Complete works of robert browning vol 04

THE COMPLETE WORKS OF ROBERT BROWNING, VOLUME IV Vm-innt %&dings u4nnotationr EDITORIAL ROMA A BOARD KING, JR., MORSE PECKHAM PARK WARNER TEXTUAL IIONAN BARNES CONSULTANT: VOLUME OHIO ATHENS, GeneralEditor CORDON IV UNIVERSITY OHI0 PRESS ‘973 111 LINDSTRAND Pa Copyright Library ,973 of Congress by Ohio Catalog University Card Number: ISHN 82 14-0115-7 All rights reserved Printed in the United States iv of America Press 68-1838~ CONTEN’I‘S Page Number vii PKEFACE TABLE OF IN VOLUME A BLOT EDITIONS FOUR IN Act I Act 11 Act III COLOMBE’S Act Act Act Act Act THE KEFERRED TO xxv111 Page Number in Original Edition ‘SCUTCHEON BIRTHDAY I Morning II Noon III Afternoon IV Evening V Night DRAlMATIC ROMANCES AND “How They Brought the Good News from Ghent to Aix” Pictor Ignotus 29 46 12 71 8.5 98 113 130 IO 13 17 161 164 LYKICS The Italian in England The Englishman in Italy ~l‘he Lost Leader The Lost Mistress Home-~I‘houghts, from Abroad Home-Thoughts from the Sea The Bishop Orders His Tomb at Saint Praxed’s Church Garden Fancies I The Flower’s Name II Sibrandus Schafnaburgensis France and Spain The Laboratory II The Confessional The Flight of the Duchess Earth’s Immortalities Song The Boy and the Angel Meeting at Night Parting at Morning Nationality in Drinks I Claret I I Tokay III Here’s to Nelson’s Memory! Saul Time’s Revenges The Glove 167 175 183 185 187 188 189 194 196 10 10 200 11 11 203 207 237 238 239 243 243 I2 19 19 19 20 20 244 244 245 246 261 264 20 20 Act I Morning Act II Noon Act III Afternoon Act IV Evening Act V Night 281 295 308 323 336 NOTES A Blot in the ‘Scutcheon Colombe’s Birthday Dramatic Romances and Luria 353 363 375 393 21 22 23 LURIA EDITORIAL CUMULATIVE INDEX CUMULATIVE OF POEMS INDEX Lyrics OF TITLES OF FIRST vi 401 LINES 403 11 14 17 PREFACE ‘I‘llis Browning is intended to be volumes and will contain: The full contents of the first editions of Browning’s work, arranged in chronological order ‘Ilie poems inclutlecl in Drnmtfllr‘ Lyrics, Zhmrr IM- liomtc t7ces ccntl ZAyCczs, ant1 MCW (117~1 lVornc,tl appear in the order of their first l~ublication rather than the order in which Browning rearranged them for later publication All prefaces, dedications, ~ntl advertisements wllich Browning wrote for his own works or for tllosc of Elizabeth Barrett Browning ant1 others The two known prose essays which Browning published: the review of a book on I‘asso, generally referred to as “The Essay on ant1 the prefitce for a collection of letters siil~posctl to have Chatterton,” been written by Percy Bysshe Shelley, generally referred to as “‘I’hc Essay on Shelley.” -Ilie front matter ;ind the table of contents of each of the collected editions (1849, 18&j, 1868, 188~-8ya, ant1 1889) which &owning himself siiw through the press The table of contents will include 13011~ the pagination of the first edition and of this edition Poems by Browning published cluring his lifetime but not collectecl by him Unpublisllctl poems by Browning which have come to light since his death John Forster’s Thomas IVvn/zuov/h, Etr1.1 of S~ru/~brd to which Browning contril~uted significantly, tl~ougl~ to alla; precise extent so tkr cannot be tleterminetl Variants from secondary materials (see section six of this preface) edition complete 11 It GENERAL It century of the works is expected 1‘EXTUAL to run PRINCIPLKS: of Kobert lo thirteen COPY-TEXT is increasingly recognized that texts need to be reexamined vii AND VARIANTS nietl~otls of editing nincteentll:tntl l~d~~bly revised The old fashioned notion that a nineteenthor twentieth-century text could be simply reprinted from either the first or last edition is no longer tenable Recent examination of the works of Hawthorne, Melville, Twain, Cooper, Mill and others, for example, reveal problems different from those arising from texts of earlier centuries, and also differing problems among recent writers which distinguish any one from the others Before we published Volume One of this edition, and after three years of intensive study of both the specific problems connected with Browning’s texts and the adequacy of prevailing theory to solve them, we arrived at certain basic principles which we felt would produce an authoritative, useful edition of Browning’s work We recogni& at that time, however, that after further practical experience with the text and with new information that would undoubtedly become available, we might want to elaborate upon and further document our initial statement of textual principles We now feel that the time has come for a restatement We are convincctl that the