International Journal of English and Studies (IJOES) an International Peer-Reviewed Journal ; Volume-2, Issue-7, 2020 ISSN: 2581-8333

Home , Paracelsus (poem), Pippa Passes

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INSIGHT MEETS JUDGEMENT: EXPLORING DISTORTED SUBJECTIVITY IN BROWNING’S DRAMATIC MONOLOGUES ______Dr. Lisha Sinha Academician Central University of Bilaspur Email.Id: [email protected] Address: Flat-401,Ashok Tower,V.I.P Colony,Jamui,Bihar,India ______Abstract Dramatic monologues stand unique in the arena of poetry. This perhaps becomes Keywords: Robert Browning, Dramatic more intense when it comes to Robert Monologue, Subjectivity, My Last Browning’s dramatic monologues. They are Duchess, Porphyria’s Lover particularly interesting as they act like the mirror of both inner and outer image of an individual. This research paper will try to Whenever we come across the name delve deeper into the complex dramatic monologue, the name Robert understanding of Speaker’s persona. The Browning never stops ringing. It is not that first section of the paper will thus evidence he has invented the genre; rather he is the that how dramatic monologue of the one who has given deeper level of meaning. Victorian age has gradually developed from And such meaning always incorporates the poetry of romantic age and then double meaning at the heart of the poem. gradually establish that how Browning’s Even though the poems of Browning reflect comes up with own concept and purpose of the usual definition of dramatic monologue writing dramatic monologue. The second by M.H. Abram’s in his eponymous work A section will further move to explore that Glossary of Literary Terms (1956) yet the how the subjectivity of the speaker is poems mysteriously explore that how self distorted which will be again evidenced in Browning is critically judged both in its through different ways. The paper will also interior and exterior form. And strangely try to indulge into the crucial factor of within such critical judgement of insight insight and judgment where they cross their often a distorted portrait of subjectivity is paths at various situations. The research revealed. The current research thus mainly paper will thus cater mainly to “My Last intend to start with the development of Duchess” and “Porphyria’s Lover” during Browning’s poetry which is a way farther thematic discussion. than his predecessors from Romantic age

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RESEARCH ARTICLE and then gradually move to Robert the self inwards towards assimilation with Browning’s concept of distorted the inner self. Wordsworth’s “Tintern subjectivity in his dramatic monologues. Abbey” (1798), Coleridge’s “The Eolian And then taking cue from there the paper Harp” (1796), Shelley’s “Ode to the West will thus elaborately discuss that how there Wind” (1820), Keats’s “Ode to a is exploration of such distorted subjectivity Nightingale” (1819) are such poems where and also how insight meets judgement, lyric speaker appear descriptive or mainly pertaining to two case studies: “My meditative and thus presents, Last Duchess” and “Porphyria’s Lover”. “… a determinate speaker in Dramatic monologue has its a particularized, and usually a influences from Romantic poetry like localized, outdoor setting, Tzvetan Todorov mentions in his ‘The whom we overhear as he carries on, in a Origin of Genres’, “a new genre is always fluent vernacular which the transformation of one or several old rises easily to a more formal speech, a genres: by inversion, by displacement, by sustained colloquy, sometimes combination” (161). This very line seems to with himself or with the outer scene, but support the study of development of more frequently with a silent dramatic monologue which is also the human auditor, present or absent”( Abrams, hybrid between lyric, drama and narrative 527-60) .As such it makes dramatic monologue as a transitional genre from the lyrical poetry of However, unlike in lyric poetry, the Romantic age and also a variation of later dramatic monologue foregoes the unitary modernist experimentations. So, the bond between the poet and the speaker. A Romantic lyric subjectivity often becomes break from the romantic poetry is visibly the direct expression of the poet’s feelings clear where there a clear line between the and thoughts. This give a situation where personal and subjective lyric. The focus is there is elevation and autobiographical mainly an attempt to establish a relationship identification of the lyric poet and thus between self and historical/social contexts. “gradually produces” an emotion, similar to Secondly, there is also a clear distinction the original in his mind (756). This further between the speaker’s character and that of allows the lyric speaker face the tragic loss the poet’s. It is the outpouring of the words wherein he either makes a moral decision, of the speaker that enables the or resolves an emotional problem. Thus ‘I’ listener/reader to perceive or get a moves inward by engaging with exteriority psychological insight of the speaker as well and thus finally subjecting the sameness of as his social nature. And this has been taken

