, and language.

The poem is a dramatic monologue, a form that Browning popularized and perfected. It is spoken by Hugues, a poetry master who is teaching a class of students. The poem is set in the 17th century, in the court of the Duke of Saxe-Gotha. Hugues is a fictional character, but he represents the ideal of the poet as a master of language and imagination.

The poem is divided into two parts. In the first part, Hugues introduces himself and his philosophy of poetry. He believes that poetry is not just a matter of words, but of the imagination. He tells his students that they must learn to see beyond the surface of things, to look for the hidden meanings and associations that make poetry come alive. He uses the metaphor of a spider weaving its web to describe the poet's craft, emphasizing the importance of structure and form.

In the second part of the poem, Hugues demonstrates his philosophy by reciting a poem he has written. The poem is a tribute to the Duke of Saxe-Gotha, who is Hugues' patron. It describes the Duke's virtues and accomplishments, but also hints at the darker side of his character. Hugues uses language and imagery to create a complex portrait of the Duke, showing how he is both a hero and a flawed human being.

One of the key themes of the poem is the relationship between art and reality. Hugues believes that poetry is not a mere reflection of reality, but a way of transforming it. He tells his students that they must learn to see the world in a new way, to find the beauty and meaning in even the most mundane things. He uses the metaphor of a spider weaving its web to describe the poet's craft, emphasizing the importance of structure and form. This metaphor suggests that poetry is a kind of artifice, a way of creating something new out of the raw materials of language and experience.

Another theme of the poem is the role of the poet in society. Hugues sees himself as a teacher and guide, someone who can help his students to see the world in a new way. He believes that poetry has the power to transform society, to inspire people to be better than they are. He tells his students that they must learn to use language in a way that is both beautiful and true, that they must strive to create works of art that will endure.

The structure of the poem is complex and layered, reflecting the themes of art and reality. The first part of the poem is a kind of lecture, in which Hugues explains his philosophy of poetry. The second part is a demonstration of that philosophy, as Hugues recites his poem. The poem itself is also layered, with multiple levels of meaning and symbolism. The Duke of Saxe-Gotha is both a historical figure and a symbol of the ideal ruler, someone who embodies the virtues of wisdom, courage, and justice.

The language of the poem is rich and evocative, full of metaphors and allusions. Browning uses language to create a sense of depth and complexity, to suggest that there is always more to the world than meets the eye. He also uses language to create a sense of drama and tension, as Hugues reveals the darker side of the Duke's character. The poem is full of contrasts and paradoxes, suggesting that the world is a complex and mysterious place.

In conclusion, "Poetry Master Hugues Of Saxe-Gotha" is a masterpiece of Victorian poetry, showcasing Browning's mastery of the dramatic monologue form. The poem explores themes of art and reality, the role of the poet in society, and the complexities of human nature. The structure and language of the poem are complex and layered, reflecting the richness and depth of the world that Browning seeks to explore. This poem is a testament to the power of poetry to transform our understanding of the world and ourselves.

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