principles and methods outlined in Volume One are basically sound We will attempt here, however, to clarify any vagueness which might have existed in our original effort and to provide additional evidence which, we believe, will further increase the reasonableness of our choices and procedures Our first problem was to select an authoritarive text, and to determine what was and what was not a legitimate variant to it We have manuscripts for nineteen of Browning’s thirty-four book publications Others may become available during the time we are working on this eclition None, however, with the possible exception of Asolrrndo, published on the day of Browning’s cleath, can be said to represent the author’s final intentions Each of Browning’s works went through a series of editions during his lifetime and each was revised by Browning himself If, intleecl, the manuscript and each successive edition were under Browning’s control and if it can be established that in all probability the changes made in each were his own, then each represents Browning’s final decision at the time, and must be considered as a possible copy-text Thus the establishment of authorial control becomes the central concern of the editors That Browning did exercise control over the publication of his works we shall demonstrate in clue course Clearly in the case of a poet who was revising his work over a period of more than fifty years neither the original manuscript nor the first edition published from it can meet the accepted r&quirements for the copy-text Nor would any one text, produced by a process of cmendation and conHaCon, result in a single text more representative than any one we now have of what might be called the “real” Browning To attempt to construct such a text would indicate not editorial responsibility, but Hagrant violation of the editorial principle that the author’s own decisions are to the extent they arc discernible, to be respected Indeed, the VU1 position we found ourselves in-that of producing n text carrying the authority of (,)I author-l’orced us to reconsider the commonly accepled understanding of the terms l~xl and rrztllror Too often both text and author are considered as sraric entities, I’latonic archetypes We not have space here to consider fully LllC philosophical implications of such an assumption and lllusl of’ necessity restrict ourscivcs to a brief statement of a more practical nature For those interested, we suggest that they read Morse Peckham’s article “Reflections on the Foundations of Textual Criticism: Human Bchaviol Proof I (1971) For a work that varies in a and Better Editions,” series of documents and editions, each having autliorial authorily, clearly there is no such empirical entity as llzr text 1ndeccl, grasp of this simple fact raises questions about the aulhor himself Which author+r die author at which stage in the process-is meant? Upon what basis can we ascribe greater aulhcnticity to one than to the others? The young Browning who wrote 1+11tline in 1832, the maturing poet who revised it in iti and 1868, and the old man who put it in final form in 1888 and 1889 differ greatly Each of these editions represented Browning’s final decisions as hc undcrsloocl himself at the time Each has its own authority, representing the author as he existed at that particular time Clearly, to reduce the Browning of those diverse stages to a static entity renders him no less an artificial construction than lo reduce a number of versions of a work to a similar artificially constructed single text Neither of such constructions can be regarded as an empirical entity Our focus shifts, necessarily, from lhc lf’xl and the ccztlhol- considered as static melaphysical entities to the process of creating and editing involved in the compilation of a series of documents; and concern about the transmission of the text is redirected to the problem of understanding the character of the decisions by which the successive and varying versions of the work came to be It follows, therefore, that we are concerned more about author4 f2c77clzon and eciitorial Jicnclron than about nu/hor anti c~li/or Any writer’s work consists of two processes: he generates a work, and he corrects or edits it by balancing his current conceptions of the coherence of what he has written, and his grasp of the conventions applicable to the kind of discourse he is composing as they then obtain anti as he understands them The two functions are not necessarily isolatcci and sequential Thai is, he does not generate a statement once and then forever after merely edit it The text itself remains fluid, subjecl to