ull-blooded with new crimson of broad day--
Passion made palpable once more." (P. 232.)

The revived passion may breathe under the name of another man; it may
stir again in the utterance of one dead and forgotten; and Mr. Browning,
borrowing the language of chemistry, invokes the reactive processes
through which its many-coloured flamelets may spring to life.[136] He
then passes by an insensible--because to him very natural--transition
from the realities of feeling to those of thought, and to the underlying
truth from which both series derive: and combats the idea that in
thought, any more than in feeling, the present can disprove the past,
the once true reveal itself as delusion. Time--otherwise growth--widens
the range as it complicates the necessities of musical, _i.e._ emotional
expression. It destroys the enfolding fictions which shield without
concealing the earlier stages of intellectual truth. But the emotions
were in existence before music began; and Truth was potentially "at
full" within us when as it were reborn to grow and bud and blossom for
the mind of man.[137] Therefore, he has said, addressing Avison's March,
"Blare it forth, bold C Major!" and "Therefore," he continues, in a
swift return of fancy:--

"... Bang the drums,
Blow the trumps, Avison! March-motive? That's
Truth which endures resetting. Sharps and flats,
Lavish at need, shall dance athwart thy score
When ophicleide and bombardon's uproar
Mate the approaching trample, even now
Big in the distance--or my ears deceive--
Of federated England, fitly weave
March-music for the future!" (P. 237.)

The musical transformation is for a moment followed back to the days of
Elizabethan plain-song, and then arrested at those of Avison, where he
may be imagined as joining chorus with Bach in celebrating the struggle
for English liberty. The closing stanzas are written to the music of
Avison's March, which is also given[138] at the end of the poem, and
throws a helpful light on its more technical parts.

FUST AND HIS FRIENDS is based on a version of the Faust legend which
identifies the inventor of printing with Dr. Faust, and contains
allusions to some of the incidents of Goethe's double poem: the magical
drinking bout of the first part, and the appearance of the Grecian Helen
in the second; but whereas the popular tradition makes