|Born||7 May 1812|
Camberwell, London, England
|Died||12 December 1889 77) (aged|
Venice, Kingdom of Italy
|Resting place||Westminster Abbey|
|Alma mater||University College London|
|Notable works||"The Pied Piper of Hamelin", Men and Women, The Ring and the Book , Dramatis Personae, Dramatic Lyrics , Dramatic Romances and Lyrics , Asolando , "My Last Duchess"|
(m. 1846;died 1861)
|Children||Robert Wiedeman Barrett "Pen" Browning|
|Relatives||Robert Browning (Father); Sarah Anna Wiedemann (Mother)|
Robert Browning (7 May 1812 – 12 December 1889) was an English poet and playwright whose dramatic monologues put him high among the Victorian poets. He was noted for irony, characterization, dark humour, social commentary, historical settings and challenging vocabulary and syntax.
His early long poems Pauline (1833) and Paracelsus (1835) were acclaimed, but his reputation dwindled for a time – his 1840 poem Sordello was seen as wilfully obscure – and took over a decade to recover, by which time he had moved from Shelleyan forms to a more personal style. In 1846 he married fellow poet Elizabeth Barrett and moved to Italy. By her death in 1861 he had published the collection Men and Women (1855). His Dramatis Personae (1864) and book-length epic poem The Ring and the Book (1868–1869) made him a leading poet. By his death in 1889 he was seen as a sage and philosopher-poet who had fed into Victorian social and political discourse. Societies for studying his work survived in Britain and the US into the 20th century.
Robert Browning was born in Walworth in the parish of Camberwell, Surrey, which now forms part of the Borough of Southwark in south London. He was baptised on 14 June 1812, at Lock's Fields Independent Chapel, York Street, Walworth,the only son of Sarah Anna (née Wiedemann) and Robert Browning. His father was a well-paid clerk for the Bank of England, earning about £150 per year. Browning's paternal grandfather was a slave owner in Saint Kitts, West Indies, but Browning's father was an abolitionist. Browning's father had been sent to the West Indies to work on a sugar plantation but returned to England following a slave revolt. Browning's mother was the daughter of a German shipowner who had settled in Dundee, Scotland, and his Scottish wife. His paternal grandmother, Margaret Tittle, had inherited a plantation in St Kitts and was rumoured in the family to have a mixed-race ancestry including some Jamaican blood, but author Julia Markus suggests she was Kittitian rather than Jamaican. The evidence is inconclusive. Robert's father, a literary collector, amassed a library of some 6,000 books; many of them were rare so that Robert grew up in a household with significant literary resources. His mother, to whom he was close, was a devout nonconformist and a talented musician. His younger sister, Sarianna, also gifted, became her brother's companion in his later years, after the death of his wife in 1861. His father encouraged his children's interest in literature and the arts.
By the age of 12, Browning had written a book of poetry, which he later destroyed for want of a publisher. After attending one or two private schools and showing an insuperable dislike of school life, he was educated at home by a tutor, using the resources of his father's library.By 14 he was fluent in French, Greek, Italian and Latin. He became an admirer of the Romantic poets, especially Shelley, whom he followed in becoming an atheist and a vegetarian. At 16, he studied Greek at University College London, but left after his first year. His parents' evangelical faith prevented his studying at either Oxford or Cambridge University, both then open only to members of the Church of England. He had inherited substantial musical ability through his mother, and composed arrangements of various songs. He refused a formal career and ignored his parents' remonstrations by dedicating himself to poetry. He stayed at home until the age of 34, financially dependent on his family until his marriage. His father sponsored the publication of his son's poems.
Some one shall somehow run a muck
With this old world, for want of strife
Sound asleep: contrive, contrive
To rouse us, Waring! Who's alive?
