Dramatic Monologue In Porphyria's Lover By Robert Browning

Analyse (tell me how the poet creates this image - choice of words, literary devices, implication etc)The idea of a freezing, harsh climate is emphasized with "winter's city" and "winter's leaves". The poet uses words like "death" and "terrible" to highlight the freezing, barren winter.

Robert Browning wrote the two poems, "My Last Duchess" and "Porphyria's Lover." Both poems convey an thoughtful, examination profound commentary about the concept of love.

Robert Browning provides a critical view of gender and power relations in his dramatic monologues “Porphyria’s Lover” and “My Last Duchess.” The dramatic monologue, as S.S. Curry has written, "reveals the struggle in the depths of the soul” (11). Browning delves into the minds of characters to show their conceptions of women and ideas of power. He explores the mental processes of the characters, and invites readers to question societal ideas of power and gender. The mental pathologies of the speakers is emphasized, which forces readers to examine the sanity of their own notions of gender dynamics.

The three poems show exile and keening, but the poems also show tactile imagery. The Wanderer show tactile imagery in line three, “wintery seas,” describes the setting is in this poem along with the tone. The Seafarer show’s tactile imagery as well, in line nine, “in icy bands, bound with frost,” the tactile imagery in this line describes the coldness of the thoughts in the lonely man’s head. In The Wife’s Lament the tactile imagery is shown in line forty seven, “That my beloved sits under a rocky cliff rimed with frost a lord dreary in spirit drenched with water in the ruined hall.” The wife in this tactile imagery is show how her husband is suffering just

The third stanza goes on to define the pain, only now in more emotional terms, such as "It hurts to thwart the reflexes / of grab, of clutch" (14-15), as well as the pain of continuously having to say good bye, each perhaps as if for the last time: "to love and let / go again and again" (15-16). These lines reinforce the impression that the first stanza's definition of "to love differently" is in fact an anti-freedom or state of emotional anarchy, now using words like "pester" to describe any separation; the poet is compelled "to remember / the lover who is not in the bed" (16), hinting at obsessive tendencies as being possible components of the relationship. We also learn that she believes love requires work, which she cannot do without her partner's assistance, and that this lack of cooperation frustrates her. She believes this neglected effort is the other party's fault by his failure to do his fair share, thereby leaving her own efforts ineffective, the whole of it characterized as an effort "that gutters like a candle in a cave / without air" (19-20). Her demands of this work are quite broad, encompassing being "conscious, conscientious and concrete" in her efforts and optimistically calling this work "constructive" (20-21) before ending the stanza.

The use of connotative words in this piece is the foundation of this poem and it provides an idea of what this poem is going to be about. In the first stanza he describes the woman as “lovely in her bones,” showing that her beauty is more than skin deep comparing her virtues to a goddess of “only gods should speak.” In the second stanza, the reader can see and feel the love between the two people. The woman taught him how to "Turn, and Counter-turn, and Stand," showing that she was the teacher in the relationship and taught him things he thought he never needed to know. The speaker shows how when they are together, she was “the sickle” and he was “the rake” showing that this woman taught him what love is.

From the beginning of the poem, the reader can tell that the tone of the poem is consistent. There is no shift in tone, it’s simply sad and bitter. The father notices the innocence of his daughter and knows that there is bad luck that is coming for her future. The reader is able to see the father’s concern throughout the poem when he says that the “night’s slow poison” will change her. He knows that this issue cannot be changed, so he is doing what he can to avoid it becoming a bigger dilemma. By the end of the poem, it’s easy to notice that the father has become angry about the situation that is brought upon him. In the last two lines, the father decides that he doesn’t want to have children because of all the things he sees in their future, nothing but pain and suffering. His decision is expressed in the way he says “These speculations sour in the sun. I have

