Complete Text
I.
Oh, Galuppi, Baldassaro, this is very sad to find!
I can hardly misconceive you; it would prove me
deaf and blind;
But although I give you credit, ’tis with such
a heavy mind!
II.
Here you come with your old music, and here’s
all the good it brings.
What, they lived once thus at Venice, where the
merchants were the kings
Where St. Marks is, where the Doges used to wed
the sea with rings?
III.
Ay, because the sea’s the street there; and ’tis
arched by ...what you call
...Shylock’s bridge with houses on it, where they
kept the carnival!
I was never out of England-it’s as if I saw it
all!
IV.
Did young people take their pleasure when the
sea was warm in May?
Balls and masks begun at midnight, burning ever
to mid-day,
When they made up fresh adventures for the morrow,
do you say?
V.
Was a lady such a lady, cheeks so round and lips
so red, —
On her neck the small face buoyant, like a bell-flower
on its bed,
O’er the breast’s superb abundance where a man
might base his head?
VI.
Well (and it was graceful of them) they’d break
talk off and afford
— She, to bite her mask’s black velvet, he to
finger on his sword,
While you sat and played Toccatas, stately at
the clavichord?
VII.
What? Those lesser thirds so plaintive, sixths
diminished, sigh on sigh,
Told them something? Those suspensions, those
solutions — “Must we die?”
Those commiserating sevenths-“Life might last!
we can but try!”
VIII.
“Were you happy?”—“Yes.”—“And are you still as
happy?”—“Yes—And you?”
—“Then more kisses”—“Did I stop them, when a million
seemed so few?”
Hark—the dominant’s persistence, till it must
be answered to!
IX.
So an octave struck the answer. Oh, they praised
you, I dare say!
“Brave Galuppi! that was music! good alike at
grave and gay!
I can always leave off talking, when I hear a
master play.”
X.
Then they left you for their pleasure: till in
due time, one by one,
Some with lives that came to nothing, some with
deeds as well undone,
Death came tacitly and took them where they never
see the sun.
XI.
But when I sit down to reason,—think to take my
stand nor swerve
Till I triumph o’er a secret wrung from nature’s
close reserve,
In you come with your cold music, till I creep
thro’ every nerve,
XII.
Yes, you, like a ghostly cricket, creaking where
a house was burned
Dust and ashes, dead and done with, Venice spent
what Venice earned!
The soul, doubtless, is immortal—where a soul
can be discerned.
XIII.
“Yours for instance, you know physics, something
of geology,
Mathematics are your pastime; souls shall rise
in their degree;
Butterflies may dread extinction,—you’ll not die,
it cannot be!
XIV.
As for Venice and its people, merely born to bloom
and drop,
Here on earth they bore their fruitage, mirth
and folly were the crop,
What of soul was left, I wonder, when the kissing
had to stop?
XV.
“Dust and ashes!” So you creak it, and I want
the heart to scold.
Dear dead women, with such hair, too—what’s become
of all the gold
Used to hang and brush their bosoms? I feel chilly
and grown old.
Summary
Published in the 1855 volume Men
and Women, “A Toccata of Galuppi’s” gives the reflections
of a man who is either playing or listening to a piece by the 18th-century
Venetian composer Baldassare Galuppi. A toccata is a short, showy
piece meant to allow a musician to show off his skill. The music
inspires in the speaker visions of Venice: he sees these images
in rich detail, even though he has not left England. He envisions
a masked ball at which Galuppi performs, and he invents a conversation
between two lovers at the ball, who speak of love and happiness
in trivial terms. The sense of corruption and decay hangs heavy
over the scene, though, and the speaker imagines Galuppi berating
Venice for its soullessness and wild ways. The combined melancholy
and gaiety produce a powerful effect on the speaker.
Form
This poem is famous for its form. It is one of the few
poems in English to be written in octameter: sixteen-syllable, or
eight-stress, lines. Moreover, the stresses display a trochaic pattern
(stressed followed by unstressed syllables), which can be difficult
to sustain in English. Just as a toccata is a kind of virtuoso performance,
so this poem represents a kind of metrical bravado: Browning shows
off his technical skills. He performs yet another flourish by writing
in rhyming triplets, another difficult poetic task in English, which
has a vocabulary short on rhymes compared to that of many European
languages. The poem’s language therefore attains a kind of flamboyant,
musical effect, which, although it can obscure the poem’s content
at times, constitutes an accomplishment in itself.
Commentary
This poem’s air of ruined decadence can be seen as a logical
continuation of earlier poems such as “My Last Duchess,” which celebrate
high Renaissance glory. The poem introduces science as an alternative
to art: some critics theorize that the speaker of this poem is actually
supposed to be a scientist himself (see stanza 13).
However, whether we cling to science or art, ultimately neither
has proven able to keep humanity from decay. (On the other hand,
the power that Galuppi’s toccata possesses over the speaker seems
to suggest that art and music may offer some residual immortality.)
Galuppi’s music most interests the speaker is its persistent
motifs of discord followed by resolution: the struggle within the
music seems to echo the struggles of life. Indeed, the triplet form
of the poem itself mirrors this: the third rhyming line dangles
and is only resolved when the next stanza introduces a new rhyme. Discord
can find only temporary resolution, though—for each following stanza,
like each following generation, contains its own, new conflicts.
Melancholy figures prominently in Victorian literature,
and the speaker’s attitude at the end of “A Toccata of Galuppi’s”
evokes a decidedly melancholy mood. This poem suggests that the
kind of art that evokes melancholy may best reflect the reality
of life.