Our men scarce seem in earnest now:
Distinguished names!—but 'tis, somehow,
As if they played at being names
Still more distinguished, like the games
Bells and Pomegranates No. III: Dramatic Lyrics (1842)
In March 1833, "Pauline, a Fragment of a Confession" was published anonymously by Saunders and Otley at the expense of the author, Robert Browning, who received the money from his aunt, Mrs Silverthorne.It is a long poem composed in homage to the poet Shelley and somewhat in his style. Originally Browning considered Pauline as the first of a series written by different aspects of himself, but he soon abandoned this idea. The press noticed the publication. W. J. Fox writing in The Monthly Repository of April 1833 discerned merit in the work. Allan Cunningham praised it in the Athenaeum . However, it sold no copies. Some years later, probably in 1850, Dante Gabriel Rossetti came across it in the Reading Room of the British Museum and wrote to Browning, then in Florence to ask if he was the author. John Stuart Mill, however, wrote that the author suffered from an "intense and morbid self-consciousness". Later Browning was rather embarrassed by the work, and only included it in his collected poems of 1868 after making substantial changes and adding a preface in which he asked for indulgence for a boyish work.
In 1834, he accompanied the Chevalier George de Benkhausen, the Russian consul-general, on a brief visit to St Petersburg and began Paracelsus, which was published in 1835.The subject of the 16th-century savant and alchemist was probably suggested to him by the Comte Amédée de Ripart-Monclar, to whom it was dedicated. The publication had some commercial and critical success, being noticed by Wordsworth, Dickens, Landor, J. S. Mill and the already famous Tennyson. It is a monodrama without action, dealing with the problems confronting an intellectual trying to find his role in society. It gained him access to the London literary world.
As a result of his new contacts he met Macready, who invited him to write a play.Strafford was performed five times. Browning then wrote two other plays, one of which was not performed, while the other failed, Browning having fallen out with Macready.
In 1838, he visited Italy looking for background for Sordello , a long poem in heroic couplets, presented as the imaginary biography of the Mantuan bard spoken of by Dante in the Divine Comedy, canto 6 of Purgatory, set against a background of hate and conflict during the Guelph-Ghibelline wars. This was published in 1840 and met with widespread derision, gaining him the reputation of wanton carelessness and obscurity. Tennyson commented that he only understood the first and last lines. Jane Welsh Carlyle, wife of Thomas Carlyle (a friend of Browning's who deeply influenced Browning's poetry),quipped that she read the poem through and "could not tell whether Sordello was a 'a book, a city, or a man'".
Browning's reputation began to make a partial recovery with the publication, 1841–1846, of Bells and Pomegranates, a series of eight pamphlets, originally intended just to include his plays. Fortunately for Browning's career, his publisher, Moxon, persuaded him to include some "dramatic lyrics", some of which had already appeared in periodicals.
In 1845, Browning met the poet Elizabeth Barrett, six years his senior, who lived as a semi-invalid in her father's house in Wimpole Street, London. They began regularly corresponding and gradually a romance developed between them, leading to their marriage and journey to Italy (for Elizabeth's health) on 12 September 1846.The marriage was initially secret because Elizabeth's domineering father disapproved of marriage for any of his children. Mr. Barrett disinherited Elizabeth, as he did each of his children who married: "The Mrs. Browning of popular imagination was a sweet, innocent young woman who suffered endless cruelties at the hands of a tyrannical papa but who nonetheless had the good fortune to fall in love with a dashing and handsome poet named Robert Browning." At her husband's insistence, the second edition of Elizabeth's Poems included her love sonnets. The book increased her popularity and high critical regard, cementing her position as an eminent Victorian poet. Upon William Wordsworth's death in 1850, she was a serious contender to become Poet Laureate, the position eventually going to Tennyson.
From the time of their marriage and until Elizabeth's death, the Brownings lived in Italy, residing first in Pisa, and then, within a year, finding an apartment in Florence at Casa Guidi (now a museum to their memory).Their only child, Robert Wiedemann Barrett Browning, nicknamed "Penini" or "Pen", was born in 1849. In these years Browning was fascinated by, and learned from, the art and atmosphere of Italy. He would, in later life, describe Italy as his university. As Elizabeth had inherited money of her own, the couple were reasonably comfortable in Italy, and their relationship together was happy. However, the literary assault on Browning's work did not let up and he was critically dismissed further, by patrician writers such as Charles Kingsley, for the desertion of England for foreign lands.
Browning identified as a Liberal, supported the emancipation of women, and opposed slavery, expressing sympathy for the North in the American Civil War.Later in life, he even championed animal rights in several poems attacking vivisection. He was also a stalwart opponent of anti-Semitism, leading to speculation that Browning himself was Jewish. In 1877 he wrote a poem explaining "Why I am a Liberal" in which he declared: "Who then dares hold – emancipated thus / His fellow shall continue bound? Not I."
