Analysis Of The Poem ' Porphyria 's Lover '

communicates two interpretations concerning Both poems describe the behavior of people who are in loving, romantic relationships. There are several aspects common in both poems. Using the literary technique of dramatic dialogue, the author reveals the plot and central idea of each poem. Robert Browning tells each poetic story through a single speaker. Both poems reveal an account in which the admirer kills the object of his love. This paper will compare and contrast the following characteristics: the setting, the speaker, the mood and tone, and theme found "My

With so much poetry coming out of Britain it can be hard for any of it to stand out from the rest, but “Porphyria’s Lover” by Robert Browning and “A Poison Tree” by William Blake manage to stand out from other poems. These two poems differ in structure, writing style, and voice but both have something that sticks them out from the rest; murderers without a moral compass. While murder isn’t new to poetry it is rare to find it as nonchalant as it is in these two poems. These killers were not killing just because they hated their victims; they were killing because they could and the fact that a life was ended meant nothing to them. This is why these poems stick out from the rest.

The loss of a loved one is perhaps the most difficult experience that humans ever come up against. The poem Porphyria’s Lover, written by Robert Browning, adds a sense of irony to this. At the most superficial layer, the speaker’s in both Porphyria’s Lover and Neutral Tones, written by Thomas hardy, both deal with loss. The tones in Neutral Tones seem to be indifferent, or Neutral. Porphyria’s Lover speaker ends up murdering his beloved at the end the poem. While this isn’t the case with the speaker in Neutral Tones, the two speakers are much more similar than we might think. The speaker in Neutral Tones doesn’t outright murder his lover, but there is a considerable amount of disdain and contempt towards his supposed lover. The speaker in Porphyria’s Lover is quite obviously a disturbed man, the sinister nature of the speaker in Neutral Tones, however, is not as clear. Delving further into this idea, I will also discuss other obscure parallels throughout the two poems.

Robert Browning uses descriptive details to portray a theme of how darkness rises from warmth and happiness by showing us on how a man’s love for someone makes him turn to savagery. The narrator of the poem has very deep feelings for his lover, but he only thinks of himself and he never wants the girl to leave his side so he does the unthinkable. In the times that the girl was not home or was not with the narrator then there was coldness and darkness, but when she was with the man then the house would “blaze up, and all the cottage warm”. She created hope and the narrator needed that constantly, so he realized that his love was too strong to put on hold everyday when she would leave. The fact that the narrator had to watch his lover leave everyday

look at but he feels as if the Duchess takes him for granted and she

In Robert Browning's dramatic monologue, "Porphyria's Lover," the love-stricken frustrations of a nameless speaker end in a passionate, annihilating response to society's scrutiny towards human sensuality. Cleverly juxtaposing Porphyria's innocent femininity and her sexual transgression, Browning succeeds in displaying society's contradictory embrace of morality next to its rejection of sensual pleasure. In an ironically tranquil domestic setting, warm comfort and affection come to reveal burning emotional perversions within confining social structures. The speaker's violent display of passion ends not with external condemnation, but with the matter-of-fact sense of

The structure in 'Porphyria's Lover' is a mirrored structure as the first half of the poem (before her death) Porphyria is more dominant while after her death the narrator becomes more dominant reflecting the patriarchal society. This shows the dominance in their relationship, which contradict to the patriarchal society. Porphyria's gestures 'she kneeled', 'withdrew the dripping clock', 'let her damp hair fall' hints that she is flaunting her sexuality which controverts to how women where in the Victorian Times.

In Robert Browning’s poem Porphyria’s lover, the narrator killed his lover to remain in his love forever. There are two main characters in this poem: the female character, Porphyria, and her lover. Her lover is low class while Porphyria comes from a decent family. Because of this difference of social class, Porphyria could not give up her, everything for her love; however, she came to see her lover one night and confessed her love to him.

