Porphyria's Lover
Encyclopedia
"Porphyria's Lover" is a poem by Robert Browning
and it was first published as "Porphyria" in the January 1836 issue of Monthly Repository
. Browning later republished it in Dramatic Lyrics
(1842) paired with "Johannes Agricola in Meditation
" under the title "Madhouse Cells." The poem did not receive its definitive title until 1863.
"Porphyria's Lover" is Browning's first ever short dramatic monologue
, and also the first of his poems to examine abnormal psychology. Although its initial publication passed nearly unnoticed and it received little critical attention in the nineteenth century, the poem is now heavily anthologised and much studied.
In the poem, a man strangles his lover - Porphyria - with her hair; "...and all her hair/In one long yellow string I wound/Three times her little throat around,/And strangled her." Porphyria's lover then talks of the corpse's blue eyes, golden hair, and describes the feeling of perfect happiness the murder gives him. Although he winds her hair around her throat 3 times in order to throttle her, the woman never cries out.
A possible inspiration for the poem is John Wilson's "Extracts from Gosschen's Diary", a lurid account of a murder published in Blackwood's Magazine
in 1818. Browning's friend and fellow poet Bryan Procter
acknowledged basing his 1820 "Marcian Colonna" on this source, but added a new detail; after the murder, the killer sits up all night with his victim.
Browning's monologues are frequently voiced by eccentrics
, lunatics, or people under emotional stress. Their ramblings illustrate character by describing the interactions of an odd personality with a particularly telling set of circumstances. In both "Porphyria's Lover" and "My Last Duchess
", Browning uses this mode of exposition to describe a man who responds to the love of a beautiful woman by killing her. Each monologue offers the speakers' reasons for transforming the desired woman from subject to object: in "My Last Duchess", the Duke may have jealously murdered his wife, but keeps a portrait of her behind a curtain so none can look upon her smile without his permission; in "Porphyria's Lover", the persona wishes to stop time at a single perfect moment and so kills his lover and sits all night embracing her carefully arranged body. It should be noted that in "My Last Duchess" the woman's murder is at best implied, while in "Porphyria's Lover" it is described quite explicitly by the speaker.The unchanging pattern of the poem also shows the persona's insanity. The unchanging "ABABB" rhyming scheme represents the heart beat of the persona and even as the murder is taking place the rhythm never changes.
The "Porphyria" persona's romantic egotism leads him into all manner of monstrously selfish assumptions compatible with his own longings. He seems convinced that Porphyria wanted to be murdered, and claims "No pain felt she" while being strangled, adding, as if to convince himself "I am quite sure she felt no pain." He may even believe she enjoyed the pain, because he, her lover, inflicted it. When she's dead, he says she's found her "utmost will," and when he sees her lifeless head drooping on his shoulder, he describes it as a "smiling rosy little head", possibly using the word "rosy" to symbolise the red roses of love, or to demonstrate his delusion that the girl, and their relationship, are still alive. More likely, however, is the thought that blood returning to her face, after the strangulation, makes her cheeks "rosy." Her "rosy little head" may also be a sly reference to the hymen; Porphyria leaves a "gay feast" and comes in from the outside world wearing "soiled gloves" (Porphyria may well be a gardener with obvious links to the rose theme); now her blue eyes, open in death, are "without a stain." The lover may also be a fetishist
, indicated by the fact that he refers to her hair numerous times throughout the poem, and strangles her with it.
Since the speaker may (as many speculate) be insane, it is impossible to know the true nature of his relationship to Porphyria. Theories, some of them rather bizarre, abound: some contemporary scholars suggest, for example, that the persona may be a woman; if so, the strangulation could stem from frustration with the world. An incestuous relationship has also been suggested; Porphyria might be the speaker's mother or sister. Another possibility is that she is a former lover, now betrothed, or even married, to some other man. Alternatively, she may simply be some kind lady who has come to look in on him, or even a figment of his imagination.
