Ministry of higher and secondary specialized education of the republic of uzbekistan state university of world languages english language faculty №1 Course paper Theme: Robert Browning and Elisabeth Browning their life and work

1.2. Robert Browning: The Man Who Perfected the Dramatic Monologue.

Few poets have endured angry ignorance or misguided admiration as much as Browning, both of which frequently result from a failure to appreciate the primarily dramatic nature of his writing. Prior to 1846, the majority of his writing was intended for the theater; thereafter, his most significant poems demonstrated his growing mastery of the dramatic monologue. This primarily comprises of a narrative told by a single character, accentuated by his remarks about the events of his story and the setting. The reader is finally able to judge the narrator's intelligence and honesty as well as the importance of the opinions he speaks based on his own understanding of the historical or other events reported, or else by drawing conclusions from the poetry itself. This kind of dramatic monologue is ideally suited for the ironist since it relies on the speaker's unconscious giving of the evidence by which the reader is to assess him. The two most widespread misconceptions about the nature of Browning's poetry, however, are that it is purposefully cryptic and that its main "message" is a trite optimism. Both of these criticisms are incomplete yet neither is without merit. It's not always difficult to brown. He produces effects of evident felicity in several of his poems, especially in the shorter verses. His attempts to convey the broken and irregular speech rhythms make it nearly impossible to read the verse quickly; his elliptical syntax occasionally confounds and perplexes the reader but can be mastered with little effort; and some poems, like Sordello or "Old Pictures in Florence," require a great deal of familiarity with their subjects in order to be understood. Nevertheless, his superficial difficulties, which prevent an easy understanding of the sense of a passage, are evident enough. Easy reading is hindered by all of these qualities. The interest in the poetry is rarely peaked, even when specific issues with style and technique have been fixed. First off, Browning frequently adopts an odd point of view, particularly in his monologues, which compels the reader to embrace a strange viewpoint. Second, he has the ability to abruptly shift the subject of a poem. For instance, he uses unimportant subjects, like "Fra Lippo Lippi" and "Master Hugues of Saxe-Gotha," to address the perennial themes of poetry. The reader faces a similar struggle and excitement when moving from a specific observation to a transcendental truth as did the 17th-century metaphysical poets. Third, the reader is constantly compelled to understand precisely the direction of the poem's satiric energy because Browning rarely presents a speaker without sarcasm. The true viewpoint must be separated from the false one at every turn of the argument, even in a melodic poem like "A Toccata of Galuppi's," and the shifts in sympathy are much more delicate in the big casuistic monologues like "Bishop Blougram's Apology." It has also been argued that Browning uses his poetry as a platform for his philosophy, which is easy optimism and not inherently profound or fascinating. But Browning's dramatic monologues must be understood as the statements of fictitious characters that get their power from their suitability in describing the speaker, not as representations of Browning's own thoughts, as he asserted. Therefore, rather than being a collection of self-portraits, his vast cast of invented characters should be viewed as an encyclopedic list of human motivations. However, some essential presumptions are expressed so frequently that they could be seen as representing Browning's own convictions, such his Christian faith. His sympathies in matters of human behavior are with those who exhibit kind hearts, upright character, and warmth of feeling; these traits are undoubtedly never mocked. He generally supports people who fully dedicate themselves to an ideal, even if they fail. By itself, this might suggest a very simplistic set of principles, but he also frequently demonstrates his empathy for those who are compelled to sacrifice their standards in the same poem. Thus, Browning's ambitions for the world are not straightforward and irrational, despite the fact that he is far from adopting a cynical or gloomy perspective on the nature or destiny of man. Browning exhibits all of his defining characteristics in The Ring and the Book. He gives each person he plays a dramatic monologue, including the murder suspect, his young wife, the woman who saved her life, numerous Roman people, the opposing attorneys, and the pope, who eventually decides the defendant's fate. Each monologue addresses events that are essentially the same but are described and interpreted differently in each. Browning portrays the true natures of his characters with growing nuance by allowing the true facts to gradually surface by inference from these competing perspectives. As the speaker's moral being is revealed in each great monologue, it becomes obvious that the entire ethical foundation of human behavior is in doubt. For more than 20,000 lines, Browning delves into his subject matter using unwavering blank verse, occasionally rising to passages of stirring poetry, vividly portraying life in Rome in the 17th century, and developing a cast of characters that is as varied and well-rounded as any found in a novel. After 1864, Browning quickly gained critical acclaim during his lifetime. Although his writings never achieved the same level of popularity as those of his wife or Tennyson, he subsequently attracted a sizable and devoted readership. His reputation, like that of the other great Victorians, faded in the 20th century, and his work did not find a wide readership, probably in part due to the growing skepticism of the morals conveyed in his poetry. However, he has had a significant impact on a number of contemporary poets, including Robert Frost and Ezra Pound. This is due in part to the dramatic monologue he developed, which places an emphasis on the psychology of the individual and his stream of consciousness, but it is also due to his success in writing about the diversity of modern life in language that defied convention. Browning will be listed among the greatest English poets as long as technical mastery, textural richness, consistent creative strength, and a sympathetic interest in people are considered virtues. Robert Browning was a very popular native author. When Browning was just twenty-one years old, his first piece of writing was published. He wrote in the Victorian era between 1833 and 1880. Sordello, My Last Duchess, and Porphyria's Lover are only a handful of his many works that have won awards. He frequently used dramatic monologues in his poetry, which was a recurring theme. In contrast to what the speaker says, Browning's dramatic monologues focus on what the character unintentionally suggests (Sutton 289). What distinguishes Browning's dramatic monologues from those of other poets as being so impressive? In the year 1812, Robert Browning was born in Camberwell, London. His father worked as a bank teller and amassed a sizable library, which Browning thoroughly loved perusing. Browning received a home education that was geared toward the arts. Browning reportedly began writing and reading at the age of five. He started attending Peckam School when he was ten years old and attended there for four years. He declared himself a dedicated poet after reading Percy Shelley's poetry when he was thirteen. His first lengthy poem, "Pauline," was published in 1833. From 1841 until 1846, he published his writings under the pen name Bells and Pomegranates, which were not well accepted at the time. Unexpectedly, this is also the time that some of his most well-known poetry were printed. He also met Elizabeth Barret, his future wife, during this time. Elizabeth is also a very renowned poet from the Victorian era. Robert Browning is a dramatic, philosophical, and metaphysical poet who is praised for his mastery of the dramatic monologue. He is the most ambitious and prosperous English author of theatrical monologues. The 50 theatrical monologues in his superwork "Men and Women" are written in blank verse. His dramatic monologue serves as a metaphor for the protagonists' internal moral conflict. He discovered his ideal medium in the works "My Last Duchess," "Rabbi Ben Ezra," "Andrea Del Sarto," "Fra Lippo Lippi," "A grammarian's Funeral," and "Porphyria's Lover" because he sought to show the human intellect and heart.