continuous recreation The manuscript that goes to the printer for the first edition, no cloubt, already represents a series of generations and revisions; likewise, the marked copy for each subsequent edition may and probably does represent both editing and recreation The second and subsequent editions of Pauline, for example, containing as they do, ix Notes lo Pages 236-261 Her critical comments on the poem in the letters discovered in lglg were digested by Kenyon in his Preface to Nezu Poems Most interesting of these criticisms is her objection to the short lines: “The ear expects to read every long and short line, in the sequence of this metre, as one long line,and where it cannot so, a loss an abruption is felt-and there should be nothing abrupt in the movement of these pastoral, starry images you think so?” (Mr~cMillnn E&lion, p 1325) H shifted mainly to long lines in 185.5 I] ADULT “And the name of the captain of his (Saul’s) host was Abner, the 5011 of Ner, Saul’s uncle.” Snmzlel 14:50 g] I//c, S/j;,-r/ “Now tl1e Spirit of Jehovah departctl from Saul, and an evil spirit fi-om Jchovali troubled him.” I S~im2101 16: 14 I 21 lil2r,.\ \!ill ljz11!/~ rr~rl 61~~ Wl1en EBH inquired al>out his authority fol “blue lilies” K wrote (March 16, 1846): “Lilies arc of all colours in Palestinr+nlc sort is particularized as 701111~ with ;I dark blue spot and streak-tl1e water lily, lotos, which I think I nleant, is Olue altogether” (Kintncr, KH-EBB, I, 508, 536, 5yy) 271 Tlrm fi szc)lDercm, s/r~rortl Soul EHH singled out this image for special praise but objected to the original wording of the line: “T‘lien a sunbeam burst ~hro’ tie b/in~/ tent-roof/Sllowed Saul.” She wrote: “Now, will you think whether to enforce tl1e admirable efltict of yam sudden sunbeam, this first line shall not be rendered more rapid by the renl0val of the clogging epitliet ‘blind’ wliich you repeat, too, believe, fartlier on in the next page?” She then suggests the present wording (Nrro Pwms, 158) James to a similar image in Gyatt: McPeek, “The Shaping of Sa~tl,” has pointed Svvc~r~Pw itru /in Psalms, 11 50~5 16 361 AHA I ,/ws/ ~hyd tl I(’ /uT~(, While A S Cook (P-C, IV, 376) has suggested thal H may have found tlie gf?llClXl inspiration for these songs in Part I, no specific source for Longus’s romance of Z>crph~~i.r c~,ztl Cirloe, songs 11m ken found these swell 601 f.e711/cs ‘I‘he service required of the sons of’ Levi is described in I Clrw~lrc~l~~.s, 23:24-32 651 IrlN(f’-.sI//~1)//jj.C.s A superior sapphire showing a bright star 2q] ffr6w?r ~~/)lrc~rvc~.s A city of Palestine SSW of Jerusalem in modern Jordan l‘he city, soutl1ernmost of three biblical cities of refuge, is situated on a hill 2041 Kitl~jrt A brook near Jerusalcm I 3p 141 UC (‘ITO)’ /rtrtI b(,,~ //T/M, 61wrctl bwru Before Saul disobeyed Jehovah’s conlnla~ld to destroy the Amalckitcs and their goods utterly and spared Agag together wit11 certain valuables See I Grnlrrl 15 291 ] SnDrco/I/ Hosts, armies I’IXIE’S KEVEN k’lighl oj’lhe 1~7rr/7~~.ss, it has been customary to point to bo~li literary and personal sources for this poem DeVane believes that Leigh Hunt’s ballad, The Gloue and lhe Lions, published in 1836, spurrecl B to write his own version of the old French story Hunt apparently derived his poem from %lliller’s L)?J ff~7?7r/.schzch ( 1797) Schiller’s source, in turn, was the brief story told by Poullaitt de Saittt-Foix in his Essnis Histo~iqucs SW Paris (1754-1757); “One day while Francis I amused himself will1 looking at a combat between his lions, a lady, having let her glove drop, said to DeLorge, ‘If you would have me believe you love me as much as you sweitr you do, go and bring back my glove!’ DeLorge went down, picked up the glove from amidst the ferocious beasts, returned, and threw it in the lady’s face; and in spite of all her advances and cajoleries wo~tltl never look at her again.” Schiller and Hunt add a few details to the incident, bul the deeper motives given to the lady, the silent youthful lover, the mortification of DeLorge, Konsard as narrator-all are H’s inventions DeVane (~J~O7uJ/iJJg’.S P~7~~ky7J7gs, pp t-89) suggests a source fat, the Lady’s character in the life of Marianne Pajot as recounted by the IMarquis de Lassay in his kfcJr707~3 (1756), but it may be cc~ually sensible to seek H’s inspiration in his particular interest itt the psychology of character and in his own situation at the time with respecl to EBB 11 is strange, at least, that T\te C;/oue was not submitted to her in bIS for criticism She first saw the poem in printer’s proofs ott October ny, 1845 Her commcnc at that time shows