Other sources note that the lover might be impotent, disabled, sick, or otherwise inadequate, and, as such, unable to satisfy Porphyria. There is much textual evidence to support this interpretation: he describes himself as "one so pale/ for love of her, and all in vain." At the beginning of the poem, the persona never moves; he sits passively in a cold, dark room, sadly listening to the storm until Porphyria comes through "wind and rain", "shuts the cold out and the storm," and makes up his dying fire. Finally, she sits beside him, calls his name, places his arm around her waist, and puts his head on her shoulder; interestingly, she has to stoop to do this. At the poem's midpoint, the persona suddenly takes action, strangling Porphyria, propping her body against his, and boasting that afterward, her head lay on his shoulder.
In line with the persona's suggested weakness and sickness, other scholars take the word "porphyria
" literally, and suggest that the seductress embodies a disease, and that the persona's killing of her is a sign of his recovery. Porphyria, which usually involved delusional madness and death, was classified several years before the poem's publication; Browning, who had an avid interest in such pathologies, may well have been aware of the new disease.
Much has been made of the final line: "And yet, God has not said a word!" Possibly, the speaker seeks divine condonement for the murder. He may believe God
has said nothing because He is satisfied with his actions. God may be satisfied because: He recognises that the persona's crime is the only way to keep Porphyria pure; or, because He doesn't think her life and death are important compared to the persona's. The persona may also be waiting in vain for some sign of God's approval. Alternatively, the line may represent his feelings of emptiness in the wake of his violence; Porphyria is gone, quiet descends, and he's alone. The persona may also be schizophrenic; he may be listening for a voice in his head, which he mistakes for the voice of God. It has also been postulated that this is Browning's statement of "God's silence," in which neither good nor bad acts are immediately recompensed by the deity.
The final line may also register the persona's sense of guilt over his crime. Despite his elaborate justifications for his act, he has, in fact, committed murder, and he expects God to punish him - or, at least, to take notice. The persona is surprised, and a little uneasy, over God's continued silence.
", as do other Victorian
authors who contribute to the popular conversation about the artistic processes.
Robert Browning
Robert Browning was an English poet and playwright whose mastery of dramatic verse, especially dramatic monologues, made him one of the foremost Victorian poets.-Early years:...
and it was first published as "Porphyria" in the January 1836 issue of Monthly Repository
Monthly Repository
The Monthly Repository was a British monthly Unitarian periodical which ran between 1806 and 1838.The Monthly Repository was established when Robert Aspland bought William Vidler's Universal Theological Magazine and changed the name to the Monthly Repository of Theology and General Literature...
. Browning later republished it in Dramatic Lyrics
Dramatic Lyrics
Dramatic Lyrics is a collection of English poems by Robert Browning, first published in 1842 as the second volume in a series of self-published books entitled Bells and Pomegranates...
(1842) paired with "Johannes Agricola in Meditation
Johannes Agricola in Meditation
"Johannes Agricola in Meditation" is an early dramatic monologue by Robert Browning. The poem was first published in the Monthly Repository; later, it appeared in Dramatic Lyrics paired with Porphyria's Lover under the title "Madhouse Cells."Agricola's "meditations" serve primarily as a critique...
" under the title "Madhouse Cells." The poem did not receive its definitive title until 1863.
"Porphyria's Lover" is Browning's first ever short dramatic monologue
Dramatic monologue
M. H. Abrams notes the following three features of the dramatic monologue as it applies to poetry:-Types of monologues:One of the most important influences on the development of the dramatic monologue is the Romantic poets...
, and also the first of his poems to examine abnormal psychology. Although its initial publication passed nearly unnoticed and it received little critical attention in the nineteenth century, the poem is now heavily anthologised and much studied.
In the poem, a man strangles his lover - Porphyria - with her hair; "...and all her hair/In one long yellow string I wound/Three times her little throat around,/And strangled her." Porphyria's lover then talks of the corpse's blue eyes, golden hair, and describes the feeling of perfect happiness the murder gives him. Although he winds her hair around her throat 3 times in order to throttle her, the woman never cries out.
