An Analysis and Summary of Three Victorian Views Articles

Summary of John Forster’s, “Evidence of a New Genius for Dramatic Poetry”

            Throughout this article John Forster elaborates on the idea that Robert Browning is one of the main geniuses amongst the writers of Dramatic Poetry. Forster claims that Browning’s poetry “…opens a deeper vein of thought, of feeling, and of passion, than any other poet has attempted for years” (Forster 495). Forster mentions within his text that his take (opinion) on Browning is one that will startle many individuals because of the fact that Browning has been cast aside for many years due to the dislike acquired for his writings by many critics. Many critics and readers have read Browning’s works and thought that he essentially missed the “bar” and that his poems were not worthy of receiving any praise; Forster on the other hand disagrees entirely with these claims. Forster states, “He [Browning] has created an impulse and increased activity to reason and inquiry, as well as a pure and high delight to every cultivated mine…” (496). It is rather unfortunate that many have essentially missed the bar while reading Browning’s poetry. It is not Browning’s poetry that is lacking something, but instead the reader whom is lacking something. The reader has not allowed themselves to venture into Browning’s philosophical meaning, his passion, the imagination within his text, nor have they experienced all of the emotions that Browning has produced within his texts. They, the readers and critics, have not allowed themselves to see past the critiques and see Browning as Forster does, a genius of Dramatic Poetry.  We, the readers, are left responsible to interpret the poems of Browning, yet if we cannot see past the prior critiques then the poems will produce nothing, as they have for many before.

Summary of William Morris’s, “Browning’s Alleged Carelessness”

            William Morris expresses his disgust of the critics of Robert Browning and his works within his article, “Browning’s Alleged Carelessness”. Morris, like Forster, believes that Browning is one of the better poets of his time. Although many critics have disapproved of the fact that it seems that Browning has simply written down anything and everything that comes to his mind, Morris claims that this is one of Browning’s strongest traits. Morris’s main argument against the critics of Browning is found within the idea that they [the critics] have claimed that Browning is obscure (Morris 501). It is due to these many claims that many individuals have pushed Browning aside and thus forgotten about him or have chosen to not read his works because of the claims once produced.  Morris claims, “…And people, as a rule, do not read him [Browning]; this evil spreading so, that many, almost unconsciously, are kept from reading him, who, if they did read, would sympathize with him thoroughly” (502). It seems again that the overall sense and understanding of a poem is left to the reader. If the reader is not willing to venture into ALL of the aspects of the poem then it is likely that the poem will not produce anything other than obscurities. If we simply consider poetry as “light literature” than our claims of obscurities would be just, however, it is essential that we do not allow ourselves to make this claim at all (Morris 502). Poetry is one of the great works of art, “God’s gift to men,” and we must truly take the time to remove all obscurities from our minds and take the time to understand and relate to all that the poem has to offer (Morris 502).

Summary of Algernon Charles Swinburne’s, “Browning’s Obscurity”

            Throughout much of Algernon Charles Swinburne’s article the main claim is that although Robert Browning has been scrutinized and judged for his works, his works have so much more to offer us as long as the readers are willing to accept it all. “The charge of obscurity is perhaps of all charges the likeliest to impair the fame or to imperil the success of a rising or an established poet” (Swinburne 513). This quote is what opens the article, it sets the stage for the idea that Swinburne is building on; the idea that Browning has for many years been discarded and scrutinized because of a simple claim, that his poems were obscure. It is interesting that critics have claimed Browning is obscure when his poems maintain so many ideas that overflow with each reading. “…Such a poet, overcharged with overflowing thoughts, is not sufficiently possessed by any one idea, or attracted towards any one central point, to see with decision the proper end and use with resolution the proper instruments of his design” (Swinburne 513). At some point within Swinburne’s article he mentions that Browning has an “inexhaustible fir of his imagination,” this claim is rather interesting considering the fact that most who read Browning do not allow themselves to see his poems in this light, they instead see his poems as dreary and obscure (Swinburne 513). It also interesting that later on within Swinburne’s article that he relates Browning’s writings to lighting, claiming that, “We find no obscurity in the lightning, whether it play about the heights of metaphysical speculation or the depths of character and motive…” (Swinburne 514). It is once again left to the reader to the see the “lightning” within the text, we must take the time to find the value and the purpose behind the poem in order to relieve it of its obscurities, and give the author the justice he/ she deserves.