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RESEARCH ARTICLE altogether to a new experimental form by to question the authority and value of the Robert Browning. Romantic egotistical sublime. Even though the speaker in the poem boasts of his desire As we move towards the next for knowledge yet there always remains a section of the development of the genre of gap where this poetic genius remains dramatic monologue, one will gradually “Existing as centre to all things/Most potent come to terms that how Robert Browning to create and rule” (NP, ND). In his has come up with his own recipe of distinct “Paracelsus”, Browning almost succeeded and perhaps own variation of the dramatic to maintain a distance from the central monologue form. A closer look at early speaker. This is successfully done by works of Browning, similar to that of introducing other speakers thereby reducing Alfred Tennyson will clearly associate that the speaker’s voice to one voice among his works are reflection of Victorian many. By doing this, he successfully concerns and uncertainties where the establishes a connection between the poet speaker become the mouthpiece of and the reader. This eventually reveals changing social conditions. Browning’s purpose as he mentions:

The confessional poem, “ Pauline: “It is certain. . . that a work A Fragment of a Confession” (1833), like mine depends more immediately [than Byronic closet drama in acted drama] on the intelligence “Paracelsus”(1835), Shakespearean tragedy and sympathy of the reader for its “ Strafford”(1837), epic narrative “ success—indeed were my Sordello”(1840) and even the closet drama, scenes stars it must be his co-operating narrative and lyric in “ Pippa Passes” fancy which, supplying all (1841)attempt to highlight various chasms, shall connect the scattered Victorian uncertainties. However, it is lights into a constellation—a Lyre or a Browning’s experimentation with the genre Crown” ( Woolford, which attempt to dissect the relation of the 55-75 ) In his next project “Sordello”, modern poet to the audience who is aware Browning appears to clearly forego the of “The vaunted influence poets have o’er authoritative coercive role of the poet. men”. This self-mocking statement of the However, there was failure in this shared speaker in Pauline also reveals Browning’s meaning making process. Perhaps he has concern over the tyrannical nature of poetic found that the real concern is not its imagination which “make/All bow obscure plot but rather its mediations on enslaved”. His “Pauline” can also serve as poetic authority. His onstage dramas like the first attempt of Browning who intends Strafford (1837), King Victor and King

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Charles (1842), The Return of the Druses different from the poet’s choice and (1843), A Blot in Scutcheon (1843), organization. Speakers are thus presented at Colombe’s Birthday (1844) all failed on the moments of their self-depiction and stage because they were deficient in action unconscious self-revelation. So this leaves and clarity. Perhaps the reason of such us with egoist, jealous, possessive Duke in failure is his interest more in subtle and “My Last Duchess” (1842), a jealous lover complex motivations of individual of Porphyria in “Porphyria’s Lover” (1842). character than dramatic action. This single We also have a failed painter in “Pictor pattern of Browning’s “incidents in the Ignotus” (1845) who suffers identity crisis. development of a soul” (772-787) merges The dying Bishop uses his final moments to with his famous thought of ‘Action in brood over his animosities and his petty character’ (Petch, 37) and finally finds its vanities in “The Bishop Orders His Tomb at way in his dramatic monologues. This again Saint Praxed’s Church” (1845). Roland is calls for the distinction between objective projected as an exhausted, lonely, impotent and subjective poet. In a letter to Elizabeth character in “Childe Roland to the Dark Barrett Browning, Robert Browning Tower Came” (1855). The crux of the mentions his intention of separating poet discussion here is to highlight that the nature from subjective to objective, “You speakers not only voices from outside but speak out, you, - I only make men & women from the inside as well. The double speak - give you truth broken into prismatic meaning of the speaker often reveals his hues, and fear the pure white light, even if state of loneliness, fearfulness, futile it is in me” (7). So, for Browning, aspirations and difficulties. Perhaps the subjective poet which is also a through main intention is to expose the distorted romantic ideal “ digs where he stands,- image of the speaker who finds it hard to preferring to seek them in his own soul as hold their complex status. And even Walter the nearest reflex of that absolute Mind, Bagehot in his essay “Wordsworth, according to the institutions of which he Tennyson, and Browning, or, Pure, ornate, desires to perceive and speak ” (King,138- and grotesque art in English poetry” (1864) 139).However, Browning opted to remain talks about the difficult speaker, awkward as objective poet as “one whose endeavour situations and even ugly elements in [was] to reproduce things external ( Browning’s poetry in contrast with the pure whether the phenomena of the scenic and ornate style of Wordsworth and universe, or the manifested action of the Tennyson. human heart and brain )” for the “ better Before moving further with the apprehension of his fellow men ” ( distorted subjectivity in Robert Browning’s King,137-139). So his speakers are way dramatic monologue let us first elaborate

