Browning works
Name – Janvi Nakum
Paper- Literature of the Victorians
Roll no- 11
Enrollment no –4069206420210020
Email id – janvinakum360@gmail.com
Batch- 2021-2023(M.A. Sem – 1)
Submitted to – S.B. Gardi Department of English Maharaja Krishnkumarsinhji Bhavnagar University
Robert Browning Work
About Poet
Robert Browning (1812-89) was a prolific poet, so whittling down his poetic oeuvre to just ten defining poems is going to prove a challenge. With that in mind, it’s best to view the following list of Browning’s ten best poems as indicative – there are many other classic Robert Browning poems around. Still, these are our particular favourites, and, we hope, none is out of place in a Browning top ten.
Browning produced comparatively little poetry during his married life. Apart from a collected edition in 1849 he published only Christmas-Eve and Easter-Day (1850), an examination of different attitudes toward Christianity, perhaps having its immediate origin in the death of his mother in 1849; an introductory essay (1852) to some spurious letters of Shelley, Browning’s only considerable work in prose and his only piece of critical writing; and Men and Women (1855). This was a collection of 51 poems—dramatic lyrics such as “Memorabilia,” “Love Among the Ruins,” and “A Toccata of Galuppi’s”; the great monologues such as “Fra Lippo Lippi,” “How It Strikes a Contemporary,” and “Bishop Blougram’s Apology”; and a very few poems in which implicitly (“By the Fireside”) or explicitly (“One Word More”) he broke his rule and spoke of himself and of his love for his wife. Men and Women, however, had no great sale, and many of the reviews were unfavourable and unhelpful. Disappointed for the first time by the reception of his work, Browning in the following years wrote little, sketching and modeling in clay by day and enjoying the society of his friends at night. At last Mrs. Browning’s health, which had been remarkably restored by her life in Italy, began to fail. On June 29, 1861, she died in her husband’s arms. In the autumn he returned slowly to London with his young son.
Poems
‘Childe Roland to the Dark Tower Came’.
Glad was I when I reach’d the other bank.
Now for a better country. Vain presage!
Who were the strugglers, what war did they wage
Whose savage trample thus could pad the dank
Soil to a plash? Toads in a poison's tank,
Or wild cats in a red-hot iron cage …
A grotesque quasi-medieval dramatic monologue detailing the quest of the titular Roland, this poem was produced in an attempt to overcome writer’s block: in 1852 Browning had set himself the New Year’s Resolution to write a new poem every day, and this vivid dreamscape is what arose from his fevered imagination. Browning borrowed the title from a line in Shakespeare’s King Lear; the character of Roland as he appears in Browning’s poem has in turn inspired Stephen King to write his Dark Tower series, while J. K. Rowling borrowed the word ‘Slughorn’ from the poem when creating the name of her character Horace Slughorn.
‘Home Thoughts, from Abroad’.
Oh, to be in England
Now that April’s there,
And whoever wakes in England
Sees, some morning, unaware,
That the lowest boughs and the brushwood sheaf
Round the elm-tree bole are in tiny leaf,
While the chaffinch sings on the orchard bough
In England—now!
So begins this classic Browning poem. The title singing the praises of the English countryside is less well-known than the poem’s opening line: ‘Oh, to be in England’. Browning reminds us that we often only manage to pin down what we love about our home country when we’re out of it: Browning spent much of the 1850s living in Italy, with his wife Elizabeth Barrett Browning. Browning also wrote another poem on this theme, ‘Home Thoughts, from the Sea’.
‘My Last Duchess’.
That’s my last Duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now; Fra Pandolf’s hands
Worked busily a day, and there she stands …
Probably Robert Browning’s most famous (and widely studied) dramatic monologue, ‘My Last Duchess’ is spoken by the Duke of Ferrara, chatting away to an acquaintance (for whom we, the reader, are the robert-browning-2stand-in) and revealing a sinister back-story lurking behind the portrait of his late wife, the Duchess, that adorns the wall.
This poem is a masterpiece because it does what Browning’s dramatic monologues do best: invites us into the confidence of a speaker whose conversation reveals more about their personality and actions than they realise. The poem is not a narrative poem because it has a speaker rather than a narrator, but it nevertheless tells a story of a doomed marriage, a man capable only of irrational jealousy and possessive force, and male pride that barely conceals the fragile masculinity just lurking beneath. We should feel thoroughly uncomfortable when we finish reading the poem for the first time, because we have just heard a man confessing to the murder of his wife – and, perhaps, other wives – without actually confessing.