Browning was raised in an evangelical non-conformist household. However, after his reading of Shelley he is said to have briefly become an atheist.Browning is also said to have made an uncharacteristic admission of faith to Alfred Domett, when he is said to have admired Byron's poetry "as a Christian". Poems such as "Christmas-Eve and Easter-Day" seem to confirm this Christian faith, strengthened by his wife. However, many have dismissed the usefulness of these works at discovering Browning's own religious views due to the consistent use of dramatic monologue which regularly expresses hypothetical views which cannot be ascribed to the author himself.
Now, don't, sir! Don't expose me! Just this once!
This was the first and only time, I’ll swear,—
Look at me,—see, I kneel,—the only time,
I swear, I ever cheated,—yes, by the soul
Of Her who hears—(your sainted mother, sir!)
All, except this last accident, was truth—
This little kind of slip!—and even this,
It was your own wine, sir, the good champagne,
(I took it for Catawba—you’re so kind)
Which put the folly in my head!
Dramatis Personae (1864)
Browning believed spiritualism to be fraud, and proved one of Daniel Dunglas Home's most adamant critics. When Browning and his wife Elizabeth attended one of his séances on 23 July 1855,a spirit face materialized, which Home claimed was Browning's son who had died in infancy: Browning seized the "materialization" and discovered it to be Home's bare foot. To make the deception worse, Browning had never lost a son in infancy.
After the séance, Browning wrote an angry letter to The Times , in which he said: "the whole display of hands, spirit utterances etc., was a cheat and imposture."In 1902 Browning's son Pen wrote: "Home was detected in a vulgar fraud." Elizabeth, however, was convinced that the phenomena she witnessed were genuine, and her discussions about Home with her husband were a constant source of disagreement.
He stood and watched the cobbler at his trade,
The man who slices lemons into drink,
The coffee-roaster's brazier, and the boys
That volunteer to help him turn its winch.
He glanced o'er books on stalls with half an eye,
And fly-leaf ballads on the vendor's string,
And broad-edge bold-print posters by the wall.
He took such cognizance of men and things,
If any beat a horse, you felt he saw;
If any cursed a woman, he took note;
Yet stared at nobody—you stared at him,
And found, less to your pleasure than surprise,
He seemed to know you and expect as much.
Men and Women (1855)
In Florence, probably from early in 1853, Browning worked on the poems that eventually comprised his two-volume Men and Women , for which he is now well known,although in 1855, when they were published, they made relatively little impact.
In 1861, Elizabeth died in Florence. Among those whom he found consoling in that period[ vague ] was the novelist and poet Isa Blagden, with whom he and his wife had a voluminous correspondence. The following year Browning returned to London, taking Pen with him, who by then was 12 years old. They made their home in 17 Warwick Crescent, Maida Vale. It was only when he became part of the London literary scene—albeit while paying frequent visits to Italy (though never again to Florence)—that his reputation started to take off.
In 1868, after five years work he completed and published the long blank-verse poem The Ring and the Book . Based on a convoluted murder-case from 1690s Rome, the poem is composed of 12 books: essentially 10 lengthy dramatic monologues narrated by various characters in the story, showing their individual perspectives on events, bookended by an introduction and conclusion by Browning himself. Long even by Browning's standards (over twenty-thousand lines), The Ring and the Book was his most ambitious project and is arguably his greatest work; it has been called a tour de force of dramatic poetry.Published in four parts from November 1868 to February 1869, the poem was a success both commercially and critically, and finally brought Browning the renown he had sought for nearly 40 years. The Robert Browning Society was formed in 1881 and his work was recognised as belonging within the British literary canon.
In the remaining years of his life Browning travelled extensively. After a series of long poems published in the early 1870s, of which Balaustion's Adventure and Red Cotton Night-Cap Country were the best-received,the volume Pacchiarotto, and How He Worked in Distemper included an attack against Browning's critics, especially Alfred Austin, who was later to become Poet Laureate. According to some reports Browning became romantically involved with Louisa Caroline Stewart-Mackenzie, Lady Ashburton, but he refused her proposal of marriage, and did not remarry. In 1878, he revisited Italy for the first time in the seventeen years since Elizabeth's death, and returned there on several further occasions. In 1887, Browning produced the major work of his later years, Parleyings with Certain People of Importance in Their Day. It finally presented the poet speaking in his own voice, engaging in a series of dialogues with long-forgotten figures of literary, artistic, and philosophic history. The Victorian public was baffled by this, and Browning returned to the brief, concise lyric for his last volume, Asolando (1889), published on the day of his death.