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RESEARCH ARTICLE the distinction between the subjective poet Last Duchess ”, thwarted monk in “ and objective poet. A simple definition by Soliloquy of the Spanish Cloister” (1842), William A. Cohen (2009) might clear us subhuman reasoning of Caliban in “ with subjectivity as “literary writing [that] Caliban upon Setebos”(1864) and even gives voice to ideas about the delusional knight in “ Childe Roland to the correspondence between an interior self and Dark Tower Came”. The point is that how outer form, [and which] describes the subjectivity is influenced by own personal internal experience of the self” (6). He feelings, tastes and opinions so much so further adds “when interiority itself is taken that each individual is owner of his own as a subject of cultural studies, it is often choice, feelings and actions even it is treated merely as a synonym for against the prevailing norms of the society. subjectivity” (146). However, unlike a This ultimately lead the individual or the subjective writer who is mainly concerned speaker into a state of dilemma between the with the internal world of his own self interior self and outer representation to the rather than the external world of other extent that, “as if we all existed from birth people, an objective writer as Jacob Korg as separate, isolated individuals already (1977) says, “has a superior perception of containing ‘minds’ or ‘mentalities’ wholly externals and deals with them … in a way within ourselves, set over against a material that is accessible to a broad public, world itself devoid of any mental concerning himself with its response rather processes” (Shotter,136). This in turn than with the expression of his own results in exploring the disembodied and attitudes” (155). distorted world of subjectivity in its own individualistic way. Now taking cue from here, one can deduce that Browning’s chose to remain Robert Browning’s uniqueness lies objective but portrays his speaker as in the fact that he is shrewd enough to step subjective in nature where the speaker gives into the troubled mind of the speaker yet voice to his inner self. The point which detaches himself from the subject. This in makes it more remarkable is the individual turn facilitates the revelation of subjectivity identity which clashes with the prevailing of the speaker and thus disclosing the ironic system of belief and emotional needs. The mannerisms and motives of the speaker. individual mind and its workings are more The three mantras that he follows is prominently revealed under unbalanced “expose” (Armstrong, 13), “distance” state of mind and under awkward situations. (Knoepflmacher, 141), and “reveal” So this gives us mad lover in “Porphyria’s (Langbaum, 85). It helps to explore the way Lover”, egoist and jealous husband in “ My the individuals project their subjectivity

