Robert Browning





            How it Strikes a Contemporary.


5   I ONLY knew one poet in my life:
And this, or something like it, was his way.

    You saw go up and down Valladolid,
A man of mark, to know next time you saw.
His very serviceable suit of black
10   Was courtly once and conscientious still,
And many might have worn it, though none did:
The cloak, that somewhat shone and showed the threads,
Had purpose, and the ruff, significance.
He walked and tapped the pavement with his cane,
15   Scenting the world, looking it full in face,
[178] An old dog, bald and blindish, at his heels.
They turned up, now, the alley by the church,
That leads no whither; now, they breathed themselves
On the main promenade just at the wrong time.
20   You'd come upon his scrutinizing hat
Making a peaked shade blacker than itself
Against the single window spared some house
Intact yet with its mouldered Moorish work,
Or else surprise the ferret of his stick
25   Trying the mortar's temper 'tween the chinks
Of some new shop a-building, French and fine.
He stood and watched the cobbler at his trade,
The man who slices lemons into drink,
The coffee-roaster's brazier, and the boys
30   That volunteer to help him turn its winch.
He glanced o'er books on stalls with half an eye,
And fly-leaf ballads on the vendor's string,
And broad-edge bold-print posters by the wall.
He took such cognisance of men and things,
35   If any beat a horse, you felt he saw;
[179] If any cursed a woman, he took note;
Yet stared at nobody, you stared at him,
And found, less to your pleasure than surprise,
He seemed to know them and expect as much.
40   So, next time that a neighbor's tongue was loosed,
It marked the shameful and notorious fact,
We had among us, not so much a spy,
As a recording chief-inquisitor,
The town's true master if the town but knew!
45   We merely kept a Governor for form,
While this man walked about and took account
Of all thought, said and acted, then went home,
And wrote it fully to our Lord the King
Who has an itch to know things, He knows why,
50   And reads them in His bed-room of a night.
Oh, you might smile!   there wanted not a touch,
A tang of . . . well, it was not wholly ease
As back into your mind the man's look came –
Stricken in years a little, such a brow
55   His eyes had to live under! clear as flint
[180] On either side the formidable nose
Curved, cut and colored like an eagle's claw.
Had he to do with A.'s surprising fate?
When altogether old B. disappeared
60   And young C. got his mistress, – was't our friend,
His letter to the King, that did it all?
What paid the bloodless man for so much pains?
Our Lord the King has favorites manifold,
And shifts his ministry some once a month;
65   Our city gets new Governors at whiles,
But never word or sign, that I could hear,
Notified to this man about the streets
The King's approval of those letters conned
The last thing duly at the dead of night.
70   Did the man love his office? frowned our Lord,
Exhorting when none heard "Beseech me not!
Too far above my people, beneath Me!
I set the watch, how should the people know?
Forget them, keep Me all the more in mind!"
75   Was some such understanding 'twixt the Two?

    [181] I found no truth in one report at least
That if you tracked him to his home, down lanes
Beyond the Jewry, and as clean to pace,
You found he ate his supper in a room
80   Blazing with lights, four Titians on the wall,
And twenty naked girls to change his plate!
Poor man, he lived another kind of life
In that new, stuccoed third house by the bridge,
Fresh-painted, rather smart than otherwise!
85   The whole street might o'erlook him as he sat,
Leg crossing leg, one foot on the dog's back,
Playing a decent cribbage with his maid
(Jacynth, you're sure her name was) o'er the cheese
And fruit, three red halves of starved winter-pears,
90   Or treat of radishes in April! nine –
Ten, struck the church clock, straight to bed went he.

    My father, like the man of sense he was,
Would point him out to me a dozen times;
"St St," he'd whisper, "the Corregidor!"
95   [182] I had been used to think that personage
Was one with lacquered breeches, lustrous belt,
And feathers like a forest in his hat,
Who blew a trumpet and proclaimed the news,
Announced the bull-fights, gave each church its turn,
100   And memorized the miracle in vogue!
He had a great observance from us boys –
I was in error; that was not the man.

    I'd like now, yet had haply been afraid,
To have just looked, when this man came to die,
105   And seen who lined the clean gay garret's sides
And stood about the neat low truckle-bed,
With the heavenly manner of relieving guard.
Here had been, mark, the general-in-chief,
Thro' a whole campaign of the world's life and death,
110   Doing the King's work all the dim day long,
In his old coat and up to knees in mud,
Smoked like a herring, dining on a crust, –
And now the day was won, relieved at once!
[183] No further show or need for that old coat,
115   You are sure, for one thing!   Bless us, all the while
How sprucely we are dressed out, you and I!
A second, and the angels alter that.
Well, I could never write a verse, could you?
Let's to the Prado and make the most of time.





Erstdruck und Druckvorlage

Robert Browning: Men and Women.
In two Volumes.
Vol. I. London: Chapman and Hall 1855, S. 177-183.




Kommentierte und kritische Ausgaben





Brandmeyer, Rudolf: Poetologische Lyrik. In: Handbuch Lyrik. Theorie, Analyse, Geschichte. Hrsg. von Dieter Lamping. 2. Aufl. Stuttgart 2016, S. 164-168.

Bristow, Joseph (Hrsg.): The Victorian Poet. Poetics and Persona. London u.a. 1987.

Bristow, Joseph: Reforming Victorian poetry: poetics after 1832. In: The Cambridge Companion to Victorian Poetry. Hrsg. von Joseph Bristow. Cambridge u.a. 2000, S. 1-24.

Dawson, Clara: Victorian Poetry and the Culture of Evaluation. Oxford 2020.

Dupras, Joseph A.: Marking Time in How It Strikes a Contemporary. In: Studies in Browning and His Circle: A Journal of Criticism, History, and Bibliography 25 (2003), S. 124-133.

Gymnich, Marion / Müller-Zettelmann, Eva: Metalyrik: Gattungsspezifische Besonderheiten, Formenspektrum und zentrale Funktionen. In: Metaisierung in Literatur und anderen Medien. Theoretische Grundlagen – Historische Perspektiven – Metagattungen – Funktionen. Hrsg. von Janine Hauthal u.a. Berlin u.a. 2007 (= spectrum Literaturwissenschaft / spectrum Literature, 12), S. 65-91.

Hankinson, Joseph: Kojo Laing, Robert Browning and Affiliative Literature. Cham 2023.

Helsinger, Elizabeth: Conversing in Verse. Conversation in Nineteenth-Century English Poetry. Cambridge u.a. 2022.

Relational Worlds Litzinger, Boyd u.a. (Hrsg.): Robert Browning. The Critical Heritage. London u.a. 1995.

Tate, Gregory: The Poet's Mind. The Psychology of Victorian Poetry 18301870. Oxford 2012.

Taylor, Mark: The Forgetting of Idealism: T. S. Eliot, Robert Browning, and the Origins of Literary Criticism. In: English Literary History 90.2 (2023), S. 491-518.



Lyriktheorie » R. Brandmeyer