that she perceived the special case K made of his subjecL: “Attd for your ‘Glove,’ all women sltould be grateful,-and Konsard, hottoured, in this fresh shower of mttsic on his old grave though the chivalry of‘ the interpretation, as well as much beside, is so plainly yours, _ could only be yours pet-haps And even your arc forced to let in a third person _ close to Lhe doorway before you catt any good What a noble liott you give LIS too, with the ‘flash on his forehead,’ and ‘leagues itt the desert already’ as we look on him And then, with what a ‘curious felicity’ YOLI t~~tm the subjecr ‘glove’ to another use and strike DeLorge’s blow back on him with it, III the last paragraph of your story! Atttl the versification! And the lady’s speech-(to Notes to Pages 264-269 return!) so calm, and proud-and yet a little bitter!” (Kintner, KB-EBB, i, 252) sZI6fifk] f+/Pr ~hJ?7S~l-d (1524-1585), the narratw, began ilS a page and became “prince of poets and poet of princes” at the French court and most illustrious of the “Pl?iade.” According to Claude Binet (I+ of l~onscc~ci, 1586) “his life and his writings bore an indefinable stamp of nobility and in all his actions shone forth the characteristics of a true French gentleman.” His erudition, mastery of classical forms, and noble conception of the poet’s mission made him the leading poet of &z French Kenaissance I] King I’~xnc.is Francis (1494-1547), succeeded to the throne of France in 1515 He was known for his passion for spar’s and amusements 1z] hraso Publius Ovidius Naso, Ihe Roman poet Ovid (43 IX.-A.D 18) 141 IXifJllS Ixion, the Greek mythological figure, murdered his father-in-law and rcpaitl the pity of Zeus by atuzmpting to seduce Hera As punishment for his crimes hc was condemned to be tied IO a burning wheel which would turn forever For B’s attitude see his own fxio~ (1883) 451 Clcmenf rMn?.of Marot (14+1544), the author of sonnets, pastorals, and translations of the Psalms, was court poet under Francis I Marot was twice imprisoned for heretical leanings His translations of the Psalms were immensely influential, advancing the cause of the Reformation in France, but were condemned by the Sorbonne He was a literary reformer of considerable significance, though his efforts were shortly eclipsed by those of the PlFiade His best verse is noted for its unaffected vernacular style lion of the tribe of Judah.” See 501 Ilium Jttdn Leouum de TriDu “That Rwrlation 515 821 Marignccn In 15 15 Francis I defeated the Swiss troops of the Duke of Milan at hJarignan (Melegnano) 961 Kr!/Jir l’he Arab, his keeper, 33 Kaffir may mean here, simply, a non-Moslem (in the disparaging sense used by Arabic Moslems), or a member of the people of the Hindu Kush range in NE Afghanistan, or a native of Kaffraria, now the I‘ranskeian territories of the Cape of Good Hope province, South Africa 1621 h’emenn ‘I‘he first labor of Hercules was the cieslruction of the famous lion of Nemea 17 l-881 For suggested interpretations of these lines see E.xfilica/or I: (1943): Item 54; (1943): Item 13 and Item 23 1891 Venic)uti ouzrwitc morth! “Go meet the corn&g ills.” It has been suggested that this Latin proverb came from Persius Flaccus (see Louis Friedland, Es~~licc~for2 [ 13431: Item 30) A seventeenth-century lute with an S-shaped neck and two sets ~yo] IheodJo of tuning pegs, the lower set holding lhe melody strings and the upper the base strings Louis S Boaz has suggested Lhat these features of the instru2 [ lgqg] : ment can be read as a clue to B’s moral in the poem (Ex~~licx/o~ Item 13) LUKIA The following emendations have been made in the 1889 text: I, 193: The 1868 reading up! does not necessarily end a sentence bur the 1888 reading zip does It makes Il ly2-193 almost meaningless X‘hc 1846-1863 reading has been restored II, IOO: The 1863 reading Inntls.“-syntactically isolates the rest of‘ Luria’s speech The 1846-1849 reading has been restored II, 179: ‘l‘hc 1888 reading links runs two separate sentences together l‘he I 846-t 868 reading has been restored This is confirmed by D C II, 204: An obvious omission; the possessive Florence’, 1846-1868, has been restored This is confirmed by D C II, 303: An obvious omission; the 1846-1868 readingforget has been restored III, 135: The ufter is found in all editions, but the sense requires a word other than an article The best candidate permits the reading The77 clfler, making sense to the line B probably overlooked it repeatedly bedause The after begins an independent clause IV, 257: The 1888 reading wil runs two syntactically independent elements together B entered a colon in the D.C copy, the reading