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RESEARCH ARTICLE which dwell in the world of dualisms. For The same tone is located in the irrational instance, the Duke in “My Last Duchess” lover of Porphyria in “Porphyria’s Lover”, reveal his desire to marry for the second where a working class man strangles his time yet he does not fail to show his woman of love to keep her truthful and egoism, vanity and jealousy. Even faithful. He reasonably justifies his act is to “Porphyria’s Lover” justifies the murder yet preserve her “Perfectly pure and good” there lurks the hint of complex and (37). Such irrational subjectivity leaves no jealousy. The purpose serves as ideal room for reciprocity. The primal focus of medium to serve the dark and distorted side both the speakers is the desire to possess of human nature. Browning achieves this by and control. Psychopath Duke and madman revealing a number of ways in the Porphyria’s lover indeed reveal the exploration of such grisly image of alienated and disarrayed minds. individuals. Hence, will deal with mainly Secondly, Browning explores the two Dramatic monologues “ Porphyria’s motivation and also the state of mind. A Lover” and “ My Last Duchess” where we closer study of the dramatic monologues will get know that how Browning explore will reflect that the evil in all develop in the distorted mind through a number of similar minds with similar motivation. ways. Interestingly, this is often revealed through Firstly, Browning attempts to the speaker’s own words. It is while explore the irrational state of mind of the displaying the flaws and faults of other speakers. This means that the dramatic people they in turn divulge their own cruel monologues reveal the disturbed and intentions. However, this happens exactly alienated minds of the speakers, here; Duke to the speaker’s own intentions. Duke, even and Porphyria’s lover. Here, both the though he possess as a dominating strength speakers do not hesitate and regret the cold of will yet he does not fail to reveal his blooded murders of the live women and narcissist and insecure state of his own self- thus turn them into a dead object. Duke in image- “nine-hundred- years-old name” “My last Duchess” reasons with, (33). Duke’s assertion of his wife’s “…As if she ranked infidelity -“her looks went everywhere” My gift of a nine-hundred- (24) somersault back again on Duke’s years -old name actual motive. He in a way prefers his With anybody’s gift. Who’d Duchess to live, love, laugh and have “that stoop to blame spot of joy” in “Her Husband’s presence This sort of trifling? ...” (32- only” (14-15). Similarly, we have 35) Porphyria’s lover whose intentions are equally devastating in nature. Story of a

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RESEARCH ARTICLE rich girl in love with poor guy takes a twisted turn by the speaker’s complex and Robert Browning’s Dramatic imbalance state of mind which cooks up monologues replete with jealous husbands, with jealousy, insecurity, and fear to lose murderers, mean, manipulative, sadistic his beloved. ‘Porphyria worshipped me’ is characters. This is pretty interesting perhaps not enough so much so that his ‘his because all information about the speaker heart swell’ and ‘debated what to do’. comes from the speaker himself. It is also Consequently, in order to preserve her ‘ important to realize that it is also through blue eyes’, ‘ blush’, ‘ smooth white the speakers one comes to know about the shoulder’, ‘yellow hair’, the lover find it apt speaker’s personalities where some appear to ‘wound Three times her little throat accurate and some under suspicion. This in around and strangled her’ (32-40). This turn puts the speaker under the scanner of incidence also complements Duke’s action ‘unreliable’ narrator. Point to note is that which further determines a common thread the speakers are here to justify their own set of jealousy, control, possessiveness, of actions which in turn reveal the inferiority complex between the two states villainous nature of the speakers. of mind. It is thus striking to note that both Throughout “My Last Duchess”, it is Duke the speakers may be irrational yet are very who indirectly informs the reader about much stable. Porphyria’s lover and Duke, himself which is distorted in every possible both are well aware of what they are doing, ways: what they did and what they are speaking. “…She liked whate’er The question is Porphyria’s lover is lunatic She looked on, and her looks but is he evil? Is it not his sin of jealousy went everywhere. which caused him to kill his lover? Duke in … She thanked men-good! “My Last Duchess” is again altogether on a But thanked different scale. He is both sane and evil at Somehow-I know not how- the same time. Browning portrays him as as if she ranked one character who is undoubtedly alienated My gift of a nine-hundred- yet he does not confess his cruelty, vanity years-old name and also murder of his own wife. This With anybody’s gift. Who’d reminds Gardner’s comment that the Duke stoop to blame is “ monomaniacal sociopath” (36) who is This sort of trifling? ...” (23- motivated by his extreme jealousy towards 35) his wife and also by his intense desire to The Duke keeps complaining and pointing control her actions and behaviour so much out the flaws of his wife. But on the flip so the defiance puts his wife to death. side it is the Duke and his jealous, distorted

