Professional Documents
Culture Documents
Agricultural/trade flourished
Economic prosperity/improving conditions in factories
Religious controversy and conflict between religion and science Origin of Species 1859 published
by Charles Darwin; cause of serious anxiety and conflict
Growth of materialism
Browning (1812-1889)
Formally educated by bank clerk father w/his extensive library and religious mother had some
boarding school exp. Primarily educated at home.
Extremely well-read and esoteric (brilliant mind)
Admired works of Percy Blythe Shelley from age 14 became an atheist and liberal
Love affair w/poet Elizabeth Barrett who was 6 years older, semi invalid, already renowned, and whose
father hated Browning.
Poetry
Reader is silent listener complete the dramatic scene by inference and imagination. Speaker is often
argumentative in tone.
Dramatic monologue (compared to joining of lyrical and ballad with Wordsworths lyrical ballads.
Browning joins drama lyric); speaker is separate from the poet (views presented by speaker are not
poets own thoughts). The speakers voice is not reliable. In Brownings poems, more is revealed
about the speaker than intended to know. Browning was concerned with the hypocrisy of the
church/government in Victorian period. He loved being in love, like Keats; nothing better than love.
Reader works through the words of the speaker to discover meaning of poem. E.g. the reader can infer
what sort of woman the duchess really was, and what sort of man the duke is, and may also infer what
the poet himself thinks of the speaker he has created. Meaning in this poem, results from the readers
reconstruction of a story quite different from the one the duke thinks he is telling.
Respectability 1852
By the title of the poem is meant respectability according to the standard of the beau monde (world of high
society and fashion). The speaker is a woman as is indicated in the third stanza. The monologue is addressed to
her lover. In this poem Browning gives us a more vulgar, but none the less vital aspect of love. This is no
peaceful harmony, this scene is set on a windy, rainy night in Paris. Two reckless lovers either two old
acquaintances or picked up on that night (it doesnt matter which) come tripping along gaily arm in arm. The
man chaffs at the worldly conventions, at the dullness of society, at the hypocrisy of the so called respectable
people, and congratulates himself and his companion on the fun they are having. What fools theyd been if they
waited through a long formal courtship for the sanction of a expensive marriage. The world he says does not
forbid kisses, only it says you must see the magistrate first. My finger must not touch your soft lips until it is
covered by the glove of marriage. Bah! What do we care for the worlds good word! At this moment they
reach the lighted windows of the institute and glance inside to see highly proper but terribly tedious company.
Inside they see the hypocritical Guizot compelled by political exigency to shake hands with his enemy
Montalembert. Continue the faade until they get beyond the light of the lampions.
Stanza one - shows that they have disregarded the conventionalities of the beau monde. Had they conformed to
them many precious months and years would have passed before they found out the world, and what it fears.
One cannot well judge of any state of things while in it. It must be looked at from the outside.
Stanza two the idea is repeated in a more special form in the first four lines of the stanza; and in the last four
their own non-conventional and Bohemian life is indicated.
Stanza three lines1-4: the speaker knows that this beau monde does not proscribe love, provided it be in
accordance with the proprieties which it has determined upon and established. Verse 5: the worlds good
word! a contemptuous exclamation : whats the worlds good word worth? the Institute! (the reference is to
the French institute), the Institute! with all its authoritative, dictatorial learnedness!
Lines 22: Guizot and Montalembert were both members of the Institute, and being thus in the same boat,
Guizot conventionally receives Montalembert.
Lines 7 & 8: these two unconventional Bohemian lovers, strolling together at night, at their own sweet will, see
down the court along which they are strolling, three lampions flare, which indicate some big place or other
where the repectables do congregate; and the woman says to her companion, with a humorous sarcasm Put
forward your best foot! that is, we must be very correct passing along here in this brilliant light.
the Institute a building in Paris which the lovers are approaching in their walk. The speaker is reminded
that at a meeting of the French Academy, held in the Institute, occurred a glaring instance of the hypocrisy
which he thinks is characteristic of all social relations. In 1852, Francois Guizot had delivered a flowery speech
of welcome in honor of Charles Montalembert, an author whom Guizot at heart despised. lampions
ornamental lamps illuminating the courtyard of the Institute.
Form
3, 8 line stanzas. Rhyme Scheme ABBACDDC. The poem uses alternating 7 lines of iambic tetrameter with
one line of iambic trimeter.
