Send the link below via email or IMCopy
Present to your audienceStart remote presentation
- Invited audience members will follow you as you navigate and present
- People invited to a presentation do not need a Prezi account
- This link expires 10 minutes after you close the presentation
- A maximum of 30 users can follow your presentation
- Learn more about this feature in our knowledge base article
Do you really want to delete this prezi?
Neither you, nor the coeditors you shared it with will be able to recover it again.
Make your likes visible on Facebook?
Connect your Facebook account to Prezi and let your likes appear on your timeline.
You can change this under Settings & Account at any time.
Robert Browning Poetry
Transcript of Robert Browning Poetry
As I have felt since, hand in hand,
We sat down on the grass, to stray
In spirit better through the land,
This morn of Rome and May?
For me, I touched a thought, I know,
Has tantalized me many times,
(Like turns of thread the spiders throw
Mocking across our path) for rhymes
To catch at and let go.
Help me to hold it! First it left
The yellow fennel, run to seed
There, branching from the brickwork’s cleft,
Some old tomb’s ruin: yonder weed
Took up the floating weft,
Where one small orange cup amassed
Five beetles, -blind and green they grope
Among the honey meal: and last,
Everywhere on the grassy slope
O traced it. Hold it fast! Robert Browning Key ideas and Themes Summary Abstract poem Analysis of language techniques FORM:
“Two in the Campagna” divides into five-line stanzas, the first four lines in tetrameter and the final line in trimeter. The champaign with its endless fleece
Of feathery grasses everywhere!
Silence and passion, joy and peace,
An everlasting wash of air-
Rome’s ghost since her decease.
Such life here, through such lengths of hours,
Such miracles performed in play,
Such primal naked forms of flowers,
Such letting nature have her way
While heaven looks from its towers!
How say you? Let us, O my dove,
Let us be unashamed of soul,
As earth lies bare to heaven above!
How is it under our control
To love or not to love?
I would that you were all to me,
You that are just so much, no more.
Nor yours nor mine, nor slave nor free!
Where does the fault lie? What the core
O’ the wound, since wound must be? No. I yearn upward, touch you close,
Then stand away. I kiss your cheek,
Catch your soul’s warmth, - I pluck the rose
And love it more than tongue can speak-
Then the good minute goes.
Already how am I so far
Our of that minute? Must I go
Still like the thistle-ball, no bar,
Onward, whenever light winds blow,
Fixed by no friendly star?
Just when I seemed about to learn!
Where is the thread now? Off again!
The Old trick! Only I discern-
Infinite passion, and the pain
Of finite hearts that yearn. Contextual background Critical Interpretations Overview of what I have learnt.... Thanks for watching The stanzas rhyme ABABA, although, because the lines are enjambed (sentence breaks do not necessarily coincide with line breaks), the rhyme undergoes a certain weakening. Sections of the poem come in fairly regular iambs, but this often breaks down: just as the poet can’t quite capture either his ideas or his lover, he can’t quite conquer language either. The “Campagna” refers to the countryside around Rome The comparison between love and art comments on the difficulty of interpersonal communication 'The Guardian' written by Carol Rumens
http://www.guardian.co.uk/books/booksblog/2010/jul/26/robert-browning-two-in-the-campagna Understanding Browning's early life
Key themes and ideas within 'Two in the campange'
Language techniques Homework: Re read 'Two in the campagne and write your own analysis on your copy
Answer the question: "How are the struggles of love presented through the form and structure in 'Two in the campange'?" IF YOU ARE FEELING EXTRA SMART TRY THESE STUDY QUESTIONS: 1.Why is Browning so interested in the Renaissance?
2.Think about how Browning uses language. What kinds of meter and other poetic forms does he use? Why is his language so often rough and “un-poetic”?
Why is there so much violence against women in Browning’s poetry? What symbolic purpose might it serve? - The speaker is a man in search of the ‘moment, one and infinite’. The poem has, therefore, been described as a quest by critic, Stefan Hawlin.
- The dramatic persona seeks an intensity of physical and spiritual ‘togetherness’.
- A poem in which love is fulfilled and where its effects are rich and transforming.
- The Brownings had been married nine years by the time this poem was published, so it considers relationships with the benefit of hindsight and experience. Poems to compare with "Two in the Campagna - Up at a Villa, Down in the City - depiction of Italy, forceful use of rhythm
- Love Among the Ruins – being a couple
- Dubiety – reflecting on life with the benefit of hindsight
- The Lost Leader - Alienation The “Campagna” refers to the countryside around Rome. Until the middle of the twentieth century it grew fairly wild and unclaimed. Because its swampy areas nurtured mosquitoes carrying malaria, the conventional English tourist largely avoided the Campagna, leaving it to the Italian peasants, who farmed sections of it. However, in nineteenth-century literature the Campagna also symbolized a sort of alternative space, where rules of society did not apply and anything could happen; we see this notion expressed in such works as Henry James’s Italian-set novels and Nathaniel Hawthorne’s The Marble Faun. In this poem, the Campagna seems to suggest to the speaker that he can in fact transcend his human limitations to put his subtle ideas into poetry or see the world through his lover’s eyes. However, in suggesting this the wild space merely plays a cruel trick; teased and disappointed, the speaker is left more melancholy than ever. fleeting nature of love and ideas he cannot achieve total communion with his lover human limitations Quiz:
-when and where did Browning die?
-what does the breakdown of the form and structure represent?
-what does the word 'campanga' refer to?
-name on theme of the poem.