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RESEARCH ARTICLE mentality which forbids even his wife’s be by an act of insanity or pure wickedness. love for inanimate objects. Everything that And even if he is insane then it is his his wife loves is a sight of disgrace for the irrational, disturbed mind which made him Duke. His unpleasant traits and disliking to choose evil. The Duke and Porphyria’s towards wife’s charming attitude compels lover display their inefficiency to tolerate him to take dire action of silencing his wife goodness, love and faith. And this is only forever, possible when one stops thinking rationally “I gave commands/ Then all and is dominated by own selfish concerns. smiles stopped together” (45-46) And this is further sought by distorted Even the similar attitude is observed in subjectivity in a world of moral Porphyria’s lover who is no saint. He is a ambivalence. The discussion until now murderer who is either insane or like Duke mainly caters to distorted subjectivity a cold blood murderer. Yet, the unnamed which is aberrant and socially marginal. All lover does not fail to justify his actions, the perverse attributes of jealousy, hatred, “That moment she was mine, murder, madness, failure reveal the mine fair, speaker’s true self. This in turn gives ample Perfectly pure and room to the readers to confront and also good: I found reveal the speaker’s distorted subjectivity. A thing to do, and all her The second part of the discussion hair will try to establish that how the two In one long yellow factors- insight and judgement are always string I wound crossing their paths. Firstly, a closer look at Three times her little “My Last Duchess” and “ Porphyria’s throat around Lover” might not leave one surprised that And strangled her. No pain the speakers are in fact having a clear, deep felt she; understanding of their stated complicated I am quite sure she problem or situation. The Duke and felt no pain” (36-42) Porphyria’s lover desire to possess the lover whom they choose to kill. This in turn gives And now a glance at the line them both the motive and solution to their interestingly raises a question. How can he situation. It primarily occurs by preserving be so sure that she felt no pain? Is it not the the moment where they feel ‘she’ sense of betrayal, betrayal of true love and completely surrenders. In Duke’s case, wife trust put to end in those ‘three times’? This is killed and her portrait is hung across the at once establishes the speaker as one who wall behind the curtain; a curtain rose only exhibit intense obsession which can either with due permission from the Duke himself.

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And in “Porphyria’s Lover”, the lover finds condition of speaker’s insight and Porphyria ‘happy and proud’ (32) and thus judgement. To what extent Duke’s let accept her fate by strangling with her silencing his wife and Lover sealing the own lock of hair. Both the act seems love of Porphyria forever is justifiable “culminating expression’ of the speaker’s remains a controversial question. Speakers love for her, in an attempt to ‘preserve find their actions best suited for their lovers unchanged the perfect moment of her but if looked from reader’s perspective they surrender to him” (Langbaum, 88). project themselves only as evil and mean However, there arises the complex situation minded personalities. So, even though of reader who finds speaker as unreliable women are dead, their portrait or body narrator. Thereby, speaker’s justifications doses no fail to make judgments among apparently fail to dominate reader’s logical people where the human perception can reasoning and their insight and judgments. never be restored to whiteness. So, the use So, the readers may find Duke as egoist and of irony creates a complex position between jealous husband while Porphyria’s lover insight and judgment on both sides of seems to be driven by insanity coupled with speaker and reader/listener. On one side, inferiority complex and jealousy. Second the reader/listener incessantly is drawn emphasis is on the speaker’s ability to towards speaker’s mindset, own world subject the listener towards his own logical where speaker’s insight meets his reasoning. That means the only way to proclaimed judgment. Yet again, on the understand, interpret and judge speaker’s other side the irony distance the nature of subjectivity is through the speaker reader/listener away from the speaker and himself. Both the discussed dramatic thus renders judgment of the speaker from monologues mention their actions and their own critical insight. That makes emotions. And this expression is in a elegant, strong willed, sophisticated Duke retrospective manner where they retell in turn into egoist, possessive and jealous calm and chronological manner the events husband. This same criticality turns an that led the Duke and Porphyria’s lover kill ardent lover into insane and disturbed Duchess and Porphyria respectively. This individual. So when Duke tells us of his again brings back to the speaker’s dominion reasonableness, we see his irrationality; over his narrative which always downplays while he implies generosity to his first wife, their concept of insight and judgments. And we see his blind desire to control another with this one can also relate the use of irony human being within the confines of his own in Browning’s dramatic monologues. In this will. context of discussion, “My Last Duchess” As we come to the concluding and “Porphyria’s Lover” project the ironical section, there are certain key points that can

