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"Porphyria's Lover" is a poem by Robert Browning which was first published as "Porphyria" in the January 1836 issue of Monthly Repository. [1] Browning later republished it in Dramatic Lyrics (1842) paired with "Johannes Agricola in Meditation" under the title "Madhouse Cells". The poem did not receive its definitive title until 1863.
Dramatic Lyrics is a collection of English poems by Robert Browning, first published in 1842 [1] as the third volume in a series of self-published books entitled Bells and Pomegranates.
"Johannes Agricola in Meditation" (1836) is an early dramatic monologue by Robert Browning. [1] The poem was first published in the Monthly Repository; later, it appeared in Dramatic Lyrics (1842) paired with Porphyria's Lover under the title "Madhouse Cells".
Instead of speeches that are intended for others' ears, most are soliloquies. They are generally darker than the poems found in Men and Women, his previous collection, and along with The Ring and the Book these poems embody a turning point in Browning's style. Browning's poetry after this point most notably touches on religion and marital ...
Men and Women was Browning's first published work after a five-year hiatus, and his first collection of shorter poems since his marriage to Elizabeth Barrett in 1846. His reputation had still not recovered from the disastrous failure of Sordello fifteen years previously, and Browning was at the time comprehensively overshadowed by his wife in terms of both critical reception and commercial ...
The condition is the name of the title character in the gothic poem "Porphyria's Lover," by Robert Browning. [citation needed] The condition is heavily implied to be the cause of the symptoms suffered by the narrator in the gothic short story "Lusus Naturae," by Margaret Atwood. Some of the narrator's symptoms resemble those of porphyria, and ...
"Childe Roland to the Dark Tower Came" is a narrative poem by English author Robert Browning, written on 2 January 1852, [1] and first published in 1855 in the collection titled Men and Women. [2] The poem is often noted for its dark and atmospheric imagery, inversion of classical tropes, and use of unreliable narration.
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.