Sordello, Robert Browning
Sordello
Robert Browning
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Sordello is a narrative poem by the English poet Robert Browning. Worked on for seven years, and largely written between 1836 and 1840, it was published in March 1840. It consists of a fictionalised version of the life of Sordello da Goito, a 13th-century Lombard troubadour depicted in Canto VI of Dante Alighieri's Purgatorio. Convoluted and obscure, its difficulties increased by its unfamiliar setting, Sordello is notorious as one of the hardest poems in English literature.

Sordello

by
Robert Browning


Browning began Sordello in 1837, interrupted his work to write the earlier parts of Bells and Pomegranates, but resumed it and completed it in 1840, when it was published by Moxon. In 1863, when reprinting the poem, Browning dedicated it as below to M. Milsand, and in his dedication wrote practically a preface to the poem.

TO J. MILSAND, OF DIJON

Dear Friend, — Let the next poem be introduced by your name, therefore remembered along with one of the deepest of my affections, and so repay all trouble it ever cost me. I wrote it twenty-five years ago for only a few, counting even in these on somewhat more care about its subject than they really had. My own faults of expression were many; but with care for a man or book such would be surmounted, and without it what avails the faultlessness of either? I blame nobody, least of all myself, who did my best then and since; for I lately gave time and pains to turn my work into what the many might — instead of what the few must — like; but after all, I imagined another thing at first, and therefore leave as I find it. The historical decoration was purposely of no more importance than a background requires; and my stress lay on the incidents in the development of a soul: little else is worth study. I, at least, always thought so; you, with many known and unknown to me, think so; others may one day think so; and whether my attempt remain for them or not, I trust, though away and past it, to continue ever yours, R. B.

London, June 9, 1863.

Concerning this revised edition he wrote to a friend: —

“I do not understand what — can mean by saying that Sordello has been ‘rewritten.’ I did certainly at one time intend to rewrite much of it, but changed my mind, — and the edition which I reprinted was the same in all respects as its predecessors — only with an elucidatory heading to each page, and some few alterations, presumably for the better, in the text, such as occur in most of my works. I cannot remember a single instance of any importance that is rewritten, and I only suppose that — has taken project for performance, and set down as ‘done’ what was for a while intended to be done.”

For the sake of such elucidation as these head-lines give, they are introduced here as side-notes.


Book the First

Who will, may hear Sordello’s story told:
His story? Who believes me shall behold
The man, pursue his fortunes to the end,
Like me: for as the friendless-people’s friend
[Sidenote: A Quixotic attempt.]
Spied from his hill-top once, despite the din
And dust of multitudes, Pentapolin
Named o’ the Naked Arm, I single out
Sordello, compassed murkily about
With ravage of six long sad hundred years.
Only believe me. Ye believe?

Appears
Verona ... Never, I should warn you first,
Of my own choice had this, if not the worst
Yet not the best expedient, served to tell
A story I could body forth so well
By making speak, myself kept out of view,
The very man as he was wont to do,
And leaving you to say the rest for him.
Since, though I might be proud to see the dim
Abysmal past divide its hateful surge,
Letting of all men this one man emerge
Because it pleased me, yet, that moment past,
I should delight in watching first to last
His progress as you watch it, not a whit
More in the secret than yourselves who sit
Fresh-chapleted to listen. But it seems
Your setters-forth of unexampled themes,
Makers of quite new men, producing them,
Would best chalk broadly on each vesture’s hem
The wearer’s quality; or take their stand,
Motley on back and pointing-pole in hand,
Beside him. So, for once I face ye, friends,
[Sidenote: Why the Poet himself addresses his audience — ]
Summoned together from the world’s four ends,
Dropped down from heaven or cast up from hell,
To hear the story I propose to tell.
Confess now, poets know the dragnet’s trick,
Catching the dead, if fate denies the quick,
And shaming her; ’tis not for fate to choose
Silence or song because she can refuse
Real eyes to glisten more, real hearts to ache
Less oft, real brows turn smoother for our sake:
I have experienced something of her spite;
But there’s a realm wherein she has no right
And I have many lovers. Say, but few
Friends fate accords me? Here they are: now view
The host I muster! Many a lighted face
Foul with no vestige of the grave’s disgrace;
What else should tempt them back to taste our air
Except to see how their successors fare?
My audience! and they sit, each ghostly man
Striving to look as living as he can,
Brother by breathing brother; thou art set,
Clear-witted critic, by ... but I’ll not fret
A wondrous soul of them, nor move death’s spleen
Who loves not to unlock them. Friends! I mean
[Sidenote: Few living, many dead.]
The living in good earnest — ye elect
Chiefly for love — suppose not I reject
Judicious praise, who contrary shall peep,
Some fit occasion, forth, for fear ye sleep,
To glean your bland approvals. Then, appear,
[Sidenote: Shelley departing, Verona appears.]
Verona! stay — thou, spirit, come not near
Now — not this time desert thy cloudy place
To scare me, thus employed, with that pure face!
I need not fear this audience, I make free
With them, but then this is no place for thee!
The thunder-phrase of the Athenian, grown
Up out of memories of Marathon,
Would echo like his own sword’s griding screech
Braying a Persian shield, — the silver speech
Of Sidney’s self, the starry paladin,
Turn intense as a trumpet sounding in
The knights to tilt, — wert thou to hear! What heart
Have I to play my puppets, bear my part
Before these worthies?

