(Sordello,11,203) before it responds. This derives from 4 much in Wordsworth and Coleridge, the idea that the «
individual must give something in order to receive,
perhaps most famously seen in the blessing of the water- I snakes in 'The Ancient Mariner' . Eglamor is less energetic
than the Ancient Mariner in his giving - he soothes his muse ritually rather than freely giving of himself. This
lack of spontaneity dooms him when he encounters one who thrives on spontaneity. Eglamor may have to give something of himself in order to make poetry, but he is not interested in giving this blessing to others. He is himself described as 'neediest of his tribe' (Sordello,11,222) and I think the brackets round this description indicate that this fact
(along with comments on why he might give more to others) provides an explanation why he does not give more. All he has is poetry and it marks him 'a man apart/From men'
(Sordello,11,220-21). He does not make poetry with a moral end in view; he is 'one not to care, take counsel for/
attention from the possibility that he is intent on this expectation:
And Eglamor was noblest poet here -
He well knew, 'mid those April woods he cast Conceits upon in plenty as he passed.
That Naddo might suppose him not to think Entirely on the coming triumph
(Sordello,11,232-5) He is, however, entirely caught up in poetry; when he loses
'his purpose', he also loses his position in society, 'his rank' and, as a result, his life (Sordello,11,241). He is not, however, envious:
Yet envy sank Within him, as he heard Sordello out
(Sordello,11,242-3) as he recognises one better at the art. E.D.H.Johnson points out how Eglamor foreshadows the pre-Raphaelite ideal of
the artist devoted to aesthetic discipline, the line 'Then how he loved that art!' indicating this.^^ Like Aprile in Paracelsus, his preference for fancy over fact is mitigated by his capacity for love ; at his death he acknowledges
Sordello his master.
However the narrator makes it clear that Sordello has by no means put the energy into song-making that Eglamor has. Eglamor has, in fact, put his whole self into his poetry:
Note, In just such songs as Eglamor (say) wrote
With heart and soul and strength, for he believed Himself achieving all to be achieved
By singer - in such songs you find alone Completeness, judge the song and singer one
(Sordello,111,615-620) Sordello's song at the contest has been spontaneous outburst.
Browning's sister's note on these lines;
•But, for a special pleasure in the act Of singing - had he ever turned, in fact. From Elys, to sing Elys? - from each fit Of rapture to contrive a song of it?
(Sordello,11,137-140) is important; 'Sordello had sung well on a subject about which Eglamor had sung indifferently, but had he ever given his mind to the art of creating a song?'^^ Not that he needs to at this stage; it has arisen spontaneously in the way Mill describes Art, with Science in The Spirit of the Age: it is 'the free gift of Nature; an unsolicited, unexpected gift, often even a fatal one. These things rise up, as it were, by spontaneous growth, in the free soil and sunshine of Nature'. At this time, Sordello soars
'By means of that mere snatch, to many a hoard/Of fancies' (Sordello,11,144-5) but it seems chance that induced the 'snatch' in the first place, and Sordello himself cannot understand why others should find the same pleasure in his song as he does, seeing they do not actually know the
subject as he knows it. Perhaps they find
a beauty separate In the poor snatch itself?
(Sordello,11,150-51) Sordello wonders if he can help the crowd see something they otherwise would not; Sordello thinks,
if they heard
"Just those two rhymes, assented at my word, " And loved them as I love them who have run
"These fingers through those pale locks, let the sun " Into the white cool skin - who first could clutch, " Then praise - I needs must be a god to such.
(Sordello,11,155-160) He sees himself as in the position of poet who can make
others see what only one blessed with a 'seeing eye' can, the 'thingness' of things. Carlyle exclaims, 'The seeing eye! It is this that discloses the inner harmony of things;
what Nature meant, what musical idea Nature has wrapped-up in these often rough embodiments. Something else she did mean. To the seeing eye that something were discernible*.^^ Sordello thinks it possible that people have 'fancies - slow,perchance,/Not at their beck' (Sordello,11,165-6) which 'gleam fitfully until a poet brings them into focus,
70 and they see distinctly' :
/I
which indistinctly glance Until, by song, each floating part be linked To each, and all grow palpable, distinct?'^-'
(Sordello,11,166-8) The poet then, thinks Sordello, can lead others to
perception. Following his own perceptions prior to his singing, he has been able to pour forth his song and, on his return to Goito, to think. His awareness of this makes him buoyant:
Light Sordello rose - to think, now; hitherto He had perceived.
(Sordello,11,122-4) It also makes him hopeful of even more awareness:
Sure, a discovery grew Out of it all!
(Sordello,11,124-5) However, this is not all positive; as E.D.H.Johnson says/?! Sordello grows vainglorious following his success and begins to think all he needs to do is to give unbridled expression to his imagination/ he quotes Sordello's exuberant, and too proud,
"So, range, free soul! - who, by self-consciousness. The last drop of all beauty dost express -
The grace of seeing grace, a quintessence
For thee: while for the world, that can dispense Wonder on men. . . *'
(Sordello,11,405-9)
"1
For Sordello, 'thought' is what comes from imaginative
return to triumph when he is back in Goito after the contest