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RESEARCH ARTICLE add more scores to the researched area. A References: situation of ambiguousness is established at the premise of the insight where it meets  Abrams, M.H. A Glossary of judgement while exploring the distorted Literary Terms. New York: Holt, subjectivity within dramatic monologues of 1957. Print Robert Browning. If one looks closely,  -----. “Structure and Style in the there is the factor of realization that self’s Greater Romantic Lyric.” From perception time is transformed; that is the Sensibility to Romanticism: future or present in the poem is simply o Essays Presented to portrayed as infinite duplication of past. Frederick A. Pottle. Ed. This is turn perhaps ironically brings to Frederick W. Hilles and surface the fractured self which otherwise Harold Bloom. create a horrific profundity that the self o New York: Oxford UP, finds it impossible to contain. The 1965. 527-60. Print distinction between past self and present  Armstrong, Isobel. Victorian self consciously or unconsciously reveals as Poetry: Poetry, Poetics and Politics. irrevocable breach. So this again leaves us London: Routledge, 1993. Print again with two questions; whether the  Bagehot, Walter. “Wordsworth, current self is still caught in the past? As we Tennyson, and Browning, or, Pure, see that how the Duke is still haunted by the ornate, and grotesque art in gaze of his last dead Duchess through her English poetry”. National review. portrait across the wall. Question also arises New series, v. 1 (November 1864) that whether repetitious past ever bygone pp.27-67. Print from the present? Perhaps, this can be  Bergman, David. “Browning's observed as self which is either evolving or Monologues and the Development devolving in Duke’s the loss of ‘900 years of the Soul.” ELH, vol. 47, no. 4, old name’ (33) and in Porphyria’s lover. It 1980, pp. 772–787. Web. appears that this premonition; feeling of elude the speaker to their irrational logic  Browning, Robert. “Pauline: A where the character of Browning is pit Fragment of a Confession”. against a situation and which also demand NP.1833: Web. that the character fight for psychological

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 --- “Porphyria’s Lover”. NP.1836:  Korg, Jacob. Browning's Art and Web. Print  --- “My Last Duchess”. NP.1842:  Langbaum, Robert. The Poetry of Web. Tradition. New York: Norton,  Cohen, W. A. Embodied: Victorian 1957. Print. Literature and the Senses.  Petch, Simon. “Character and Minneapolis, MN: University of Voice in the Poetry of Minnesota Press, 2009. Print Browning”. Sydney Studies in  Gardner. Kevin J. John Betjeman's English. Sydney. Vol.10, 1984, "Bristol and Clifton": Echoes of pp.33- Robert Browning's "My Last 50.,Web.. Reviews, 19:3, 35-38, 2006. DOA: 5 Aug.2020. Web.DOI: <10.3200/ANQQ.19.3.35  Robert Browning: The Critical -38> Heritage. Ed. Litzinger, Boyd.  Garratt, Robert F. "Browning's Donald Smalley. London and New Dramatic Monologue: The Strategy York: Routledge, 1968. Pr of the Double Mask." Victorian Poetry 11 (1973): 115-25. Print  Hawli, Stefan. The Complete Critical Guide to Robert Browning. London and New York: Routledge, 2002. Print.  Knoepflmacher, U.C. “Projection and the Female Other: Romanticism, Browning, and the Victorian Dramatic Monologue.” Victorian Poetry 22.2 (1984): 139-159. Print

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 Shotter, John. “The Role of the  Todorov, Tzvetan, and Richard M. Imaginary in the making of social Berrong. “The Origin of life”. Ed. T. Ibanez Gracia. Genres.” New Literary History, Barcelona: Sendai Ediciones vol. 8, no. 1, 1976, pp. 159– 15 July.1987. 170. JSTOR. Web. < . _imaginary_i  Victorian Poetry and Prose.Ed. n_the_making_of_social_lif Lionel Trilling and Harold Bloom. e DOA. 2 Aug. 2020> New York: Oxford University  The Complete Works of Robert Press, 1973. pp. 492-4. Print Browning: with variant readings &  Woolford. John, Daniel O'Gorman. annotations. Ed. Roma A. “The Problem of Form”. Browning King; Jack W Herring. Athens: the Revisionary. UK: Palgrave Ohio University Press, 1969. Print. Macmillan, 1988. Pp.55-75. Print  The Letters Robert Browning and  Wordsworth, William. Lyrical Elizabeth Barrett Barrett 1845- Ballads, and Other Poems, 1797- 1846. Ed. Elvan Kinter. Harvard: 1800. Eds. James Butler and Karen Harvard University Press, 1969. I.7. Green. Ithaca, NY: Cornell, 1992. Print Print