Rhyme Scheme
Use of end rhyme as well as internal rhyme (line 14, rain and Seine, and line 6 passd and fast.
Themes
Challenging rules and expectations. Social relations are filled with hypocrisy. The world wastes time through
rigid rules.
Language
To support the setting France.
Punctuation
At the end of each stanza there is the use of a question and then finally an exclamation (which would
show the speakers position of putting on a faade).
Enjambment, caesuras.
Imagery:
Night/dark, warmth/light
Sensuous imagery fingers to caress your lips.
Tone
Sarcastic in the words of the lover to her companion
Common Ideas in Brownings Work
Concept of propriety Putting on a facade
Perhaps most importantly, the speaker describes a bargain he would make with Satan to hurt Lawrence. The
speaker claims he could make such a bargain that Satan would believe he was getting the speaker's soul when in
fact a loophole would let the speaker escape. The paradox here is that making any sort of bargain with the devil
to the disadvantage of another, whether one tricks Satan in the end or not, must necessarily involve the loss of
one's soul: the very act of making such a treacherous bargain constitutes a mortal sin. No one could admire this
speaker's moral dissolution; yet he represents a merely thinly veiled version of people whose public characters
are very much admired--the moralists and preachers of Browning's day. Browning exposes such people's
hypocrisy and essential immorality. There is a faade where the internal nature of the speaker is opposite of
his external look. Outwardly, the speaker follows propriety (e.g. line 38 drinking watered orange-pulpin
three sips the Arian frustrate; while he drains his at one gulp!) The reader must decide on the reliability of the
speaker.
Form
The poem comprises nine, eight-line stanzas, each rhyming ABABCDCD. The lines fall roughly into tetrameter,
although with some irregularities. Browning makes ample use of the conventions of spoken language, including
nonverbal sounds ("Gr-r-r-") and colloquial language ("Hell dry you up with its flames!"). Many of the later
dramatic monologues dispense with rhyme altogether, but this poem retains it, perhaps to suggest the speaker's
self-righteousness and careful adherence to tradition and formal convention.
Because the speaker here is talking to himself, the poem is not technically a dramatic monologue as so many of
Browning's poems are; rather, it is, as its title suggests, a "soliloquy" (even though it is a freestanding poem, and
not a speech from a play). Nevertheless it shares many of the features of the dramatic monologues: an interest in
sketching out a character, an attention to aestheticizing detail, and an implied commentary on morality.
Themes
Critical of religions hypocrisy
Behind righteousness, often lurks self-righteousness and corruption
Language
Informal language/related to setting of monastery salve tibi, Arian - a follower of the doctrine of Arius, a
presbyter of Alexandria in the 4th century, who denied the divinity of Christ and hence (implicitly)
denied the Trinity. His opinions were embraced by large sections of Christendom, and the dissensions by which
the church was rent lasted for nearly a century, Manichee - An adherent of a religious system widely accepted
from the third to the fifth century, composed of Gnostic Christian, Mazdean and pagan elements, Belial - The
spirit of evil personified; used from early times as a name for the Devil or one of the fiends, and by Milton as
the name of one of the fallen angels.
Insulting language swine, etc.
Irreverent language - of speaker (praying and cursing under same breath) which presents irony
Symbolism
Garden = Brother Lawrence
Knife and fork = Cross
One gulp = gluttony (one of the 7 deadly sins)
Good and evil (characters of Brother Lawrence and the speaker)
Biblical Allusions
Religion, monks, Brother Lawrence, Galatians, Satan, holy trinity (use of 3), prayers e.g. Plena Gratia, Ave,
Virgo, etc.
Imagery
Dark Hell (wishes for damnation on Brother Lawrence) Give ones soul to Satan
Tone
Critical/jealous/bitter/hateful (can influence the reader to see the theme of hypocrisy)
Irony
Summary: First published in volume I of Men and Women, 1855, in fourteen six-line stanzas; changed
to present seven twelve-line stanzas in 1863. Written in January 1852. There has been much learned
and irrelevant argument about the supposed location of the ruin Browning is describing. The ruins
may be those of such cities as Babylon, or Nineveh or one of the Etruscan cities of Italy. The speaker,
overlooking a pasture where sheep graze, recalls that once a great ancient city, his country's capital,
stood there. After spending four stanzas describing the beauty and grandeur of the ancient city, the
speaker says that "a girl with eager eyes and yellow hair/Waits me there", and that "she looks now,
breathless, dumb/Till I come." The speaker, after musing further on the glory of the city and thinking
of how he will greet his lover, closes by rejecting the majesty of the old capital and preferring instead
his love:
Oh heart! oh blood that freezes, blood that burns!