The Analysis of All Three of These Articles

            If you recall within my previous blog about Robert Browning it was mentioned that Browning was not recognized for his poetry until after the death of his wife, Elizabeth Browning (Academy 1). Most critics and readers of Browning’s time did not understand his poems, they were unsure why he was writing what he did, and the relatable aspect was not apparent within the texts, at least to the critics. I chose to analyze all of these articles together because they all seemed to have the same underlying theme. Instead of maintaining the idea that Browning and his works have (had) nothing to offer to the readers, the authors of these articles have faith in Browning and recognize that Browning’s works have so much to offer to the readers.
            When I first began to read Browning’s poetry I could completely relate to the idea that Browning’s poetry was obscure. I couldn’t find the underlying meaning behind his text, I was confused on his purpose, and I could not relate to anything because I couldn’t find anything deeper than what the lines were inferring. However, as my Major Authors class began to divulge the text, the meaning became clear. As I allowed myself to dive deeper into the poems, I found that saw no obscurities because I realized that Browning’s intent was for his readers to be placed in the position(s) of his characters. Browning did not make his purpose(s) known to his readers because the purposes varied and he wanted you, the reader, to determine the purpose. This is where I believe that critics began to become lost and found the text obscure. Many readers do not like having to determine the purpose of a text and feel that it should be the author’s responsibility to inform their readers, somehow, of their purpose/ main idea. Browning stretches the line of what is/ was considered “normal” or “typical” of writers and the fact that he challenged the norm was not accepted by most readers.
            If we look at Browning’s poem “Childe Roland,” we will be able to see how Browning leaves it up to his readers to decide what is really occurring within his works. Childe Roland is about a man who is on a quest to find the Dark Tower. However, readers are left to question whether or not Roland is actually on a “real” quest. There are parts within the poem that leave the readers wondering if Roland is actually dead and on a spiritual quest. Yet, there are other areas within the text that readers are provoked to believe that Roland is very much alive and following in the footsteps of the many “knights” before him who had set out on the same quest. Readers also are provoked to question Roland’s sanity; there are parts within the text that portray Roland as a very reliable narrator, yet other areas that Roland seems rather insane. Although readers are left wondering throughout much of the text, it is not that Browning had no idea what he wanted to voice to his readers, in fact Browning had an idea and he executed that idea fully, yet the purpose is left to be discovered by the reader. This is where the “lightning” is found. We see no obscurities in lightning because it produces a fascination (Swinburne 514). Browning’s writings produce a fascination within its mysteries. Yet, the fascination is left up to the readers to find; if you do not take the time to find it then Browning’s poetry will not and cannot produce anything more than the common obscurities.

Works Cites:

Academy of American Poets. "Robert Browning." Poetry.Org. N.p., 2013. Web. 24 Aug. 2013.
            <http://www.poets.org/poet.php/prmPID/182>.

Forster, John. “Evidence of a New Genius for Dramatic Poetry.” Robert Browning's Poetry.Ed.  James F. Loucks and      Andrew M. Stauffer. second ed. New York: W.W. Norton &  Company,2007. 495-96.
              Print.

Morris, William. “Browning’s Alleged Carelessness.” Robert Browning's Poetry.Ed. James F. Loucks and
             Andrew M. Stauffer. second ed. New York: W.W. Norton & Company,2007. 501-02. Print. 

Swinburne, C. Algernon. “Browning’s Obscurity.” Robert Browning's Poetry.Ed. James F.Loucks and
            Andrew M. Stauffer. second ed. New York: W.W. Norton & Company,2007. 513-16. Print. 

© [Mykenzie Fox] [http: // COUNTGISMOND.blogspot.com/ ], [2013]. Unauthorized use and/ or duplication of this material without express and written permission from this blog's author and/ or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to [Mykenzie Fox] and [http: // COUNTGISMOND.blogspot.com/ ] with appropriate and specific direction to the original content.