A possible inspiration for the poem is John Wilson's "Extracts from Gosschen's Diary", a lurid account of a murder published in Blackwood's Magazine
Blackwood's Magazine
Blackwood's Magazine was a British magazine and miscellany printed between 1817 and 1980. It was founded by the publisher William Blackwood and was originally called the Edinburgh Monthly Magazine. The first number appeared in April 1817 under the editorship of Thomas Pringle and James Cleghorn...
in 1818. Browning's friend and fellow poet Bryan Procter
Bryan Procter
Bryan Waller Procter was an English poet.Born at Leeds, Yorkshire, he was educated at Harrow School, where he had for contemporaries Lord Byron and Robert Peel. On leaving school he was placed in the office of a solicitor at Calne, Wiltshire, remaining there until about 1807, when he returned to...
acknowledged basing his 1820 "Marcian Colonna" on this source, but added a new detail; after the murder, the killer sits up all night with his victim.
Psychological Interpretations
Although "Porphyria's Lover" is a short poem written in a straightforward language, interpretations have been many and various. Most readers, however, tend to focus on the insane persona and to define the poem as a portrait of abnormal psychology.Browning's monologues are frequently voiced by eccentrics
Eccentricity (behavior)
In popular usage, eccentricity refers to unusual or odd behavior on the part of an individual. This behavior would typically be perceived as unusual or unnecessary, without being demonstrably maladaptive...
, lunatics, or people under emotional stress. Their ramblings illustrate character by describing the interactions of an odd personality with a particularly telling set of circumstances. In both "Porphyria's Lover" and "My Last Duchess
My Last Duchess
"My Last Duchess" is a poem by Robert Browning, frequently anthologized as an example of the dramatic monologue. It first appeared in 1842 in Browning's Dramatic Lyrics.-Poem structure and historical background:...
", Browning uses this mode of exposition to describe a man who responds to the love of a beautiful woman by killing her. Each monologue offers the speakers' reasons for transforming the desired woman from subject to object: in "My Last Duchess", the Duke may have jealously murdered his wife, but keeps a portrait of her behind a curtain so none can look upon her smile without his permission; in "Porphyria's Lover", the persona wishes to stop time at a single perfect moment and so kills his lover and sits all night embracing her carefully arranged body. It should be noted that in "My Last Duchess" the woman's murder is at best implied, while in "Porphyria's Lover" it is described quite explicitly by the speaker.The unchanging pattern of the poem also shows the persona's insanity. The unchanging "ABABB" rhyming scheme represents the heart beat of the persona and even as the murder is taking place the rhythm never changes.
The "Porphyria" persona's romantic egotism leads him into all manner of monstrously selfish assumptions compatible with his own longings. He seems convinced that Porphyria wanted to be murdered, and claims "No pain felt she" while being strangled, adding, as if to convince himself "I am quite sure she felt no pain." He may even believe she enjoyed the pain, because he, her lover, inflicted it. When she's dead, he says she's found her "utmost will," and when he sees her lifeless head drooping on his shoulder, he describes it as a "smiling rosy little head", possibly using the word "rosy" to symbolise the red roses of love, or to demonstrate his delusion that the girl, and their relationship, are still alive. More likely, however, is the thought that blood returning to her face, after the strangulation, makes her cheeks "rosy." Her "rosy little head" may also be a sly reference to the hymen; Porphyria leaves a "gay feast" and comes in from the outside world wearing "soiled gloves" (Porphyria may well be a gardener with obvious links to the rose theme); now her blue eyes, open in death, are "without a stain." The lover may also be a fetishist
Sexual fetishism
Sexual fetishism, or erotic fetishism, is the sexual arousal a person receives from a physical object, or from a specific situation. The object or situation of interest is called the fetish, the person a fetishist who has a fetish for that object/situation. Sexual fetishism may be regarded, e.g...
, indicated by the fact that he refers to her hair numerous times throughout the poem, and strangles her with it.
Since the speaker may (as many speculate) be insane, it is impossible to know the true nature of his relationship to Porphyria. Theories, some of them rather bizarre, abound: some contemporary scholars suggest, for example, that the persona may be a woman; if so, the strangulation could stem from frustration with the world. An incestuous relationship has also been suggested; Porphyria might be the speaker's mother or sister. Another possibility is that she is a former lover, now betrothed, or even married, to some other man. Alternatively, she may simply be some kind lady who has come to look in on him, or even a figment of his imagination.
