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A Handbook to the Works of Browning (6th ed.)

As the real Fust was a goldsmith's son


[Footnote

125: Her reply was that if she possessed any influence over M. de Lorraine she would never use it to make him do anything so contrary to his honour and to his interests; she already sufficiently reproached herself for the marriage to which his friendship for her had impelled him; and would rather be "Marianne" to the end of her days than become Duchess on such conditions The reply has been necessarily modified in Mr. Browning's more poetic rendering of the scene]

[Footnote 126: Indented,--for want of writing materials,--with a key on the wainscot of his cell.]

[Footnote 127: Created Lord Melcombe a year before his death: sufficiently known by his diary from March, 1748, to Feb., 1761. See its character in the Preface to the original edition by his relation, Henry Penruddocke Wyndham, 1784. Other notices will be found in "Edgeworth on Education," Belsham's "George II.," and Hawkins' "Life of Johnson."]

[Footnote 128: Furini is also honourably mentioned in Pilkington's "Dictionary of Painters," revised by Fuseli, and till the middle of the present century the authoritative work on the subject. It is stated in the edition of 1805 that "many of his paintings are in Florence, which are deemed to add honour to the valuable collections of the nobility of that city."]

[Footnote 129: The allusion in vol. xvi. p. 195, to the old artificer who could

make men "believe" instead of merely "fancy" that what he presented to them was real, refers especially to the Greek painter Zeuxis; but it is suggested by the generally realistic character of Greek art.]

[Footnote 130: Described at p. 253 and onwards under the heading "Painter-like Beauty in the Open Air."]

[Footnote 131: The last line and a half of the eighth stanza was directly suggested by the tragedy of AEschylus; the thunderstorm by another version of the Promethean myth.]

[Footnote 132: See Shelley's translation from Moschus.]

[Footnote 133: Battle of Arbela.]

[Footnote 134: These lines were published in 1886 in the little volume entitled "The New Amphion."]

[Footnote 135: Organist of Newcastle about 1750; author of "An Essay on Musical Expression" and other works.]

[Footnote 136: The "Relfe" spoken of in this connection was Mr. Browning's music-master: a learned contrapuntist.]

[Footnote 137: In interpreting this passage I have somewhat exceeded the letter, but only to emphasize the spirit of Mr. Browning's words.]

[Footnote 138: From an MS. copy formerly in the possession of Mr. Browning's father.]

[Footnote 139: The wealth to which he alludes was justly imputed to him, as the real Fust was a goldsmith's son.]

[Footnote 140: The relation of John Fust to the popular legend is pleasantly set forth in Mr. Sutherland Edwards' little book, "The Faust Legend: Its Origin and Development."]

NOTE.

The following note shows Mr. Browning in a more pronounced attitude towards the opponents of the new Greek spelling than does that which, by his desire, I inserted in my first edition; but the last mood was in this case only a natural development of the first:--


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