Lo, the past is hurled
In twain: up-thrust, out-staggering on the world,
Subsiding into shape, a darkness rears
Its outline, kindles at the core, appears
Verona. ’Tis six hundred years and more
Since an event. The Second Friedrich wore
The purple, and the Third Honorius filled
The holy chair. That autumn eve was stilled:
A last remains of sunset dimly burned
O’er the far forests, like a torch-flame turned
By the wind back upon its bearer’s hand
In one long flare of crimson; as a brand,
The woods beneath lay black. A single eye
From all Verona cared for the soft sky.
But, gathering in its ancient market-place,
Talked group with restless group; and not a face
But wrath made livid, for among them were
Death’s stanch purveyors, such as have in care
To feast him. Fear had long since taken root
In every breast, and now these crushed its fruit.
The ripe hate, like a wine: to note the way
It worked while each grew drunk! Men grave and gray
Stood, with shut eyelids, rocking to and fro,
[Sidenote: How her Guelfs are discomfited.]
Letting the silent luxury trickle slow
About the hollows where a heart should be;
But the young gulped with a delirious glee
Some foretaste of their first debauch in blood
At the fierce news: for, be it understood,
Envoys apprised Verona that her prince
Count Richard of Saint Boniface, joined since
A year with Azzo, Este’s Lord, to thrust
Taurello Salinguerra, prime in trust
With Ecelin Romano, from his seat
Ferrara, — over-zealous in the feat
And stumbling on a peril unaware,
Was captive, trammelled in his proper snare,
They phrase it, taken by his own intrigue.
[Sidenote: Why they entreat the Lombard League,]
Immediate succor from the Lombard League
Of fifteen cities that affect the Pope,
For Azzo, therefore, and his fellow-hope
Of the Guelf cause, a glory overcast!
Men’s faces, late agape, are now aghast.
“Prone is the purple pavis; Este makes
Mirth for the devil when he undertakes
To play the Ecelin; as if it cost
Merely your pushing-by to gain a post
Like his! The patron tells ye, once for all,
There be sound reasons that preferment fall
On our beloved” ...

“Duke o’ the Rood, why not?’’
Shouted an Estian, “grudge ye such a lot?
The hill-cat boasts some cunning of her own,
Some stealthy trick to better beasts unknown,
That quick with prey enough her hunger blunts,
And feeds her fat while gaunt the lion hunts.’’
“Taurello,’’ quoth an envoy, “as in wane
Dwelt at Ferrara. Like an osprey fain
To fly but forced the earth his couch to make
Far inland, till his friend the tempest wake,
Waits he the Kaiser’s coming; and as yet
That fast friend sleeps, and he too sleeps: but let
Only the billow freshen, and he snuffs
The aroused hurricane ere it enroughs
The sea it means to cross because of him.
Sinketh the breeze? His hope-sick eye grows dim;
Creep closer on the creature! Every day
Strengthens the Pontiff; Ecelin, they say,
Dozes now at Oliero, with dry lips
Telling upon his perished finger-tips
How many ancestors are to depose
Ere he be Satan’s Viceroy when the doze
Deposits him in hell. So, Guelfs rebuilt
Their houses; not a drop of blood was spilt
When Cino Bocchimpane chanced to meet
Buccio Virtù — God’s wafer, and the street
Is narrow! Tutti Santi, think, a-swarm
With Ghibellins, and yet he took no harm!
This could not last. Off Salinguerra went
To Padua, Podestà, ‘with pure intent,’
Said he, ‘my presence, judged the single bar
To permanent tranquillity, may jar
No longer’ — so! his back is fairly turned?
The pair of goodly palaces are burned,
The gardens ravaged, and our Guelfs laugh, drunk
A week with joy. The next, their laughter sunk
In sobs of blood, for they found, some strange way,
[Sidenote: In their changed fortune at Ferrara:]
Old Salinguerra back again — I say,
Old Salinguerra in the town once more
Uprooting, overturning, flame before,
Blood fetlock-high beneath him. Azzo fled;
Who ’scaped the carnage followed; then the dead
Were pushed aside from Salinguerra’s throne,
He ruled once more Ferrara, all alone,
Till Azzo, stunned awhile, revived, would pounce
Coupled with Boniface, like lynx and ounce,
On the gorged bird. The burghers ground their teeth
To see troop after troop encamp beneath
I’ the standing-corn thick o’er the scanty patch
It took so many patient months to snatch
Out of the marsh; while just within their walls
Men fed on men. At length Taurello calls
A parley: ‘let the Count wind up the war!’
Richard, light-hearted as a plunging star,
Agrees to enter for the kindest ends
Ferrara, flanked with fifty chosen friends,
No horse-boy more, for fear your timid sort
Should fly Ferrara at the bare report.
Quietly through the town they rode, jog-jog;
‘Ten, twenty, thirty, — curse the catalogue
Of burnt Guelf houses! Strange, Taurello shows
Not the least sign of life’ — whereat arose
A general growl: ‘How? With his victors by?
I and my Veronese? My troops and I?
Receive us, was your word?’ So jogged they on,
Nor laughed their host too openly: once gone
Into the trap!’’ —