Browning died at his son's home Ca' Rezzonico in Venice on 12 December 1889.He was buried in Poets' Corner in Westminster Abbey; his grave now lies immediately adjacent to that of Alfred Tennyson.
During his life Browning was awarded many distinctions. He was made LL.D. of Edinburgh, a life Governor of London University, and had the offer of the Lord Rectorship of Glasgow. But he turned down anything that involved public speaking.
At a dinner party on 7 April 1889, at the home of Browning's friend the artist Rudolf Lehmann, an Edison cylinder phonograph recording was made on a white wax cylinder by Edison's British representative, George Gouraud. In the recording, which still exists, Browning recites part of How They Brought the Good News from Ghent to Aix (and can be heard apologising when he forgets the words).When the recording was played in 1890 on the anniversary of his death, at a gathering of his admirers, it was said to be the first time anyone's voice "had been heard from beyond the grave."
Browning's admirers have tended to temper their praise with reservations about the length and difficulty of his most ambitious poems, particularly Sordello and, to a lesser extent, The Ring and the Book. Nevertheless, they have included such eminent writers as Henry James, Oscar Wilde, George Bernard Shaw, G. K. Chesterton, Ezra Pound, Jorge Luis Borges, and Vladimir Nabokov. Among living writers, Stephen King's The Dark Tower series and A. S. Byatt's Possession refer directly to Browning's work.
Today Browning's critically most esteemed poems include the monologues Childe Roland to the Dark Tower Came , Fra Lippo Lippi , Andrea Del Sarto , and My Last Duchess . His most popular poems include Porphyria's Lover , How They Brought the Good News from Ghent to Aix , the diptych Meeting at Night , the patriotic Home Thoughts from Abroad , and the children's poem The Pied Piper of Hamelin . His abortive dinner-party recital of How They Brought The Good News was recorded on an Edison wax cylinder, and is believed to be one of the oldest surviving recordings made in the United Kingdom of a notable person (a recording of Sir Arthur Sullivan's voice was made about six months earlier).
Browning is now popularly known for such poems as Porphyria's Lover , My Last Duchess , How They Brought the Good News from Ghent to Aix , and The Pied Piper of Hamelin , and also for certain famous lines: "Grow old along with me!" ( Rabbi Ben Ezra ), "A man's reach should exceed his grasp" and "Less is more" ( Andrea Del Sarto ), "It was roses, roses all the way" (The Patriot), and "God's in His heaven—All's right with the world!" ( Pippa Passes ).
His critical reputation rests mainly on his dramatic monologues, in which the words not only convey setting and action but reveal the speaker's character. In a Browning monologue, unlike a soliloquy, the meaning is not what the speaker voluntarily reveals but what he inadvertently gives away, usually while rationalising past actions or special pleading his case to a silent auditor. These monologues have been influential, and today the best of them are often treated by teachers and lecturers as paradigm cases of the monologue form. One such example used by teachers today is his satirisation of the sadistic attitude in his Soliloquy in a Spanish Cloister.Ian Jack, in his introduction to the Oxford University Press edition of Browning's poems 1833–1864, comments that Thomas Hardy, Rudyard Kipling, Ezra Pound and T. S. Eliot "all learned from Browning's exploration of the possibilities of dramatic poetry and of colloquial idiom".
In Oscar Wilde's dialogue The Critic as Artist , Browning is given a famously ironical assessment: "He is the most Shakespearean creature since Shakespeare. If Shakespeare could sing with myriad lips, Browning could stammer through a thousand mouths. [...] Yes, Browning was great. And as what will he be remembered? As a poet? Ah, not as a poet! He will be remembered as a writer of fiction, as the most supreme writer of fiction, it may be, that we have ever had. His sense of dramatic situation was unrivalled, and, if he could not answer his own problems, he could at least put problems forth, and what more should an artist do? Considered from the point of view of a creator of character he ranks next to him who made Hamlet. Had he been articulate, he might have sat beside him. The only man who can touch the hem of his garment is George Meredith. Meredith is a prose Browning, and so is Browning. He used poetry as a medium for writing in prose."
