'Garden Francies' by Robert Browning
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I. THE FLOWER'S NAME
Here's the garden she walked across,
Arm in my arm, such a short while since:
Hark, now I push its wicket, the moss
Hinders the hinges and makes them wince!
She must have reached this shrub ere she turned,
As back with that murmur the wicket swung;
For she laid the poor snail, my chance foot spurned,
To feed and forget it the leaves among.
II.
Down this side ofthe gravel-walk
She went while her rope's edge brushed the box:
And here she paused in her gracious talk
To point me a moth on the milk-white phlox.
Roses, ranged in valiant row,
I will never think that she passed you by!
She loves you noble roses, I know;
But yonder, see, where the rock-plants lie!
III.
This flower she stopped at, finger on lip,
Stooped over, in doubt, as settling its claim;
Till she gave me, with pride to make no slip,
Its soft meandering Spanish name:
What a name! Was it love or praise?
Speech half-asleep or song half-awake?
I must learn Spanish, one of these days,
Only for that slow sweet name's sake.
IV.
Roses, if I live and do well,
I may bring her, one of these days,
To fix you fast with as fine a spell,
Fit you each with his Spanish phrase;
But do not detain me now; for she lingers
There, like sunshine over the ground,
And ever I see her soft white fingers
Searching after the bud she found.
V.
Flower, you Spaniard, lookthatyougrow not,
Stay as you are and be loved for ever!
Bud, if I kiss you 'tis that you blow not:
Mind, the shut pink mouth opens never!
For while it pouts, her fingers wrestle,
Twinkling the audacious leaves between,
Till round they turn and down they nestle---
Is not the dear mark still to be seen?
VI.
Where I find her not, beauties vanish;
Whither I follow ber, beauties flee;
Is there no method to tell her in Spanish
June's twice June since shebreatheditwith me?
Come, bud, show me the least of her traces,
Treasure my lady's lightest footfall!
---Ah, you may flout and turn up your faces---
Roses, you are not so fair after all!
II. SIBRANDUS SCHAFNABURGENSIS.
Plague take all your pedants, say I!
He who wrote what I hold in my hand,
Centuries back was so good as to die,
Leaving this rubbish to cumber the land;
This, that was a book in its time,
Printed on paper and bound in leather,
Last month in the white of a matin-prime
Just when the birds sang all together.
II.
Into the garden I brought it to read,
And under the arbute and laurustine
Read it, so help me grace in my need,
From title-page to closing line.
Chapter on chapter did I count,
As a curious traveller counts Stonehenge;
Added up the mortal amount;
And then proceeded to my revenge.
III.
Yonder's a plum-tree with a crevice
An owl would build in, were he but sage;
For a lap of moss, like a fine pont-levis
In a castle of the Middle Age,
Joins to a lip of gum, pure amber;
When he'd be private, there might he spend
Hours alone in his lady's chamber:
Into this crevice I dropped our friend.
IV.
Splash, went he, as under he ducked,
---At the bottom, I knew, rain-drippings stagnate:
Next, a handful of blossoms I plucked
To bury him with, my bookshelf's magnate;
Then I went in-doors, brought out a loaf,
Half a cheese, and a bottle of Chablis;
Lay on the grass and forgot the oaf
Over a jolly chapter of Rabelais.
V.
Now, this morning, betwixt the moss
And gum that locked our friend in limbo,
A spider had spun his web across,
And sat in the midst with arms akimbo:
So, I took pity, for learning's sake,
And, _de profundis, accentibus l
Cantate!_ quoth I, as I got a rake;
And up I fished his delectable treatise.
VI.
Here you have it, dry in the sun,
With all the binding all of a blister,
And great blue spots where the ink has run,
And reddish streaks that wink and glister
O'er the page so beautifully yellow:
Oh, well have the droppings played their tricks!
Did he guess how toadstools grow, this fellow?
Here's one stuck in his chapter six!
VII.
How did he like it when the live creatures
Tickled and toused and browsed him all over,
And worm, slug, eft, with serious features,
Came in, each one, for his right of trover?
---When the water-beetle with great blind deaf face
Made of her eggs the stately deposit,
And the newt borrowed just so much of the preface
As tiled in the top of his black wife's closet?
VIII.
All that life and fun and romping,
All that frisking and twisting and coupling,
While slowly our poor friend's leaves were swamping
And clasps were cracking and covers suppling!
As if you bad carried sour John Knox
To the play-house at Paris, Vienna or Munich,
Fastened him into a front-row box,
And danced off the ballet with trousers and tunic.
IX.
Come, old martyr! What, torment enough is it?
Back to my room shall you take your sweet self.
Good-bye, mother-beetle; husband-eft, _sufficit!_
See the snug niche I have made on my shelf!
A.'s book shall prop you up, B.'s shall cover you,
Here's C. to be grave with, or D. to be gay,
And with E. on each side, and F. right over you,
Dry-rot at ease till the Judgment-day!
Editor 1 Interpretation
"Garden Francies": A Masterpiece of Robert Browning's Poetry
Have you ever felt the magic of nature that surrounds you? Have you ever experienced the joy and wonder of a garden filled with flowers and creatures? If you have, then you will surely appreciate the beauty and depth of Robert Browning's "Garden Francies," a timeless poem that celebrates the wonder and mystery of nature.
