Surely a form that has proven itself so adequate, so universal a help to human expression, is worthy of being regarded and carefully studied as one of the permanent modes of embodying human experience. XVII. SOME TYPICAL MONOLOGUES FROM BROWNING APPEARANCES And so you found that poor room dull, Dark, hardly to your taste, my Dear? Its features seemed unbeautiful: But this I know--'twas there, not here, You plighted troth to me, the word Which--ask that poor room how it heard! And this rich room obtains your praise Unqualified,--so bright, so fair, So all whereat perfection stays? Ay, but remember--here, not there, The other word was spoken! Ask This rich room how you dropped the mask! ANDREA DEL SARTO (CALLED "THE FAULTLESS PAINTER") But do not let us quarrel any more, No, my Lucrezia! bear with me for once: Sit down and all shall happen as you wish. You turn your face, but does it bring your heart? I'll work then for your friend's friend, never fear, Treat his own subject after his own way, Fix his own time, accept too his own price, And shut the money into this small hand When next it takes mine. Will it? tenderly? Oh, I'll content him,--but to-morrow, Love! I often am much wearier than you think, This evening more than usual: and it seems As if--forgive now--should you let me sit Here by the window, with your hand in mine, And look a half-hour forth on Fiesole, Both of one mind, as married people use, Quietly, quietly the evening through, I might get up to-morrow to my work Cheerful and fresh as ever. Let us try. To-morrow, how you shall be glad for this! Your soft hand is a woman of itself, And mine the man's bared breast she curls inside. Don't count the time lost, neither; you must serve For each of the five pictures we require: It saves a model. So! keep looking so-- My serpentining beauty, rounds on rounds! --How could you ever prick those perfect ears, Even to put the pearl there! oh, so sweet-- My face, my moon, my everybody's moon, Which everybody looks on and calls his, And, I suppose, is looked on by in turn, While she looks--no one's: very dear, no less. You smile? why, there's my picture ready made. There's what we painters call our harmony! A common grayness silvers everything,-- All in a twilight, you and I alike --You, at the point of your first pride in me (That's gone, you know)--but I, at every point; My youth, my hope, my art, being all toned down To yonder sober pleasant Fiesole. There's the bell clinking from the chapel-top; That length of convent-wall across the way Holds the trees safer, huddled more inside; The last monk leaves the garden; days decrease, And autumn grows, autumn in everything. Eh? the whole seems to fall into a shape, As if I saw alike my work and self And all that I was born to be and do, A twilight-piece. Love, we are in God's hand.