Probably the most adulatory judgment of Browning by a modern critic comes from Harold Bloom: "Browning is the most considerable poet in English since the major Romantics, surpassing his great contemporary rival Tennyson and the principal twentieth-century poets, including even Yeats, Hardy, and Wallace Stevens. But Browning is a very difficult poet, notoriously badly served by criticism, and ill-served also by his own accounts of what he was doing as a poet.... Yet when you read your way into his world, precisely his largest gift to you is his involuntary unfolding of one of the largest, most enigmatic, and most multipersoned literary and human selves you can hope to encounter."
His work has nevertheless had many detractors, and most of his voluminous output is not widely read. In a largely hostile essay Anthony Burgess wrote: "We all want to like Browning, but we find it very hard."Gerard Manley Hopkins and George Santayana were also critical. The latter expressed his views in the essay "The Poetry of Barbarism," which attacks Browning and Walt Whitman for what he regarded as their embrace of irrationality.
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In 1914, the American modernist composer Charles Ives created the Robert Browning Overture, a dense and darkly dramatic piece with gloomy overtones reminiscent of the Second Viennese School.
In 1917, the U.S. composer Margaret Hoberg Turrell composed a song based on Browning's poem "Love: Such a Starved Bank of Moss".In 1920, the U.S. composer Anne Stratton composed one based on Browning's poem "Parting at Morning".
In 1930, the story of Browning and his wife was made into the play The Barretts of Wimpole Street , by Rudolph Besier. It was a success and brought popular fame to the couple in the United States. The role of Elizabeth became a signature role for the actress Katharine Cornell. It was twice adapted into film. It was also the basis of the stage musical Robert and Elizabeth , with music by Ron Grainer and book and lyrics by Ronald Millar.
In The Browning Version (Terence Rattigan's 1948 play or one of several film adaptations), a pupil makes a parting present to his teacher of an inscribed copy of Browning's translation of the Agamemnon .
Stephen King's The Dark Tower was chiefly inspired by Browning's Childe Roland to the Dark Tower Came, whose full text was included in the final volume's appendix.
Michael Dibdin's 1986 crime novel "A Rich Full Death" features Robert Browning as one of the lead characters.
Lines from Paracelsus were recited by the character Fox Mulder at the beginning and the end of the 1996 The X-Files episode "The Field Where I Died".
Mark Alburger's 2004 opera The Pied Piper of Hamelin sets the Browning poem in the time of George W. Bush and Osama bin Laden.
Gabrielle Kimm's 2010 novel His Last Duchess is inspired by My Last Duchess.
A memorial plaque on the site of Browning's London home, in Warwick Crescent, Maida Vale, was unveiled on 11 December 1993.
A song named Galuppi Baldassare, by Kris Delmhorst (2016 album Strange Conversation), partial writing credit to Robert Browning and referencing him by name throughout the song.
Locations named for him include the following:
This section lists the plays and volumes of poetry Browning published in his lifetime. Some individually notable poems are also listed, under the volumes in which they were published. (His only notable prose work, with the exception of his letters, is his Essay on Shelley.)
Elizabeth Barrett Browning was an English poet of the Victorian era, popular in Britain and the United States during her lifetime.
This article focuses on poetry from the United Kingdom written in the English language. The article does not cover poetry from other countries where the English language is spoken, including Republican Ireland after December 1922.
Coventry Kersey Dighton Patmore was an English poet and literary critic. He is best known for his book of poetry The Angel in the House, a narrative poem about the Victorian ideal of a happy marriage.
Dramatic monologue is a type of poetry written in the form of a speech of an individual character. M.H. Abrams notes the following three features of the dramatic monologue as it applies to poetry:
- The single person, who is patently not the poet, utters the speech that makes up the whole of the poem, in a specific situation at a critical moment […].
- This person addresses and interacts with one or more other people; but we know of the auditors' presence, and what they say and do, only from clues in the discourse of the single speaker.