Other sources note that the lover might be impotent, disabled, sick, or otherwise inadequate, and, as such, unable to satisfy Porphyria. There is much textual evidence to support this interpretation: he describes himself as "one so pale/ for love of her, and all in vain." At the beginning of the poem, the persona never moves; he sits passively in a cold, dark room, sadly listening to the storm until Porphyria comes through "wind and rain", "shuts the cold out and the storm," and makes up his dying fire. Finally, she sits beside him, calls his name, places his arm around her waist, and puts his head on her shoulder; interestingly, she has to stoop to do this. At the poem's midpoint, the persona suddenly takes action, strangling Porphyria, propping her body against his, and boasting that afterward, her head lay on his shoulder.
In line with the persona's suggested weakness and sickness, other scholars take the word "porphyria
Porphyria
Porphyrias are a group of inherited or acquired disorders of certain enzymes in the heme bio-synthetic pathway . They are broadly classified as acute porphyrias and cutaneous porphyrias, based on the site of the overproduction and accumulation of the porphyrins...
" literally, and suggest that the seductress embodies a disease, and that the persona's killing of her is a sign of his recovery. Porphyria, which usually involved delusional madness and death, was classified several years before the poem's publication; Browning, who had an avid interest in such pathologies, may well have been aware of the new disease.
Much has been made of the final line: "And yet, God has not said a word!" Possibly, the speaker seeks divine condonement for the murder. He may believe God
God
God is the English name given to a singular being in theistic and deistic religions who is either the sole deity in monotheism, or a single deity in polytheism....
has said nothing because He is satisfied with his actions. God may be satisfied because: He recognises that the persona's crime is the only way to keep Porphyria pure; or, because He doesn't think her life and death are important compared to the persona's. The persona may also be waiting in vain for some sign of God's approval. Alternatively, the line may represent his feelings of emptiness in the wake of his violence; Porphyria is gone, quiet descends, and he's alone. The persona may also be schizophrenic; he may be listening for a voice in his head, which he mistakes for the voice of God. It has also been postulated that this is Browning's statement of "God's silence," in which neither good nor bad acts are immediately recompensed by the deity.
The final line may also register the persona's sense of guilt over his crime. Despite his elaborate justifications for his act, he has, in fact, committed murder, and he expects God to punish him - or, at least, to take notice. The persona is surprised, and a little uneasy, over God's continued silence.
"Porphyria's Lover" as Tableau Vivant
The mirrored effect produced by Porphyria's modelling of the persona in the first half, and the persona's reciprocal modelling of her after strangulation is indicative of a popular Victorian art form called Tableaux Vivant in which humans were used as art in order to recreate actual paintings. This is indicative of the allegorical content of "Porphyria's Lover" in which both characters imitate the process of artistic creation: when art is created or published, it is dead and forever unchanging. In the last few lines of the poem, Porphyria is manipulated in much the same way as the speaker was in the first few lines of the poem. Tennyson shares similar ideas in "The Lady of ShalottThe Lady of Shalott
"The Lady of Shalott" is a Victorian ballad by the English poet Alfred, Lord Tennyson . Like his other early poems – "Sir Lancelot and Queen Guinevere" and "Galahad" – the poem recasts Arthurian subject matter loosely based on medieval sources.-Overview:Tennyson wrote two versions of the poem, one...
", as do other Victorian
Victorian era
The Victorian era of British history was the period of Queen Victoria's reign from 20 June 1837 until her death on 22 January 1901. It was a long period of peace, prosperity, refined sensibilities and national self-confidence...
authors who contribute to the popular conversation about the artistic processes.
See also
- My Last DuchessMy Last Duchess"My Last Duchess" is a poem by Robert Browning, frequently anthologized as an example of the dramatic monologue. It first appeared in 1842 in Browning's Dramatic Lyrics.-Poem structure and historical background:...
- A wealthy nobleman delivers a monologue telling a guest that he had his former wife killed because everybody and everything she saw seemed to make her happy. Now, she exists only as a painting on the wall, which he usually keeps concealed behind a curtain so none but he can see the look of happy welcome on her face. - Soliloquy of the Spanish CloisterSoliloquy of the Spanish CloisterSoliloquy of the Spanish Cloister is a dramatic monologue written by Robert Browning, first published in his collection Dramatic Lyrics . It is written in the voice of an unnamed Spanish monk. The poem consists of nine eight-line stanzas and is written in iambic tetrameter...