Six hundred years ago!
Such the time’s aspect and peculiar woe
(Yourselves may spell it yet in chronicles,
Albeit the worm, our busy brother, drills
His sprawling path through letters anciently
Made fine and large to suit some abbot’s eye)
When the new Hohenstauffen dropped the mask,
Flung John of Brienne’s favor from his casque,
Forswore crusading, had no mind to leave
Saint Peter’s proxy leisure to retrieve
Losses to Otho and to Barbaross,
Or make the Alps less easy to recross;
And, thus confirming Pope Honorius’ fear,
Was excommunicate that very year.
“The triple-bearded Teuton come to life!’’
Groaned the Great League; and, arming for the strife,
[Sidenote: For the times grow stormy again.]
Wide Lombardy, on tiptoe to begin,
Took up, as it was Guelf or Ghibellin,
Its cry; what cry?

“The Emperor to come!”
His crowd of feudatories, all and some,
That leapt down with a crash of swords, spears, shields,
One fighter on his fellow, to our fields,
Scattered anon, took station here and there,
And carried it, till now, with little care —
Cannot but cry for him; how else rebut
Us longer? Cliffs, an earthquake suffered jut
In the mid-sea, each domineering crest
Which naught save such another throe can wrest
From out (conceive) a certain chokeweed grown
Since o’er the waters, twine and tangle thrown
Too thick, too fast accumulating round,
Too sure to over-riot and confound
Ere long each brilliant islet with itself,
Unless a second shock save shoal and shelf,
Whirling the sea-drift wide: alas, the bruised
And sullen wreck! Sunlight to be diffused
For that! Sunlight, ’neath which, a scum at first,
The million fibres of our chokeweed nurst
Dispread themselves, mantling the troubled main,
And, shattered by those rocks, took hold again,
So kindly blazed it — that same blaze to brood
O’er every cluster of the multitude
Still hazarding new clasps, ties, filaments,
An emulous exchange of pulses, vents
Of nature into nature; till some growth
Unfancied yet, exuberantly clothe
[Sidenote: The Ghibellins’ wish: the Guelfs’ wish.]
A surface solid now, continuous, one:
“The Pope, for us the People, who begun
The People, carries on the People thus,
To keep that Kaiser off and dwell with us!”
See you?

Or say, Two Principles that live
Each fitly by its Representative.
“Hill-cat” — who called him so? — the gracefullest
Adventurer, the ambiguous stranger-guest
Of Lombardy (sleek but that ruffling fur,
Those talons to their sheath!) whose velvet purr
Soothes jealous neighbors when a Saxon scout
— Arpo or Yoland, is it? — one without
A country or a name, presumes to couch
Beside their noblest; until men avouch
That, of all Houses in the Trevisan,
Conrad descries no fitter, rear or van,
[Sidenote: How Ecelo’s house grew head of those,]
Than Ecelo! They laughed as they enrolled
That name at Milan on the page of gold,
Godego’s lord, — Ramon, Marostica,
Cartiglion, Bassano, Loria,
And every sheep-cote on the Suabian’s fief!
No laughter when his son, “the Lombard Chief’’
Forsooth, as Barbarossa’s path was bent
To Italy along the Vale of Trent,
Welcomed him at Roncaglia! Sadness now —
The hamlets nested on the Tyrol’s brow,
The Asolan and Euganean hills,
The Rhetian and the Julian, sadness fills
Them all, for Ecelin vouchsafes to stay
Among and care about them; day by day
Choosing this pinnacle, the other spot,
A castle building to defend a cot,
A cot built for a castle to defend,
Nothing but castles, castles, nor an end
To boasts how mountain ridge may join with ridge
By sunken gallery and soaring bridge.
He takes, in brief, a figure that beseems
The griesliest nightmare of the Church’s dreams,
— A Signory firm-rooted, unestranged
From its old interests, and nowise changed
By its new neighborhood: perchance the vaunt
Of Otho, “my own Este shall supplant
Your Este,’’ come to pass. The sire led in
A son as cruel; and this Ecelin
Had sons, in turn, and daughters sly and tall
And curling and compliant; but for all
Romano (so they styled him) throve, that neck
Of his so pinched and white, that hungry cheek
Proved ’t was some fiend, not him, the man’s-flesh went
To feed: whereas Romano’s instrument,
Famous Taurello Salinguerra, sole
I’ the world, a tree whose boughs were slipt the bole
Successively, why should not he shed blood
To further a design? Men understood
Living was pleasant to him as he wore
His careless surcoat, glanced some missive o’er,
Propped on his truncheon in the public way,
While his lord lifted writhen hands to pray,
Lost at Oliero’s convent.

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