First, the poet uses metre, a style that emphasizes the use of a specific structure, which is an appropriate way of presenting poems with positive themes such as love. In this case, the poet achieves metre through the use of a uniform number of syllables in every line of the first stanza (10 syllables per line). This approach not only makes the poem memorable in recitation and listening but also relaxes the listener which is important in understanding the subject matter. Petrach uses a qualitative metre, which concentrates on the use of uniform syllabic arrangement. As a result, he creates an aesthetic euphony thus making the listener and the reciter to enjoy the presentation of the poem. The technique is appropriate in the presentation of a love sonnet. Equally, the first two stanzas have four lines each, but the last two stanzas have three lines each. This aspect aligns with the two perspectives presented in the poem, the first being his great affection for Laura, and the second is an expression of the pain he experiences as a result of the unreciprocated love. Furthermore, he has been unable to express his feelings to her, which compounds his pain evident in the words “I had love's tinder in my breast unburned, was it a wonder if it kindled there?” (Lines 8 – 9).

It again reinforces the thematic concern of the overall theme. The tone does not change throughout the poem suggesting the constant constraint the poet felt. This is created by words such as "rage", "smouldering" and "furious". Which again highlights the irritation the poet herself felt due to the lack of freedom on the poetic inspirations. Therefore, the tone creates a sense of "life as bleak".

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

In every society each gender’s behavioral response is often a reflection of the societal influences that have been instilled since birth. In every society each gender is subjected to certain roles. Males having to suppress their emotions while women are able to be emotional beings. Women being shunned for exhibiting characteristics of the opposite sex. Although, we live in a society that harps on individuality and self-expression, it is clear that this only applies when individuals do not feel inferior. Additionally, self-expression is only situational and accepted based off of certain agendas. In the following story, Porphyria’s Lover by Robert Browning, we are able to analyze how a male reacts to feeling inferior to a woman. In The Yellow Wallpaper, which is written by Charlotte Perkins, we are able to analyze how her husband’s lack of understanding and inability to communicate with his wife ultimately leads to her insanity. In each of these stories, gender roles are being depicted in a negative and positive way. Through the character’s actions were able to learn how society views each gender in the time in which the story takes place.

Hayden utilizes diction to set a dark and solemn tone throughout the poem. Like the various examples of imagery, there is also a strong use of underlying symbolism. In the first stanza, the words “cold” (1. 2) and “fires blaze” (1. 5) are used, which introduces a conflict. This is emphasized in the second stanza when the word “cold” (2. 1) is used again, later followed by the word “warm” (2. 2). In the last stanza, the father eventually “had driven out the cold” (3. 2). Yet the father had not ridden the house of the cold air until the end of the poem, which symbolizes how it took his son several years later to recognize the behaviors in which his father conveyed his love for him.

To start off the analysis, the setting of the entire poem is significant. Though the poem takes place in a house, the atmosphere the house is set in is also important. The month is September which is a month of fall which can be seen as a symbol for decline. It definitely insinuates that the poem is leading towards death. Line 1 has “September rain falls on the house” which gives the feeling of a dark and cold night with a storm on top of that. To further develop that, Bishop gives us the failing light in line 2 to also give us an idea of the grandmother’s struggle. Bishop uses the cyclical theme of changing seasons to show the unending nature of what is transpiring within the

The structure and tone of the poem enhance the conflict and hopelessness the speaker is feeling towards the woman he loves and desires. For the first twelve lines of the poem there is an “abab” rhyming pattern. This ties into the despairing and desirable tone and how the rhyming scheme can be an example of the speaker constantly going back and forth between emotions for this women. For example, “And that mine eyes take no delight to range About the gleams which on your face do grow.” (Gascoigne 3-4) are two phrases that contradict the speakers feelings. Stating that his eyes take no delight in range can refer to the speaker finding no use or happiness in looking at the woman. Although, he then mentions the gleams upon her face growing, giving the audience the idea that even though the speakers love for the woman causes him deep despair, he still desires her enough to describe her features in attentive detail; in this example the gleams on her face. This shows the back and forth pattern and the speakers struggle when it comes

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.