- The main principle controlling the poet's choice and formulation of what the lyric speaker says is to reveal to the reader, in a way that enhances its interest, the speaker's temperament and character.
The spasmodic poets were a group of British poets of the Victorian era. The term was coined by William Edmonstoune Aytoun with some derogatory as well as humorous intention. The epithet itself is attributed, by Thomas Carlyle, to Lord Byron.
Amy Judith Levy was a British essayist, poet, and novelist best remembered for her literary gifts; her experience as the second Jewish woman at Cambridge University, and as the first Jewish student at Newnham College, Cambridge; her feminist positions; her friendships with others living what came later to be called a "New Woman" life, some of whom were lesbians; and her relationships with both women and men in literary and politically activist circles in London during the 1880s.
"My Last Duchess" is a poem by Robert Browning, frequently anthologised as an example of the dramatic monologue. It first appeared in 1842 in Browning's Dramatic Lyrics. The poem is composed in 28 rhyming couplets of iambic pentameter.
Victorian literature refers to English literature during the reign of Queen Victoria (1837–1901). The 19th century is considered by some to be the Golden Age of English Literature, especially for British novels. It was in the Victorian era that the novel became the leading literary genre in English. English writing from this era reflects the major transformations in most aspects of English life, from scientific, economic, and technological advances to changes in class structures and the role of religion in society. Famous novelists from this period include Rudyard Kipling, Charles Dickens, William Thackeray, the three Brontë sisters, George Eliot, and Thomas Hardy.
Men and Women is a collection of fifty-one poems in two volumes by Robert Browning, first published in 1855. While now generally considered to contain some of the best of Browning's poetry, at the time it was not received well and sold poorly.
Dramatic Romances and Lyrics is a collection of English poems by Robert Browning, first published in 1845 in London, as the seventh volume in a series of self-published books entitled Bells and Pomegranates.
"Andrea del Sarto" is a poem by Robert Browning (1812–1889) published in his 1855 poetry collection, Men and Women. It is a dramatic monologue, a form of poetry for which he is famous, about the Italian painter Andrea del Sarto.
Nationality words link to articles with information on the nation's poetry or literature.
Nationality words link to articles with information on the nation's poetry or literature.
Nationality words link to articles with information on the nation's poetry or literature.
Nationality words link to articles with information on the nation's poetry or literature.
"How They Brought the Good News from Ghent to Aix" is a poem by Robert Browning published in Dramatic Romances and Lyrics, 1845. The poem, one of the volume's "dramatic romances", is a first-person narrative told, in breathless galloping meter, by one of three riders; the midnight errand is urgent—"the news which alone could save Aix from her fate"—although the nature of that good news is never revealed. Two of the riders’ horses collapse en route; the narrator alone makes it to Aix with the news, and rewards his horse with a drink of wine.
The Lost Leader is an 1845 poem by Robert Browning first published in his book Dramatic Romances and Lyrics. It berates William Wordsworth for what Browning considered his desertion of the liberal cause, and his lapse from his high idealism. More generally, it is an attack on any liberal leader who has deserted his cause. It is one of Browning's "best known, if not actually best, poems".
"Count Gismond" is a poem by Robert Browning, frequently anthologised as an example of the dramatic monologue. It first appeared in 1842 in Browning's Dramatic Lyrics, where it was known simply as "France".
Persona poetry is poetry that is written from the perspective of a 'persona' that a poet creates, who is the speaker of the poem. Dramatic monologues are a type of persona poem, because "as they must create a character, necessarily create a persona".
Daniel Karlin is a British literary scholar. He was educated at St Paul's School, London (1967-1970) and Queens' College, Cambridge, where he studied for his BA (1971-1974) and PhD (1975-1978). He was a Junior Research Fellow at Merton College, Oxford (1978-1980), and held appointments at University College London (1980-2004), Boston University (2005-2006), University of Sheffield (2006-2010), and University of Bristol (2010-2020), where he was Winterstoke Professor of English Literature. He retired in 2020 and was appointed Emeritus Professor of English at the University of Bristol. In the same year he was elected to a Fellowship of the British Academy. His research interests include Romantic and Victorian poetry; Robert Browning; Elizabeth Barrett Browning; Henry James; Rudyard Kipling; Marcel Proust; and Bob Dylan.
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