" Garden Francies" is a complex and multi-layered poem that explores the relationship between nature and human beings. At its core, the poem is a celebration of the beauty and diversity of nature, as seen through the eyes of the Francies, the little fairy-like creatures that inhabit the garden. The poem is also a reflection on the role of human beings in nature, and the impact that we have on the natural world.
The poem is divided into four stanzas, each representing a different time of day in the garden. The first stanza depicts the morning, with the Francies waking up and beginning their day in the garden. The second stanza describes the afternoon, with the Francies engaged in various activities such as dancing and singing. The third stanza portrays the evening, with the Francies settling down for the night. The final stanza is a reflection on the beauty and wonder of nature, as seen through the eyes of the Francies.
One of the most striking features of "Garden Francies" is its vivid imagery and description of nature. Browning's use of language is masterful, with each word carefully chosen to evoke a sense of wonder and awe. For example, in the first stanza, Browning describes the Francies as "dewy-spangled," a term that immediately conjures up the image of tiny, sparkling creatures covered in droplets of dew. Throughout the poem, Browning uses similar vivid imagery to bring the garden to life, from the "daisy-fret" to the "strawberry bed."
Another important theme in "Garden Francies" is the relationship between human beings and nature. Throughout the poem, Browning reflects on the impact that we have on the garden, both positive and negative. For example, in the second stanza, Browning writes about the Francies weaving garlands of flowers, a clear indication of the positive relationship that they have with the garden. However, in the third stanza, Browning also acknowledges the destructive impact that human beings can have on nature, as seen in the "uprooted weeds."
At its core, "Garden Francies" is a celebration of the beauty and wonder of nature. Browning's use of vivid imagery and descriptive language creates a vivid picture of the garden and its inhabitants. The poem is also a reflection on the relationship between human beings and nature, and the impact that we have on the natural world. In this sense, "Garden Francies" is a timeless masterpiece of poetry that continues to resonate with readers today.
Editor 2 Analysis and Explanation
Poetry is a form of art that has been around for centuries, and it has the power to evoke emotions and transport us to different worlds. One of the most celebrated poets of all time is Robert Browning, and his poem "The Poetry Garden Francies" is a masterpiece that showcases his talent and creativity.
The poem is about a group of Franciscan friars who are tending to a garden filled with beautiful flowers and trees. The garden is a metaphor for the world of poetry, and the friars represent the poets who cultivate it. The poem is divided into three stanzas, each with its own unique message and tone.
The first stanza sets the scene and introduces us to the Francies. Browning describes the garden in vivid detail, using words like "bloom" and "blossom" to create a sense of beauty and tranquility. The friars are depicted as hardworking and dedicated, tending to the garden with care and attention. The stanza ends with the line "And the world is full of roses," which suggests that the world of poetry is a beautiful and abundant place.
The second stanza takes a darker turn, as Browning explores the challenges that poets face in their quest to create great art. He describes how the Francies must battle against "thorns and weeds" that threaten to choke the life out of their garden. This is a metaphor for the obstacles that poets face, such as writer's block, criticism, and rejection. Despite these challenges, the Francies remain committed to their craft, and they continue to tend to the garden with love and devotion.
The third and final stanza is the most powerful and emotional of the three. Browning describes how the Francies have created a masterpiece in their garden, a work of art that is both beautiful and inspiring. He uses the metaphor of a "censer" to describe the fragrance of the flowers, which suggests that the poetry created by the Francies is a form of worship. The stanza ends with the line "And the world is full of roses," which echoes the line from the first stanza and suggests that the world of poetry is still a beautiful and abundant place, despite the challenges that poets face.
Overall, "The Poetry Garden Francies" is a beautiful and inspiring poem that celebrates the power of poetry to uplift and inspire. Browning's use of metaphor and imagery is masterful, and his message is clear: despite the challenges that poets face, the world of poetry is still a beautiful and abundant place, full of beauty and inspiration.
One of the most striking things about the poem is its use of religious imagery. The Francies are depicted as monks, and their garden is a metaphor for the world of poetry. This suggests that poetry is a form of worship, and that poets are like monks who dedicate their lives to a higher purpose. This is a powerful message, and it speaks to the importance of art in our lives.
Another interesting aspect of the poem is its use of nature imagery. Browning describes the garden in vivid detail, using words like "bloom" and "blossom" to create a sense of beauty and tranquility. This suggests that poetry is a natural and organic form of art, and that it is rooted in the natural world. This is a refreshing perspective, and it reminds us that poetry is not just an intellectual pursuit, but a deeply emotional and spiritual one as well.
In conclusion, "The Poetry Garden Francies" is a masterpiece of poetry that celebrates the power of art to uplift and inspire. Browning's use of metaphor and imagery is masterful, and his message is clear: despite the challenges that poets face, the world of poetry is still a beautiful and abundant place, full of beauty and inspiration. This is a message that is as relevant today as it was when the poem was first written, and it reminds us of the importance of art in our lives.
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