Earth's returns
For whole centuries of folly, noise and sin!
Shut them in,
With their triumphs and their glories and the rest!
Love is best.
In stanza I: presents two settings. Speaker is introduced, tone is slow and dreary. In Stanza II: present
time of the ruins and what it used to be like. Passage of time through nature. Stanza III: Begins with a
sarcastic tone, and shows nature overtaking the city. Stanza IV: Evilness of city is overtaken by
nature. Urgency pace quickens. Stanza V: tone changes disappointed of vision of city and its sin,
with lover disappointed of vision. The girl presented is part of city personified characterization eager
eye, yellow hair same as images as city of gold. Stanza VI: poem speeds up, city vision comes back.
Stanza VII: Chaos, prepares for war- sarcasm (in full forceGold of course sin of glory city;
city versus country, sin versus goodness, reveals theme dismissal of conventional views.
Form
Browning here employs an unusual structure of rhyming couplets in which long lines are paired with
short lines of three syllables. AABB rhyme scheme. This may be related to the theme of the poem, a
comparison between love and material glory. The speaker, overlooking a pasture where sheep graze,
recalls that once a great ancient city, his country's capital, stood there. After spending four stanzas
describing the beauty and grandeur of the ancient city, the speaker says that "a girl with eager eyes and
yellow hair/Waits me there", and that "she looks now, breathless, dumb/Till I come." The speaker, after
musing further on the glory of the city and thinking of how he will greet his lover, closes by rejecting
the majesty of the old capital and preferring instead his love:
The unusual stanza used in this poem was invented by Browning. The contrast between past and present, which
is the core of the poem, is reinforced by devoting one half of each stanza to the past and the other to the present.
Themes
Love is best/better than material glory.
Dismissal of conventional views
Motifs
Glory/shame/love
Imagery
Metal/gold/bright
Wicked city/pure country
Paradoxes
Battle: who wins? How victor period typical? dismissing conventions.
Irony
Title provides irony
Tone
Sarcastic
Common Ideas in Brownings Work
Dismissal of conventional views
personality and psyche, knowingly or unknowingly. The main focus of a dramatic monologue is this personal
information, not the topic which the speaker happens to be discussing.
Themes
Faade of the Victorian period looks not feelings (would the envoy who is not a member of the upper
class report back truthfully to his employer it would mean death for her.)
The theme is the arrogant, authoritarian mindset of a proud Renaissance duke. In this respect, the more
important portrait in the poem is the one the duke "paints" of himself with his words.
Repression of female sexuality
Punctuation
Caesuras - Use of dramatic pausespretends hes struggling with words, but characterizes him as
conniving/pretending.
Enjambment to keep the subject matter moving/to heighten the content.
Imagery
Figurative Language: metaphor the insignificance of sea-horse for Duke and Duchess.
Descriptive Language: visual fruit imagery
Symbolism
Painting = girl as an object to him
Curtain = controlling the Duchess (he could hide the painting) ironically in life he couldnt control the Duchess
and her feelings
Statue of Neptune = taming the girl in death (even though he couldnt in real life).
Language
Sensuous/Elevated to show intelligence and his arrogance/
Tone
Arrogant/Casual (discussing her death) which is understated/Sarcastic
Mood
Sad as he valued her so little and she was good at heart.
Juxtaposition
Duke and Duchess as characters (good and evil/free spirited and controlling) The Duke is arrogant, name
dropper, socialite, materialistic, jealous while the Duchess was happy with the simple things, pleased by anyone
flush in cheek, too soon made glad, and nature (cherries, orchard)
Irony
That the Duke appears to be so intelligent, well spoken and such a good catch, yet after listening to his own
ramblings that he reveals he is a murderer.
Allusions
Neptune which functions as a symbol.
Common Ideas in Brownings Work
The reader finds out more about the speaker than originally thought
Comments on societal faade
Critical statements on society the Page embodies society. As he is trying to further his position he will most
likely not reveal what he knows about the Duke to his employer. He wont do the right thing.