‘Porphyria’s Lover’.
The rain set early in to-night,
The sullen wind was soon awake,
It tore the elm-tops down for spite,
And did its worst to vex the lake:
I listened with heart fit to break.
When glided in Porphyria; straight
She shut the cold out and the storm,
And kneeled and made the cheerless grate
Blaze up, and all the cottage warm …
One of Browning’s most disturbing poems – and it’s up against quite a bit of competition – ‘Porphyria’s Lover’ is spoken by a murderer, a man who strangles his lover with her own hair. It was one of Browning’s first great poems, published in 1836 when the poet was still in his mid-twenties. It was also one of his earliest experiments in the dramatic monologue, a form which he and Alfred, Lord Tennyson developed in the 1830s. Despite the poem’s reputation as one of Browning’s finest dramatic monologues, it – like much of Browning’s early work – was largely ignored during his lifetime.
‘Fra Lippo Lippi’.
I am poor brother Lippo, by your leave!
You need not clap your torches to my face.
Zooks, what’s to blame? you think you see a monk!
What, ’tis past midnight, and you go the rounds,
And here you catch me at an alley’s end
Where sportive ladies leave their doors ajar?
So begins this, the first of two poems on this list to feature a medieval monk, and the first of two to feature a painter – ‘Fra Lippo Lippi’ sees the titular friar being accosted by some guards one night, and ending up drunkenly telling them – and us – about his whole life. In a poem like ‘Fra Lippo Lippi’ one can clearly see why Ezra Pound was influenced by Browning’s dramatic monologue, with their plainness of speech and the bluff, no-nonsense manner of Browning’s characters.
‘Soliloquy of the Spanish Cloister’.
Whew! We’ll have our platter burnished,
Laid with care on our own shelf!
With a fire-new spoon we’re furnished,
And a goblet for ourself,
Rinsed like something sacrificial
Ere ’tis fit to touch our chaps –
Marked with L. for our initial!
This is another dramatic monologue, spoken by a Spanish monk who chooses to confide in us, the reader, about the monastery where he lives and works – and especially his dislike for a fellow monk, Brother Lawrence. Victorian poetry is seldom more deliciously catty than it is here. Follow the link above to read the poem and our stanza-by-stanza analysis.
‘Andrea del Sarto’.
But do not let us quarrel any more,
No, my Lucrezia; bear with me for once:
Sit down and all shall happen as you wish.
You turn your face, but does it bring your heart?
I’ll work then for your friend’s friend, never fear,
Treat his own subject after his own way,
Fix his own time, accept too his own price,
And shut the money into this small hand
When next it takes mine. Will it? tenderly?
Yet another dramatic monologue (detecting a theme among Robert Browning’s best poems yet?), ‘Andrea del Sarto’ was inspired by the real-life Renaissance painter Andrea d ’Angolo. Browning may have been using the figure of Andrea del Sarto – who had let other things get in the way of his artistic ambitions – as a way of commenting on his own sense of failure as a poet, having struggled to achieve critical or commercial success for decades.
‘Meeting at Night’.
The grey sea and the long black land;
And the yellow half-moon large and low;
And the startled little waves that leap
In fiery ringlets from their sleep,
As I gain the cove with pushing prow,
And quench its speed i’ the slushy sand …
This short poem about a lover travelling for a nocturnal tryst with his beloved is very different from many of the other classic Robert Browning poems on this list. But its use of sexually suggestive imagery to describe the ‘pushing prow’ of the boat as it enters the cove is stamped with Browning’s bold, progressive style
Conclusion
He presented the poet speaking in his own voice, engaging in a series of dialogues with long-forgotten figures of literary, artistic, and philosophic history. The Victorian public was baffled by this, and Browning returned to the brief, concise lyric for his last volume, Asolando (1889), published on the day of his death. Browning died at his son's home Ca' Rezzonico in Venice on 12 December 1889. He was buried in Poets' Corner in Westminster Abbey; his grave now lies immediately adjacent to that of Alfred Tennyson.
Reference
Collection of poem
https://www.britannica.com/biography/Robert-Browning/Legacy
Poem and definition
https://interestingliterature.com/the-best-robert-browning-poems/
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