1. Life and literary activity of Robert Browning. Analysis of Robert Browning's works

Comparison with poetic schools/other poets-Browning’s personal characteristics are so strongly stamped upon all his works that it is difficult to assign his place in contemporary thought. He is unique and outside of all schools. His style is so peculiar that he is the easiest of all poets to parody and the most dangerous to imitate.
In spite of his early Shelley worship he is in certain respects more closely related to Wordsworth. Both of them started by accepting the poet’s mission as quasi-prophetical or ethical. In other respects they are diametrically contrasted. Wordsworth expounded his philosophy by writing a poetical autobiography. Browning adheres to the dramatic method of which Wordsworth was utterly incapable.
He often protested against the supposition that he put himself into his books. Yet there is no writer whose books seem to readers to be clearer revelations of himself. Nothing, in fact, is more characteristic of a man than his judgments of other men, and Browning’s are keen and unequivocal. The revolutionary impulse had died out, and Browning has little to say either of the political questions which had moved Shelley and Byron, or of the social problems which have lately become more prominent. He represents the thought of a quieter epoch.
“Romantic” interests in poetry-He was little interested, too, in the historical or “romantic” aspect of life. He takes his subjects from a great variety of scenes and places—from ancient Greece, medieval Italy and modern France and England; but the interest for him is not in the picturesque surroundings, but in the human being who is to be found in all periods.
Like Balzac, whom he always greatly admired, he is interested in the eternal tragedy and comedy of life. His problem is always to show what are the really noble elements which are eternally valuable in spite of failure to achieve tangible results. He gives, so far, another version of Wordsworth’s doctrine of the cultivation of the “moral being.” The psychological acuteness and the subtle analysis of character are, indeed, peculiar to himself.
Like Carlyle, with whom he had certain points of affinity, he protests, though rather by implication than direct denunciation, against the utilitarian or materialistic view of life, and finds the divine element in the instincts which guide and animate every noble character. When he is really inspired by sympathy for such emotions he can make his most grotesque fancies and his most far-fetched analyses subservient to poetry of the highest order. It can hardly be denied that his intellectual ingenuity often tempts him to deviate from his true function, and that his observations are not to be excused because they result from an excess, instead of a deficiency, of intellectual acuteness. But the variety of his interests—aesthetic, philosophical and ethical—is astonishing, and his successes are poems which stand out as unique and unsurpassable in the literature of his time.