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Updated: May 9, 2025
Browning's circle of friends, however, widened about this time in all directions. One friend in particular he made, the Comte de Ripert-Monclar, a French Royalist with whom he prosecuted with renewed energy his studies in the mediæval and Renaissance schools of philosophy. It was the Count who suggested that Browning should write a poetical play on the subject of Paracelsus. After reflection, indeed, the Count retracted this advice on the ground that the history of the great mystic gave no room for love. Undismayed by this terrible deficiency, Browning caught up the idea with characteristic enthusiasm, and in 1835 appeared the first of his works which he himself regarded as representative Paracelsus. The poem shows an enormous advance in technical literary power; but in the history of Browning's mind it is chiefly interesting as giving an example of a peculiarity which clung to him during the whole of his literary life, an intense love of the holes and corners of history. Fifty-two years afterwards he wrote Parleyings with certain Persons of Importance in their Day, the last poem published in his lifetime; and any reader of that remarkable work will perceive that the common characteristic of all these persons is not so much that they were of importance in their day as that they are of no importance in ours. The same eccentric fastidiousness worked in him as a young man when he wrote Paracelsus and Sordello. Nowhere in Browning's poetry can we find any very exhaustive study of any of the great men who are the favourites of the poet and moralist. He has written about philosophy and ambition and music and morals, but he has written nothing about Socrates or Cæsar or Napoleon, or Beethoven or Mozart, or Buddha or Mahomet. When he wishes to describe a political ambition he selects that entirely unknown individual, King Victor of Sardinia. When he wishes to express the most perfect soul of music, he unearths some extraordinary persons called Abt Vogler and Master Hugues of Saxe-Gotha. When he wishes to express the largest and sublimest scheme of morals and religion which his imagination can conceive, he does not put it into the mouth of any of the great spiritual leaders of mankind, but into the mouth of an obscure Jewish Rabbi of the name of Ben Ezra. It is fully in accordance with this fascinating craze of his that when he wishes to study the deification of the intellect and the disinterested pursuit of the things of the mind, he does not select any of the great philosophers from Plato to Darwin, whose investigations are still of some importance in the eyes of the world. He selects the figure of all figures most covered with modern satire and pity, the
The thought is an obvious one enough, but the image of the fisher and the murex, in which the thought is embodied, affords opportunity for stanzas glowing with colour. Two poems, and each of them a remarkable poem, are interpretations of music. One, Master Hugues of Saxe-Gotha, is a singularly successful tour de force, if it is no more.
Among others at Dupin's, that of the young hereditary prince of Saxe-Gotha, and of the Baron de Thun, his governor; at the house of M. de la Popliniere, that of M. Seguy, friend to the Baron de Thun, and known in the literary world by his beautiful edition of Rousseau. The baron invited M. Seguy and myself to go and pass a day or two at Fontenai sous bois, where the prince had a house.
He did not treat me precisely as his inferior, but he looked upon me as a cipher. I could scarcely recognize the same Grimm, who, to the house of the Prince de Saxe-Gotha, thought himself honored when I cast my eyes upon him.
He did not treat me precisely as his inferior, but he looked upon me as a cipher. I could scarcely recognize the same Grimm, who, to the house of the Prince de Saxe-Gotha, thought himself honored when I cast my eyes upon him.
Amalia Anna, Duchess of Saxe-Weimar, composed the incidental music for Goethe's melodrama, "Erwin and Elmira," and won flattering notices, though part of their praise may have been due to her rank. Maria Charlotte Amalie, Duchess of Saxe-Gotha, published several songs, and wrote a symphony for an orchestra of ten instruments.
They granted for the maintenance of thirty-eight thousand seven hundred and fifty men, being the troops of Hanover, Wolfenbuttle, Saxe-Gotha, and Buckebourg, retained in the service of Great Britain, the sum of four hundred forty-seven thousand eight hundred and eighty-two pounds, ten shillings and fivepence halfpenny; and for nineteen thousand Hessian troops, in the same pay, they gave three hundred sixty-six thousand seven hundred and twenty-five pounds, one shilling and sixpence.
They voted sixty thousand men, including fourteen thousand eight hundred and forty-five marines, for the service of the ensuing year; and for the operations by land, a body of troops amounting to fifty-two thousand five hundred and fifty-three effective men, besides the auxiliaries of Hanover, Hesse, Brunswick, Saxe-Gotha, and Buckebourg, to the number of fifty thousand, and five battalions on the Irish establishment in actual service in America and Africa.
One was the translation of the magazine published by Mesangere; and the other, also edited at Paris, was translated and printed at Mannheim. These ridiculous carriages, which much resembled our ancient diligences, were drawn by very inferior horses, harnessed with ropes, and placed so far apart that an immense space was needed to turn the carriage. The Prince of Saxe-Gotha was long and thin.
The music that he makes here is the music of Master Hugues of Saxe-Gotha: So your fugue broadens and thickens, Greatens and deepens and lengthens, Till one exclaims "But where's music, the dickens!"
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