Robert Browning - Biography

Glenn Everett, Associate Professor of English, University of Tennessee

Robert Browning was born on May 7, 1812, in Camberwell (a suburb of London), the first child of Robert and Sarah Anna Browning. His mother was a fervent Evangelical and an accomplished pianist. Mr. Browning had angered his own father and forgone a fortune: the poet's grandfather had sent his son to oversee a West Indies sugar plantation, but the young man had found the institution of slavery so abhorrent that he gave up his prospects and returned home, to become a clerk in the Bank of England. On this very modest salary he was able to marry, raise a family, and to acquire a library of 6000 volumes. He was an exceedingly well-read man who could recreate the siege of Troy with the household chairs and tables for the benefit of his inquisitive son.

Indeed, most of the poet's education came at home. He was an extremely bright child and a voracious reader (he read through all fifty volumes of the Biographie Universelle) and learned Latin, Greek, French and Italian by the time he was fourteen. He attended the University of London in 1828, the first year it opened, but left in discontent to pursue his own reading at his own pace. This somewhat idiosyncratic but extensive education has led to difficulties for his readers: he did not always realize how obscure his references and allusions were.

In the 1830s he met the actor William Macready and tried several times to write verse drama for the stage. At about the same time he began to discover that his real talents lay in taking a single character and allowing him to discover himself to us by revealing more of himself in his speeches than he suspects-the characteristics of the dramatic monologue. The reviews of Paracelsus (1835) had been mostly encouraging, but the difficulty and obscurity of his long poem Sordello (1840) turned the critics against him, and for many years they continued to complain of obscurity even in his shorter, more accessible lyrics.

In 1845 he saw Elizabeth Barrett's Poems and contrived to meet her. Although she was an invalid and very much under the control of a domineering father, the two married in September 1846 and a few days later eloped to Italy, where they lived until her death in 1861. The years in Florence were among the happiest for both of them. Her love for him was demonstrated in the Sonnets from the Portugese, and to her he dedicated Men and Women, which contains his best poetry. Public sympathy for him after her death (she was a much more popular poet during their lifetimes) surely helped the critical reception of his Collected Poems (1862) and Dramatis Personae (1863). The Ring and the Book (1868-9), based on an "old yellow book" which told of a Roman murder and trial, finally won him considerable popularity. He and Tennyson were now mentioned together as the foremost poets of the age. Although he lived and wrote actively for another twenty years, the late '60s were the peak of his career. His influence continued to grow, however, and finally lead to the founding of the Browning Society in 1881. He died in 1889, on the same day that his final volume of verse, Asolando, was published. He is buried in Poet's Corner of Westminster Abbey.

POETIC TECHNIQUE: DRAMATIC MONOLOGUE: Dramatic monologue in poetry, also known as a persona poem, shares many characteristics with a theatrical monologue: an audience is implied; there is no dialogue; and the poet speaks through an assumed voice—a character, a fictional identity, or a persona. Because a dramatic monologue is by definition

1 | P a g e 2 one person’s speech, it is offered without overt analysis or commentary, placing emphasis on subjective qualities that are left to the audience to interpret. Though the technique is evident in many ancient Greek dramas, the dramatic monologue as a poetic form achieved its first era of distinction in the work of Victorian poet Robert Browning. Browning’s poems "My Last Duchess" and "Soliloquy of the Spanish Cloister," though considered largely inscrutable by Victorian readers, have become models of the form. His monologues combine the elements of the speaker and the audience so deftly that the reader seems to have some control over how much the speaker will divulge in his monologue. This complex relationship is evident in the following excerpt from "My Last Duchess":

Even had you skill In speech—(which I have not)—to make your will Quite clear to such an one, and say, 'Just this Or that in you disgusts me; here you miss, Or there exceed the mark' -- and if she let Herself be lessoned so, nor plainly set Her wits to yours, forsooth, and made excuse, —E'en then would be some stooping... In the twentieth century, the influence of Browning’s monologues can be seen in the work of Ezra Pound and T. S. Eliot. In Eliot’s "The Love Song of J. Alfred Prufrock," readers find the voice of the poet cloaked in a mask, a technique that Eliot mastered in his career. More recently, a number of poets have offered variations on the form, including "Mirror" and "Lady Lazarus" by Sylvia Plath, and "Daffy Duck in Hollywood" by John Ashbery. John Berryman used the form in his series of Dream Songs, writing poems with shifting narrators, including his alter egos "Henry" and "Mr. Bones." One powerful example of the interplay between a dramatic monologue and the perception of the audience is "Night, Death, Mississippi," by Robert Hayden. In the poem, Hayden adopts the shocking persona of an aging Klan member, listening longingly to the sounds of a lynching outside, but too feeble to join. He says to himself:

Christ, it was better than hunting bear which don’t know why you want him dead. The effect of reading the casual violence of the poem is more devastating than any commentary the poet could have provided. Hayden wrote many other dramatic monologue poems, including several dramatizing African American historical figures such as Phillis Wheatley and Nat Turner, as well as inventive characters such as the alien voice reporting his observations in "American Journal." Though not written in the first person, James Dickey's long poem "Falling" is inspired by a true story, and offers the impossible narrative of a stewardess who is accidentally blown from a plane and falls helplessly to the ground. The poem is voiced by an omniscient speaker who seems to fly invisibly beside her, observing her calm descent, her twists and tumbles, listening as she imagines herself as a goddess looking for water to dive into, and then finally watching as she removes her clothes, unsnapping her bra and sliding out of her girdle, before finally coming to rest in a Kansas field. Dickey transforms this terrifying reality into sensual transcendence, as he writes: "Her last superhuman act the last slow careful passing of her hands / All over her unharmed body desired by every sleeper in his dream."

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My Last Duchess

Ferrara

That's my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now: Frà Pandolf's hands Worked busily a day, and there she stands. Will't please you sit and look at her? I said 5 "Frà Pandolf" by design, for never read Strangers like you that pictured countenance, The depth and passion of its earnest glance, But to myselfthey turned (since none puts by The curtain I have drawn for you, but I) 10 And seemed as they would ask me, if they durst, How such a glance came there; so, not the first Are you to turn and ask thus. Sir, 'twas not Her husband's presence only, called that spot Of joy into the Duchess' cheek: perhaps Frà Pandolf chanced to say "Her mantle laps Over my Lady's wrist too much," or "Paint Must never hope to reproduce the faint Half-flush that dies along her throat": such stuff Was courtesy, she thought, and cause enough 20 For calling up that spot of joy. She had A heart — how shall I say? — too soon made glad, Too easily impressed; she liked whate'er She looked on, and her looks went everywhere. Sir, 'twas all one! My favour at her breast, The dropping of the daylight in the West, The bough of cherries some officious fool Broke in the orchard for her, the white mule She rode with round the terrace — all and each Would draw from her alike the approving speech, 30 Or blush, at least. She thanked men, — good! but thanked Somehow — I know not how — as if she ranked My gift of a nine-hundred-years-old name With anybody's gift. Who'd stoop to blame This sort of trifling? Even had you skill In speech — (which I have not) — to make your will Quite clear to such an one, and say, "Just this Or that in you disgusts me; here you miss, Or there exceed the mark" — and if she let Herself be lessoned so, nor plainly set 40 Her wits to yours, forsooth, and made excuse, --E'en then would be some stooping, and I choose

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Never to stoop. Oh sir, she smiled, no doubt, Whene'er I passed her; but who passed without Much the same smile? This grew; I gave commands; Then all smiles stopped together. There she stands As if alive. Will't please you rise? We'll meet The company below, then. I repeat, The Count your master's known munificence Is ample warrant that no just pretence 50 Of mine for dowry will be disallowed; Though his fair daughter's self, as I avowed At starting, is my object. Nay, we'll go Together down, sir. Notice Neptune, though, Taming a sea-horse, thought a rarity, Which Claus of Innsbruck cast in bronze for me!

Notes 1. The poem as originally published was entitled "I. Italy," the companion piece to "II. France" (later entitled "Count Gismond") under the general title "Italy and France." The dramatic monologue is a byproduct of Browning's research for Sordello, during which he read about Alfonso II d'Este, fifth Duke of Ferrara (1533-1597; ruled 1559-1597), the patron of the writer Tasso. 2. The place is the ducal palace in the Italian city-state of Ferrara; the time is the Renaissance. Porphyria’s Lover

The rain set early in tonight, 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; Which done, she rose, and from her form 10 Withdrew the dripping cloak and shawl, And laid her soiled gloves by, untied Her hat and let the damp hair fall, And, last, she sat down by my side And called me. When no voice replied, 15 She put my arm about her waist, And made her smooth white shoulder bare, And all her yellow hair displaced, And, stooping, made my cheek lie there, And spread, o'er all, her yellow hair, Murmuring how she loved me — she

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Too weak, for all her heart's endeavor, To set its struggling passion free From pride, and vainer ties dissever, And give herself to me forever. 25 But passion sometimes would prevail, Nor could tonight's gay feast restrain A sudden thought of one so pale For love of her, and all in vain: So, she was come through wind and rain. 30 Be sure I looked up at her eyes Happy and proud; at last l knew Porphyria worshiped me: surprise Made my heart swell, and still it grew While I debated what to do. That moment she was mine, mine, fair, Perfectly pure and good: I found A thing to do, and all her hair In one long yellow string l wound Three times her little throat around, 40 And strangled her. No pain felt she; I am quite sure she felt no pain. As a shut bud that holds a bee, I warily oped her lids: again Laughed the blue eyes without a stain. 45 And l untightened next the tress About her neck; her cheek once more Blushed bright beneath my burning kiss: I propped her head up as before, Only, this time my shoulder bore 50 Her head, which droops upon it still: The smiling rosy little head, So glad it has its utmost will, That all it scorned at once is fled, And I, its love, am gained instead! 55 Porphyria's love: she guessed not how Her darling one wish would be heard. And thus we sit together now, And all night long we have not stirred, And yet God has not said a word!