adol~ed here V, 208: The 1889 readingforgone was an acceptable spelling change and B removed the e in the D.C copy V, 242: There is no apparent reason to recapitalize Him since the other Ir1m.r in the passage were not recapitalizeci This is possibly a printer’s error V, 293: The two point ellipsis is inconsistent with the regularizarion of ellipses in the 1888 and 188ga editions to three points ‘I’he length of the line probably accounts for the two point ellipsis X‘he 1846- 1848 reading has been restored Composilion The history of the composition of LZWZO can be B-Elizabeth Barret Browning correspondence Browning mind by Feb I 1, 1845 By May 24 he had begun writing 393 gleaned from the had Lurk in his it Sometime later Notes to Pages 273-275 hc put it aside but resumed work in October By Jan 22, 1846 it probably was all but finished in draft The all but final version was done by Feb to On March 18 he asked EHH for the return of the MIS that printing might begin 1%~ March 22 he was discouraged with it and decided to print it just to get rid of it A week later hc read the proofs and liked it better He made a few cuts and changes, some suggested by EHB t was published with A Sozcl’s Trrcgc~tly as 13ll.r rc~~tl PomPgwtrnlrs No l/III NUT lash on April 13, 1846 Sources H uses very little historical background in Lzwi(l, and ignores much of what was historical Of works easily available to him, J C L Simonde de Sismondi, Hisloiw tlv Iine tiigliths thou playest with borne on Hcyontl Sorrento and Amatfi, where The Siren waits ttree, singing song for song- Persons Luwc A name of unknown origin, it might have been suggested to B by the Lurio River in Mozambique, conquered by the Portuguese early in the 16th century There is a slight possibility that the name was suggested to him by the Luri or Alurs, a cattle-breeding people in the swamps of the Nile N of Lake Albert, an area being explored in the 1840s Another possibility is that B developed the name from the Greek l~rn, lyre, suggesting that Luria is played upon by the Florentines and by his idealism Luria is clearly black; the Moors are in fact a white race, though darkened by exposure to the desert sun B continues the traditional confusion between Moors and This confusion is to be found in Negroes, preserved in “blackamoor.” Othello, from which B seems to have taken the idea of a black Moorish in the service of an Italian state condottiere, “mercenary military leader,” For Othello’s dependence on Desdemona, B substitutes Luria’s dependence on the idea of Florence Pwcio A name B could have found in volume of’the Biographic Uniuerse& (1813) The entry refers to Capanna, a fourteenth-century follower of Giotto Braccio The name appears in volume of the Biographic Universelle (I 12) as that of an Italian condottiere b 1368 in Perugia In 1409 he fought for the Florentines and in 1416 became lord of Perugia The statement that he had an extraordinary skill in gaining the hearts of his soldiers might have caught 396 Notes to Pages 279-281 B’s eye, but since this is so frequently said about great military leaders, no source for such a character trait is needecl TiOlo-zio Tiburzio di Maso was one of a fifteenth-century anti-Papal group in Rome For Commissary see I, 2711 Domizza Or Domitia was the name of the wife ef the Roman Emperor Domitian She joined in a successful plot to assassinate her husband Since B’s Domizia wishes to destroy Florence and attempts to inspire Luria to so, there may be a connection See also III, nyln Seen e Pisrc By 1402 Gian Galeazzo Visconti, Duke of Milan, had conquered Pisa, as well as Siena and Pcrugia, and in that year captured Bologna The independence of Florence was in extreme peril Suddenly Gian Galeazzo clied Pisa, with which Florence had been fighting for centuries, was inherited by Gabriele Maria, Gian Galeazzo’s third and illegitimate son With the aid of his mother he governed Pisa stupidly and oppressively The Pisans resisted, and in 1405 the Florentines secretly bought from Gabriele the title to Pisa The Pisans rose against him and refused to honor the purchase This was the excuse the Florentines had long been looking for, since if they controlled Pisa they controlled the main Tuscan access to the sea, the river Arno Gabriele turned the citadel of Pisa over to the Florentines, but the Pisans drove them out, and offered peace The Florentines refused and in 1406 the attack began in earnest It consisted mostly of a siege, though there was some fighting in Pisan territory (mn~c7rlo) In a matter of months the Pisans were reduced to starvation, since the Florentines had cut off every