text.skipToContent text.skipToNavigation
background-image

Porphyria's Lover (Unabridged) A Psychological Poem from one of the most important Victorian poets and playwrights, regarded as a sage and philosopher-poet, known for My Last Duchess, The Pied Piper of Hamelin, Paracelsus... von Browning, Robert (eBook)

  • Erscheinungsdatum: 07.05.2015
  • Verlag: e-artnow
eBook (ePUB)
0,49 €
inkl. gesetzl. MwSt.
Sofort per Download lieferbar

Online verfügbar

Porphyria's Lover (Unabridged)

This carefully crafted ebook: 'Porphyria's Lover (Unabridged)' is formatted for your eReader with a functional and detailed table of contents. 'Porphyria's Lover' is Browning's first ever short dramatic monologue, and also the first of his poems to examine abnormal psychology. In the poem, a man strangles his lover - Porphyria - with her hair. Porphyria's lover then talks of the corpse's blue eyes, golden hair, and describes the feeling of perfect happiness the murder gives him. Although he winds her hair around her throat 3 times to throttle her, the woman never cries out. The poem uses a somewhat unusual rhyme scheme: A,B,A,B,B, the final repetition bringing each stanza to a heavy rest. Robert Browning (1812-1889) was an English poet and playwright whose mastery of dramatic verse, and in particular the dramatic monologue, made him one of the foremost Victorian poets. His poems are known for their irony, characterization, dark humor, social commentary, historical settings, and challenging vocabulary and syntax. The speakers in his poems are often musicians or painters whose work functions as a metaphor for poetry.

Produktinformationen

    Format: ePUB
    Kopierschutz: watermark
    Seitenzahl: 85
    Erscheinungsdatum: 07.05.2015
    Sprache: Englisch
    ISBN: 9788026836452
    Verlag: e-artnow
    Größe: 469 kBytes
Weiterlesen weniger lesen

Porphyria's Lover (Unabridged)

CHAPTER II

EARLY WORKS
Table of Contents

In 1840 Sordello was published. Its reception by the great majority of readers, including some of the ablest men of the time, was a reception of a kind probably unknown in the rest of literary history, a reception that was neither praise nor blame. It was perhaps best expressed by Carlyle, who wrote to say that his wife had read Sordello with great interest, and wished to know whether Sordello was a man, or a city, or a book. Better known, of course, is the story of Tennyson, who said that the first line of the poem -

"Who will, may hear Sordello's story told,"

and the last line -

"Who would, has heard Sordello's story told,"

were the only two lines in the poem that he understood, and they were lies.

Perhaps the best story, however, of all the cycle of Sordello legends is that which is related of Douglas Jerrold. He was recovering from an illness; and having obtained permission for the first time to read a little during the day, he picked up a book from a pile beside the bed and began Sordello . No sooner had he done so than he turned deadly pale, put down the book, and said, "My God! I'm an idiot. My health is restored, but my mind's gone. I can't understand two consecutive lines of an English poem." He then summoned his family and silently gave the book into their hands, asking for their opinion on the poem; and as the shadow of perplexity gradually passed over their faces, he heaved a sigh of relief and went to sleep. These stories, whether accurate or no, do undoubtedly represent the very peculiar reception accorded to Sordello , a reception which, as I have said, bears no resemblance whatever to anything in the way of eulogy or condemnation that had ever been accorded to a work of art before. There had been authors whom it was fashionable to boast of admiring and authors whom it was fashionable to boast of despising; but with Sordello enters into literary history the Browning of popular badinage, the author whom it is fashionable to boast of not understanding.

Putting aside for the moment the literary qualities which are to be found in the poem, when it becomes intelligible, there is one question very relevant to the fame and character of Browning which is raised by Sordello when it is considered, as most people consider it, as hopelessly unintelligible. It really throws some light upon the reason of Browning's obscurity. The ordinary theory of Browning's obscurity is to the effect that it was a piece of intellectual vanity indulged in more and more insolently as his years and fame increased. There are at least two very decisive objections to this popular explanation. In the first place, it must emphatically be said for Browning that in all the numerous records and impressions of him throughout his long and very public life, there is not one iota of evidence that he was a man who was intellectually vain. The evidence is entirely the other way. He was vain of many things, of his physical health, for example, and even more of the physical health which he contrived to bestow for a certain period upon his wife. From the records of his early dandyism, his flowing hair and his lemon-coloured gloves, it is probable enough that he was vain of his good looks. He was vain of his masculinity, his knowledge of the world, and he was, I fancy, decidedly vain of his prejudices, even, it might be said, vain of being vain of them. But everything is against the idea that he was much in the habit of thinking of himself in his intellectual aspect. In the matter of conversation, for example, some people who liked him found him genial, talkative, anecdota

Weiterlesen weniger lesen

Kundenbewertungen