- A comic monologue in which a monk spews out venom against one of his colleagues, Brother Lawrence; in the process, he merely reveals his own depravity while showing what a good, pious man his "enemy" is. - Maggie PowerMaggie PowerMaggie Power is a British novelist. She is the author of:*Goblin Fruit, published by Journeyman Press *Lily, published by Simon & Schuster *Porphyria's Lover, published by Simon & Schuster- External links :*...
- Novelist who wrote a book with the same title as the Browning poem. - "Where the Wild Roses GrowWhere the Wild Roses Grow"Where the Wild Roses Grow" is an alternative-rock song written by Australian singer-songwriter Nick Cave for Nick Cave and the Bad Seeds' ninth album Murder Ballads , with guest vocals by Australian pop-singer Kylie Minogue. The song was produced by Nick Cave and The Bad Seeds, Tony Cohen and...
" - A contemporary song sharing similar themes. - "Lizzie's Lover", a short story by Ruth RendellRuth RendellRuth Barbara Rendell, Baroness Rendell of Babergh, CBE, , who also writes under the pseudonym Barbara Vine, is an English crime writer, author of psychological thrillers and murder mysteries....
.
Full text
- The rain set early in tonight,
- The sullen wind was soon awake,
- It tore the elm-tops down for spite,
- And did its worst to vex the lake:
- I listened with heart fit to break.
- When glided in Porphyria; straight
- She shut the cold out and the storm,
- And kneeled and made the cheerless grate
- Blaze up, and all the cottage warm;
- Which done, she rose, and from her form
- Withdrew the dripping cloak and shawl,
- And laid her soiled gloves by, untied
- Her hat and let the damp hair fall,
- And, last, she sat down by my side
- And called me. When no voice replied,
- She put my arm about her waist,
- And made her smooth white shoulder bare,
- And all her yellow hair displaced,
- And, stooping, made my cheek lie there,
- And spread, o'er all, her yellow hair,
- Murmuring how she loved me — she
- Too weak, for all her heart's endeavor,
- To set its struggling passion free
- From pride, and vainer ties dissever,
- And give herself to me forever.
- But passion sometimes would prevail,
- Nor could tonight's gay feast restrain
- A sudden thought of one so pale
- For love of her, and all in vain:
- So, she was come through wind and rain.
- Be sure I looked up at her eyes
- Happy and proud; at last I knew
- Porphyria worshiped me: surprise
- Made my heart swell, and still it grew
- While I debated what to do.
- That moment she was mine, mine, fair,
- Perfectly pure and good: I found
- A thing to do, and all her hair
- In one long yellow string I wound
- Three times her little throat around,
- And strangled her. No pain felt she;
- I am quite sure she felt no pain.
- As a shut bud that holds a bee,
- I warily oped her lids: again
- Laughed the blue eyes without a stain.
- And I untightened next the tress
- About her neck; her cheek once more
- Blushed bright beneath my burning kiss:
- I propped her head up as before,
- Only, this time my shoulder bore
- Her head, which droops upon it still:
- The smiling rosy little head,
- So glad it has its utmost will,
- That all it scorned at once is fled,
- And I, its love, am gained instead!
- Porphyria's love: she guessed not how
- Her darling one wish would be heard.
- And thus we sit together now,
- And all night long we have not stirred,
- And yet God has not said a word!
External links
- John Wilson's "Extracts from Gosschen's Diary". Full text from Project GutenbergProject GutenbergProject Gutenberg is a volunteer effort to digitize and archive cultural works, to "encourage the creation and distribution of eBooks". Founded in 1971 by Michael S. Hart, it is the oldest digital library. Most of the items in its collection are the full texts of public domain books...
. - An article from the academic journal Explicator which compares "Porphyria's Lover" and "My Last Duchess" to Shakespeare's OthelloOthelloThe Tragedy of Othello, the Moor of Venice is a tragedy by William Shakespeare, believed to have been written in approximately 1603, and based on the Italian short story "Un Capitano Moro" by Cinthio, a disciple of Boccaccio, first published in 1565...
and interprets both as critiques of male sexual possessiveness.