avenue of help, including blocking the Arno below Pisa and destroying or capturing the Pisan grain ships from Sicily Giovanni Gambacorti, the captain of the Pisans and virtual ruler of the city after the siege began, secretly visitecl the Florentines, and in return for a rich reward promised to open the gates In any case, the Pisans could not have held out for even a few more days On the night of Oct 8, 1406, one of the gates was opened; the city fell and lost its independence Oct y, 1406 It was a victim of Florentine expansionist policy ACT 61 Signory In Italian Signorzn, or lordship; principally the eight priors and under them the podesta, or chief magistrate The chief of the priors was the Gonfalonier (standard-bearer) of Justice lo] Pisa In the war of 1406, the Florentines saw to it that no aid came to the city by completely surrounding it, and by paying several city-state lords not to help There is little historical basis for the land battle in Lucia I] Lttcchesr The troops of Lucca Pisa and Lucca had long been enemies; however, at the beginning of the siege of Pisa the Lucchese did help briefly in the destruction of a Pisan tower occupied by the Florentines Lucca feared 397 No/es to Pages 281-291 that after Piss, the next Florentine victim would be itself Florentines in Lucca on business were forced to leave the city for fear of being badly handled by the people ‘I’he idea that Lucca sent troops toward the end of the siege may be based on these incidents, but it is equally possible that it is a reasonable invention of H’s I] SPY Short for Messrt~, master, a title of respect for a commoner 271 Commisscrry Commissioners were sent as representatives by the Z)ic~i tli Btl/iu, the committee of ten in charge of conducting a Florentine war ‘I‘he commissaries had the task of seeing that the orders of the -l‘cn were carried out, and of reporting any treasonable moves on the part of the mercenary generals, who were easily temptecl by a sufficiently large offer from the opposite side One of the Ten usually served as one of the commissaries, and in the Pisan war, at least, other commissaries were drawn from the members of the Ten previously in office The Ralia was a device to carry through a reform manipulated by the oligarchy then governing Florence under the increasingly hollow forms of a constitutional republic 681 Piazza The Piazza, or Place, of the Signoria before the Palace of the Signoria, now known as the Palazzo Vecchio (the Old Palace) It was then the residence and headquarters of the priors and the podesta while Lhey were in office of Alexandria was martyred on a wheel, 107-81 sainl wheel St Catherine her iconographical attribute 1231 Dztomo Originally S Reparata, the cathedral of Florence was begun Sept 8, 1296, by Arnolfo di Cambio Construction proceeded slowly and fitfully By 1406 the body of the church was done, except for the dome In 1412 it was dedicated to S Maria de1 Fiore By 1420 a third of the facade had been completed It was demolished in 1587; the present facade was not begun until 1871 and was finished in 1887 1241 Moorish fronl In Spain there had been for centuries a fusion of Gothic and Arabian architectural styles 1761 House’s foil There were various ways in medieval and Kenaissance Italy of getting rid of one’s political enemies A common way was to get a man declared, together with his male relatives, enemies of the state, exile them, and confiscate their property Exile to and confinement to a remote country town is still a method of punishment in Italy 2991 walls ape peojdrd Exterior walls were frescoed in medieval and Renaissance Italy, though it was not a Florentine custom, beingmore characteristic of northern Italy 3001 statue (0 tts niche Possibly a reference to the church of Orsanmichele, recently built The walls had niches for statues for which some of the greatest Florentine sculptures were created IS] Ens1 If Luria is a Moor, he comes from Morocco, W of Italy East here probably has the usual early nineteenth-century meaning, the desert lands of Arab territory, extending from the Atlantic to India 398 Notes to Pages 293-3 3641 s/nli.s/ Politician 3833 Mage Negro king In pictures of the Adoration of the Magi one of the magi is often presented as dark skinned or clearly Negro, particularly in the late Middle Ages and the Renaissance A C: ‘I’ I I 181 chy, and 261 /hozt sn(.rlficc, Toward the end of the fourteenth century the oligarthe current rulers of Florence, exiled a number of their polilical enemies business rivals Among such families were the Albizzi and the Alberti Pal-tiff Possibly derived from Shakespeare’s Portia ‘l‘he f