Porphyria

Erythropoietic Protoporphyria better known as EPP, comes from a type of porphyria; a group of rare inherited or acquired disorders of certain enzymes that usually aid in the production of porphyrins and heme.This disease is a hereditary metabolic disorder of porphyrin metabolism, then resulting an enzyme deficiency, particularly the enzyme: ferrochelatase. This deficiency causes unusually high levels of protoporphyrin; a biochemical compound needed for the body. Everyone has two genes for ferrochelatase

during the Victorian Era; women were treated as objects not people. They were property of men, not individuals. In this poem, the speaker, Porphyria’s lover, murders Porphyria and does not only think it was okay to do so, but he also thinks what he has done is noble. In the lines shown above, the speaker begins to realize that Porphyria loves him. Not only does she love him, but she “worships” him. This further pushes the idea that, because he is a man and she a women, he is so superior to her that

Love can purely take an over a man, and drive him crazy. Robert Browning, demonstrates “Porphyria’s Lover" as a terrifying love story given from a lunatic 's point of view. It is the story of a man who is so obsessed with Porphyria that he decides to keep her for himself. In this poem however, we find that this poem is more than just about a lunatic, and his obsession, but rather find ourselves in the midst of a poem more depth. First, we can see how the role of nature can express the mood of the

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

monologue entitled “Porphyria’s Lover” tells the story of a meeting between a man and a woman that begins filled with romance, but quickly turns sinister. Porphyria visits the speaker at his cottage late at night, to confess her love for him even though they cannot be together. The speaker, filled with happiness in the newfound knowledge that Porphyria “worshiped” him, kills her by strangling her with her own hair in order to free her from her “vainer ties” and allow them to be together. He then opens

Lover Vs. Duchess (An Analysis of Porphyrias Lover and Last Duchess) Robert Browning was an author in the nineteenth century. He was known for his writings of dramatic monologues. Not all of Browning's poems were monologues, but his two most famous poems were dramatic monologues. Dramatic monologues are poems that have a character that is talking to a silent character in a critical moment. The character ends up revealing to the silent character the dramatic situation in the poem. Robert Browning

irksome on purpose. Another example is, “It tore the elm-tops down for spite,” (Line 3). The writer uses the word “spite” to describe his feelings because the wind does not feel spite during a storm. Once again, the character is so obsessed over Porphyria that he has gone crazy. Therefore,

Author’s use their writing to discuss death in different ways. Robert Browning’s poem “Porphyria’s Lover” has few similarities with “Do Not Go Gentle into that Good Night” by Dylan Thomas. These authors have drastic differences when talking about death. Browning discusses how killing is a power play in a poem about the speaker gaining control, and Thomas talks about the transience of life in a poem about fighting death. In one of Robert Browning’s most unsettling dramatic monologues, “Porphyria’s

Comparison between Porphyrias Lover and My Last Duchess Browning had a place with the Victorian Age, an age where adore coincided with disarray, religion, and distress. Taking care of business, Browning is a writer of affection. His works delineate the different shades of feeling, regardless of whether it is the smooth stream of perfect otherworldly love in The Last Ride Together or the complexities of brain and nature of affection in Porphyrias Lover and My Last Duchess. To draw an examination

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