be bad faith to his late master, whom he had nursed in

But in spite of himself, his suppressed interest in the strange case MUST have full expression, and he gives way to all reserve and ejaculates in a postscript: -- "The very God! think, Abib; dost thou think? So, the All-Great, were the All-Loving too -- So, through the thunder comes a human voice Saying, `O heart I made, a heart beats here! Face, my hands fashioned, see it in myself. Thou hast no power nor may'st conceive of mine, But love I gave thee, with myself to love, And thou must love me who have died for thee!' The madman saith He said so: it is strange."

be bad faith to his late master, whom he had nursed in

See before, p. 41 { about one-fifth into Part II of the Introduction}, some remarks on the psychological phase of the monologue.

be bad faith to his late master, whom he had nursed in

"The monologue is a signal example of `emotional ratiocination'. There is a flash of ecstasy through the strangely cautious description of Karshish; every syllable is weighed and thoughtful, everywhere the lines swell into perfect feeling." -- Robert Buchanan.

be bad faith to his late master, whom he had nursed in

"As an example of our poet's dramatic power in getting right at the heart of a man, reading what is there written, and then looking through his eyes and revealing it all in the man's own speech, nothing can be more complete in its inner soundings and outer-keeping, than the epistle containing the `Strange Medical Experience of Karshish, the Arab Physician', who has been picking up the crumbs of learning on his travels in the Holy Land, and writes to Abib, the all-sagacious, at home. It is so solemnly real and so sagely fine." -- N. Brit. Rev., May, 1861.

A wonderfully effective expression, effective through its pathetic simplicity, of the peaceful spirit of a Christian, who has triumphed over persecution and death, and passed to his reward.

Soliloquy of the Spanish Cloister.

The speaker in this monologue is a Spanish monk, whose jealousy toward a simple and unoffending brother has, in the seclusion of the cloister, developed into a festering malignity. If hate, he says, could kill a man, his hate would certainly kill Brother Laurence. He is watching this brother, from a window of the cloister, at work in the garden. He looks with contempt upon his honest toil; repeats mockingly to himself, his simple talk when at meals, about the weather and the crops; sneers at his neatness, and orderliness, and cleanliness; imputes to him his own libidinousness. He takes credit to himself in laying crosswise, in Jesu's praise, his knife and fork, after refection, and in illustrating the Trinity, and frustrating the Arian, by drinking his watered orange-pulp in three sips, while Laurence drains his at one gulp. Now he notices Laurence's tender care of the melons, of which it appears the good man has promised all the brethren a feast; "so nice!" He calls to him, from the window, "How go on your flowers? None double? Not one fruit-sort can you spy?" Laurence, it must be understood, kindly answers him in the negative, and then he chuckles to himself, "Strange! -- and I, too, at such trouble, keep 'em close-nipped on the sly!" He thinks of devising means of causing him to trip on a great text in Galatians, entailing "twenty-nine distinct damnations, one sure, if another fails"; or of slyly putting his "scrofulous French novel" in his way, which will make him "grovel hand and foot in Belial's gripe". In his malignity, he is ready to pledge his soul to Satan (leaving a flaw in the indenture), to see blasted that rose-acacia Laurence is so proud of. Here the vesper-bell interrupts his filthy and blasphemous eructations, and he turns up his eyes and folds his hands on his breast, mumbling "Plena gratia ave Virgo!" and right upon the prayer, his disgust breaks out, "Gr-r-r -- you swine!"

This monologue affords a signal illustration of the poet's skill in making a speaker, while directly revealing his own character, reflect very distinctly the character of another. This has been seen in `My Last Duchess', given as an example of the constitution of this art-form, in the section of the Introduction on `Browning's Obscurity'.

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