The following poems are by the British Poet, Robert Browning
Robert Browning (7 May 1812 – 12 December 1889) was an English poet and playwright whose mastery of dramatic verse, especially dramatic monologues, made him one of the foremost Victorian poets.
Browning was an astute student and by the age of fourteen was fluent in French, Greek, Italian and Latin, as well as his native English. He became a great admirer of the Romantic poets, especially Shelley. Following the precedent of Shelley, Browning became an atheist and vegetarian, only to dissavow them both in later years. At age sixteen, he enrolled at the University College London, but left after his first year. His mother’s staunch evangelical faith circumscribed the pursuit of his studying at either Oxford University or Cambridge University, both then open only to members of the Church of England. His mother encouraged his musical talents and he composed arrangements of various songs.
In 1845, Browning met Elizabeth Barrett, who lived as a semi-invalid and virtual prisoner in her father's house in Wimpole Street. Gradually a significant romance developed between them, leading to their secret marriage and flight in 1846. (The marriage was initially secret because Elizabeth's father disapproved of marriage for any of his children.) From the time of their marriage, the Brownings lived in Italy, first in Pisa, and then, within a year, finding an apartment in Florence which they called Casa Guidi (now a museum to their memory).
Browning’s fame today rests mainly on his dramatic monologues, in which the words not only convey setting and action but also reveal the speaker’s character. Unlike a soliloquy, the meaning in a Browning dramatic monologue is not what the speaker directly reveals but what he inadvertently "gives away" about himself in the process of rationalizing past actions, or "special-pleading" his case to a silent auditor in the poem. Rather than thinking out loud, the character composes a self-defense which the reader, as "juror," is challenged to see through
Ironically, Browning’s style, which seemed modern and experimental to Victorian readers, owes much to his love of the seventeenth century poems of John Donne with their abrupt openings, colloquial phrasing and irregular rhythms. But he remains too much the prophet-poet and descendant of Percy Shelley to settle for the conceits, puns, and verbal play of the Metaphysical poets of the seventeenth century.