A Toccata of Galuppi's

Robert Browning (1812–1889) · 1864

trochaic octameter · rhyming couplets · 57 lines · from Selections from the Poems and Plays of Robert Browning

O Galuppi, Baldassare, this is very sad to find!I can hardly misconceive you; it would prove me deaf and blind;But although I take your meaning, 'tis with such a heavy mind!

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 werethe kings,Where Saint Mark's is, where the Doges used to wed the sea with rings?

Aye, because the sea's the street there; and 'tis arched by ... whatyou callShylock'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.

Did young people take their pleasure when the sea was warm inMay?Balls and masks begun at midnight, burning ever to mid-day,When they made up fresh adventures for the morrow, do you say?

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 hishead?

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?

What? Those lesser thirds so plaintive, sixths diminished, sigh onsigh,Told them something? Those suspensions, those solutions--"Mustwe die?"Those commiserating sevenths--"Life might last! we can but try!"

"Were you happy?"--"Yes."--"And are you still as happy?"--"Yes. Andyou?"--"Then, more kisses!"--"Did I stop them, when a million seemed sofew?"Hark, the dominant's persistence till it must be answered to!

So an octave struck the answer. Oh, they praised you, I daresay!"Brave Galuppi! that was music! good alike at grave and gay!I can always leave off talking when I hear a master play!"

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 stepped tacitly and took them where they never see thesun.

But when I sit down to reason, think to take my stand nor swerve,While I triumph o'er a secret wrung from nature's close reserve,In you come with your cold music till I creep through every nerve.

Yes, you, like a ghostly cricket, creaking where a house was burned:"Dust and ashes, dead and done with, Venice spent what Veniceearned.The soul, doubtless, is immortal--where a soul can be discerned.

"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!

"As for Venice and her 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?

"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 goldUsed to hang and brush their bosoms? I feel chilly and grownold.

Words in this poem

misconceive v. t.
To conceive wrongly; to interpret incorrectly; to receive a false notion of; to misjudge; to misapprehend.
superb a.
Grand; magnificent; august; stately; as, a superb edifice; a superb colonnade. [F. superbe, L. superbus, fr. super over. See Super-.]
clavichord n.
A keyed stringed instrument, now superseded by the pianoforte. [F. clavicorde, fr. L. clavis key + chorda string.]
undone a.
Not done or performed; neglected. [Pref. un- not + done.]
ghostly a.
Relating to the soul; not carnal or secular; spiritual; as, a ghostly confessor. [OE. gastlich, gostlich, AS. gastlic. See Ghost.]
doubtless a.
Free from fear or suspicion.
pastime n.
That which amuses, and serves to make time pass agreeably; sport; amusement; diversion. [Pass + time: cf. F. passetemps.]
shall v. i.
To owe; to be under obligation for. [OE. shal, schal, imp. sholde, scholde, AS. scal, sceal, I am obliged, imp. scolde, sceolde, inf. sculan; akin to OS. skulan, pres. skal, imp. skolda, D. zullen,]
fruitage n.
Fruit, collectively; fruit, in general; fruitery. [F. fruitage.]
creak v. i.
To make a prolonged sharp grating or ssqueaking sound, as by the friction of hard substances; as, shoes creak. [OE. creken, prob. of imitative origin; cf. E. crack, and. D. kreiken to crackle, chirp.]

Definitions and etymologies from Webster's Unabridged Dictionary, 1913.

About this text

A Toccata of Galuppi's is in the public domain. This text is taken from Selections from the Poems and Plays of Robert Browning, Project Gutenberg ebook #28041; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.

Cite as: Robert Browning, A Toccata of Galuppi's, in Selections from the Poems and Plays of Robert Browning (1864), text of Project Gutenberg ebook #28041, Laurel, https://laurelpoetry.com/poem/browning-selections/a-toccata-of-galuppi-s.html, id L25088.

Form and metre

A Toccata of Galuppi's is 57 lines in 15 verse paragraphs. It is in rhyming couplets, 53% of the lines. The metre is trochaic octameter, measured from the stress the words themselves fix (confidence 91%).

See other poems in rhyming couplets, other poems in trochaic octameter.

Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.

Rhyme words, stanza by stanza

The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.

  1. 1 AAA findA · blindA · mindA
  2. 2 A-AA bringsA · were · kingsA · ringsA
  3. 3 -AAA what · callA · carnivalA · allA
  4. 4 -AAA in · mayA · dayA · sayA
  5. 5 AA-A redA · bedA · his · headA
  6. 6 AAA affordA · swordA · clavichordA
  7. 7 -A-AA on · sighA · must · dieA · tryA
  8. 8 -A-AA and · youA · so · fewA · toA
  9. 9 -AAA dare · sayA · gayA · playA
  10. 10 AA-A oneA · undoneA · the · sunA
  11. 11 AAA swerveA · reserveA · nerveA
  12. 12 A-AA burnedA · venice · earnedA · discernedA
  13. 13 AAA geologyA · degreeA · beA
  14. 14 AAA dropA · cropA · stopA
  15. 15 AA-A scoldA · goldA · grown · oldA
Scansion, line by line

Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against trochaic octameter. How this is done.