The speaker refers to himself only as, “Porphyria’s Lover,” describing himself only through his relationship with Porphyria as if she was his all. The effects of this obsession are also implied through the name of the titular character, as Porphyria is also the name of a medical condition which causes madness. By doing this Browning subtly introduces the idea that the speaker will be driven insane by his fixation on Porphyria. Likewise In line five, the reader gets a clear indication of the speaker’s infatuation with Porphyria. He sits alone in the house, has not lit a fire or prepared in any way for her arrival.

Robert Browning, the man whose mastery of the dramatic monologue made him one of the best Victorian poets, opens his poem “Porphyria’s Love” with a thrilling, yet romantic tone that leaves the reader with skeptical question. After Porphyria gets all settled from being outside in the rain storm, she begins to remove her wet clothing. Beginning to transition into modern style, the narrator states;

Agnes is one of Keats’s best-loved works or it is a celebration of romantic love. Here Keats represents himself somewhere in the form of the narrator and somewhere in the character of Porphyro. The main characters Madeline and Porphyro who achieve their secret love and boldly escape from the decaying castle are associated with Keats and Fanny Brawne. Keats shows the superstition connection with St. Agnes’ Eve invites the emotional warmth of his happy lover Fanny Brawne. The character of Porphyro is compared with Keats’ feelings and also his expression of ambivalence toward women. No other poet of the Romantic period seems to have been influenced so deeply by a woman than Keats. It is his love for Fanny Brawne that inspires him to write much of his poetry after December of 1818. John Middleton Murry writes in the same year, “If the crude equation be taken with enough imaginative margins, we may say that Madeline is Fanny and Keats Porphyro” and The Eve of St. Agnes was the first poem in which Keats was inspired by his love for Fanny Brawne”. Similarly, Murry also says that not only in The Eve of St. Agnes but also in Lamia “Keats is Lycius, Fanny Brawne is the Lamia, and Apollonius is Charles Brown the realist, trying to break Fanny's spell over Keats by insisting upon her as the female animal. The identification seems transparent” (Stillinger, 1999, p.

“Storm Warnings,” true to its literal subject matter, possesses flowy sweeping syntax created by the strategic use of commas and phrasing to draw parallels between the physical oncoming winds and the gales of life. The author crafts a long run-on sentence that spans the first stanza and carries on into the latter portion of the second to mirror the continuous flowing of windy weather and the forward motion of life. Once the speaker notices the brewing storm, they “walk from window to closed window, watching boughs strain against the sky.” In this portion of the affromented run-on sentence, alliteration, rhythm, and the repetition of words all contribute to the impression of movement. The various “w” sounds at the beginnings of words and the repetition of the word “window” create a sensation of continuously flowing forward, especially when read aloud; the comma adds a small swirling pause to the rhythm, which is then soon after resumed with the word “watching.” Just as the poem rhythmically moves forward with its long phrases connected with frequent commas, so must life carry on with each additional experience, whether it be misfortunes or joys. The elongated syntax allows all these elements to work together within sentences to highlight the similarities between physical storms and emotional struggle and to stress the inevitability of predicaments in life.

During the nineteenth century people were under a strict patriarchal rule, especially the women. In those times, women were seen as ornaments “a momentary toy of passion” to the society and properties to be traded within marriage, therefore, Victorian moralists repressed female sexuality. As a result, for a woman to admit she even had sexual desires was considered sinful, let alone acting on those desires - like Porphyria did - was borderline criminal. Moreover, when Porphyria “glided in” she “untied her hat and let her damp hair fall”. Victorian moralists referred to female fornicators as ‘fallen’ women. Additionally, committing adultery was also a sin as it went against one of the Ten Commandments “Thou shall not commit adultery”, therefore, Porphyria ‘letting her hair fall’ could symbolise the boundaries she had willingly chosen to overstep by coming to meet her lover.

A Comparison of the Dramatic Monologues of Porphyria's Lover and My Last Duchess by Robert Browning