SOLILOQUY OF A SPANISH CLOISTER

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Gr-r-r-there go, my heart's abhorrence! Water your damned flower-pots, do! If hate killed men, Brother Lawrence, God's blood, would not mine kill you! What? your myrtle-bush wants trimming? 5 Oh, that rose has prior claims-- Needs its leaden vase filled brimming? Hell dry you up with its flames!

At the meal we sit together: Salve tibi! I must hear 10 Wise talk of the kind of weather, Sort of season, time of year: Not a plenteous cork-crop: scarcely Dare we hope oak-galls, I doubt: What's the Latin name for "parsley"? What's the Greek name for Swine's Snout?

III

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, 20 Rinsed like something sacrificial Ere 'tis fit to touch our chaps — Marked with L. for our initial! (He-he! There his lily snaps!)

Saint, forsooth! While brown Dolores Squats outside the Convent bank With Sanchicha, telling stories, Steeping tresses in the tank, Blue-black, lustrous, thick like horsehairs, — Can't I see his dead eye glow, 30 Bright as 'twere a Barbary corsair's? (That is, if he'd let it show!)

When he finishes refection, Knife and fork he never lays 6 | P a g e 7

Cross-wise, to my recollection, As I do, in Jesu's praise. I the Trinity illustrate, Drinking watered orange-pulp — In three sips the Arian frustrate While he drains his at one gulp. 40

Oh, those melons? If he's able We're to have a feast! so nice! One goes to the Abbot's table, All of us eager to get a slice. How go on your flowers? None double? Not one fruit-sort can you spy? Strange! And I, too, at such trouble, Keep them close-nipped on the sly!

VII

There's a great text in Galatians, Once you trip on it, entails 50 Twenty-nine distinct damnations, One sure, if another fails. If I trip him just a-dying, Sure of heaven as sure can be, Spin him round and send him flying Off to hell, a Manichee?

VIII

Or, my scrofulous French novel, On grey paper with blunt type! Simply glance at it, you grovel Hand and foot in Belial's gripe: 60 If I double down its pages At the woeful sixteenth print, When he gathers his greengages, Ope a sieve and slip it in't?

Or, there's Satan! — one might venture Pledge one's soul to him, yet leave Such a flaw in the indenture As he'd miss it till, past retrieve, Blasted lay that rose-acacia 7 | P a g e 8

We're so proud of! Hy, Zy, Hine . . . 70 'St, there's Vespers! Plena gratia Ave, Virgo! Gr-r-r — you swine!

The Laboratory

Now that I, tying thy glass mask tightly, May gaze thro' these faint smokes curling whitely, As thou pliest thy trade in this devil's-smithy— Which is the poison to poison her, prithee?

He is with her, and they know that I know 5 Where they are, what they do: they believe my tears flow While they laugh, laugh at me, at me fled to the drear Empty church, to pray God in, for them!—I am here.

Grind away, moisten and mash up thy paste, Pound at thy powder,—I am not in haste! 10 Better sit thus and observe thy strange things, Than go where men wait me and dance at the King's.

That in the mortar—you call it a gum? Ah, the brave tree whence such gold oozings come! And yonder soft phial, the exquisite blue, Sure to taste sweetly,—is that poison too?

Had I but all of them, thee and thy treasures, What a wild crowd of invisible pleasures! To carry pure death in an earring, a casket, A signet, a fan-mount, a filigree basket! 20

Soon, at the King's, a mere lozenge to give And Pauline should have just thirty minutes to live! But to light a pastile, and Elise, with her head And her breast and her arms and her hands, should drop dead!

Quick—is it finished? The colour's too grim! 25 Why not soft like the phial's, enticing and dim? Let it brighten her drink, let her turn it and stir, And try it and taste, ere she fix and prefer!

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What a drop! She's not little, no minion like me— That's why she ensnared him: this never will free The soul from those masculine eyes,—say, "no!" To that pulse's magnificent come-and-go.

For only last night, as they whispered, I brought My own eyes to bear on her so, that I thought Could I keep them one half minute fixed, she would fall, 35 Shrivelled; she fell not; yet this does it all!

Not that I bid you spare her the pain! Let death be felt and the proof remain; Brand, burn up, bite into its grace— He is sure to remember her dying face! 40

Is it done? Take my mask off! Nay, be not morose; It kills her, and this prevents seeing it close: The delicate droplet, my whole fortune's fee— If it hurts her, beside, can it ever hurt me?

Now, take all my jewels, gorge gold to your fill, 45 You may kiss me, old man, on my mouth if you will! But brush this dust off me, lest horror it brings Ere I know it—next moment I dance at the King's!

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