LineSyl.Stress
O Galuppi, Baldassare, this is very sad to find!15····˘˘/˘··/˘···
I can hardly misconceive you; it would prove me deaf and blind;15··/˘˘˘/········
But although I take your meaning, 'tis with such a heavy mind!15······/˘····/˘·
Here you come with your old music, and here's all the good it brings.15······/˘·······
What, they lived once thus at Venice where the merchants were14···˘···/˘··/˘·
the kings,2··
Where Saint Mark's is, where the Doges used to wed the sea with rings?15······/˘·······
Aye, because the sea's the street there; and 'tis arched by ... what14···········˘··
you call2··
Shylock's bridge with houses on it, where they kept the carnival;15/···/˘······/˘˘
I was never out of England--it's as if I saw it all.15··/˘··/˘·······
Did young people take their pleasure when the sea was warm in14··/˘··/˘······
May?1·
Balls and masks begun at midnight, burning ever to mid-day,15···˘/·/·/˘/˘···
When they made up fresh adventures for the morrow, do you say?15·····˘/˘··/˘···
Was a lady such a lady, cheeks so round and lips so red--15··/˘··/˘·······
On her neck the small face buoyant, like a bell-flower on its bed,15······/˘···/···
O'er the breast's superb abundance where a man might base his14···˘/˘/˘······
head?1·
Well, and it was graceful of them--they'd break talk off and afford15····/˘·······˘/
--She, to bite her mask's black velvet--he, to finger on his sword,15······/˘··/˘···
While you sat and played Toccatas, stately at the clavichord?15········/˘··/˘·
What? Those lesser thirds so plaintive, sixths diminished, sigh on15··/˘··/˘·˘/˘˘··
sigh,1·
Told them something? Those suspensions, those solutions--"Must13··/˘·˘/˘·˘/˘·
we die?"2··
Those commiserating sevenths--"Life might last! we can but try!"15·˘/˘·˘/˘·······
"Were you happy?"--"Yes."--"And are you still as happy?"--"Yes. And14··/˘······/˘··
you?"1·
--"Then, more kisses!"--"Did I stop them, when a million seemed so15··/˘······/˘·˘·
few?"1·
Hark, the dominant's persistence till it must be answered to!15··/˘˘˘/˘····/˘·
So an octave struck the answer. Oh, they praised you, I dare15··/˘··/˘···˘···
say!1·
"Brave Galuppi! that was music! good alike at grave and gay!15······/˘·˘/····
I can always leave off talking when I hear a master play!"15··/···/˘····/˘·
Then they left you for their pleasure; till in due time, one by one,15······/˘·······
Some with lives that came to nothing, some with deeds as well undone,15······/˘·····˘/
Death stepped tacitly and took them where they never see the15··˘/˘˘·····/˘··
sun.1·
But when I sit down to reason, think to take my stand nor swerve,15······/˘·······
While I triumph o'er a secret wrung from nature's close reserve,15··/˘··/˘··/˘·˘/
In you come with your cold music till I creep through every nerve.15······/˘····/˘·
Yes, you, like a ghostly cricket, creaking where a house was burned:15····/˘/˘/˘·····
"Dust and ashes, dead and done with, Venice spent what Venice14··/˘····/˘··/˘
earned.1·
The soul, doubtless, is immortal--where a soul can be discerned.15··/˘·˘/˘·····˘/
"Yours for instance; you know physics, something of geology,15··/˘··/˘/˘·˘/˘˘
Mathematics are your pastime; souls shall rise in their degree;15·˘/˘··/······˘/
Butterflies may dread extinction--you'll not die, it cannot be!15/˘···˘/˘····/˘·
"As for Venice and her people, merely born to bloom and drop,15··/˘··/˘/˘·····
Here on earth they bore their fruitage, mirth and folly were the crop;15······/˘··/˘···
What of soul was left, I wonder, when the kissing had to stop?15······/˘··/˘···
"Dust and ashes!" So you creak it, and I want the heart to scold.15··/˘···········
Dear dead women, with such hair, too--what's become of all the gold15··/˘·····˘/····
Used to hang and brush their bosoms? I feel chilly and grown14······/˘··/˘··
old.1·

On this poem

Mrs. Ireland says of this poem: "The Toccata as a form of composition is not the measured, deliberate working-out of some central musical theme as is the Sonata or sound-piece. The Toccata, in its early and pure form, possessed no decided subject, made such by repetition, but bore rather the form of a capricious Improvisation, or 'Impromptu.'" ("A Toccata of Galuppi's" by Mrs. Alexander Ireland, published in London Browning Society Papers.)
Notes from the edition 4

Notes by Myra Reynolds, Selections from the Poems and Plays of Robert Browning (Project Gutenberg #28041).

  1. Stanza 1, line 1 Galuppi. Baldassare Galuppi (1706-1784) was an Italian composer born near Venice. He spent many years in England and Russia. In 1768 he became organist at St. Mark's, Venice.
  2. Stanza 2, line 1 Your old music. At the sound of the music Browning imaginatively re-creates the Venetian social life of the eighteenth century.
  3. Stanza 3, line 3 Shylock's bridge. The Rialto, a bridge over the Grand Canal. It has two rows of shops under arcades.
  4. Stanza 6, line 3 Clavichord. An instrument with keys and strings, something like a piano.

The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.

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