Robert Browning: Karshish And Lazarus In An Epistle Together
The theme of the poetry of Robert Browning WORKING (1812-1889) mainly concerns the
universal problems of reports that the man has with God, art, nature and love . In a time of questioning certainties millennia by advances in science (geology, Darwinism) and philosophy (scientism, positivism) was often seen in Browning in the late nineteenth and early twentieth century , a philosopher or a prophet .
In fact, he regarded himself primarily as a poet , and posterity has proved him right as it is now recognized, with Tennyson and Matthew Arnold, as one of the top three English representatives of its kind in the Victorian era .
The same themes are reflected in book collection, especially in larger (Dramatic Lyrics, Dramatic Romances and Lyrics, Men and Women, the leader of his practice of maturity ("his middle life") by Margaret Drabble Dramatis Personae and The Ring and the Book). To treat them, the poet uses the technique of dramatic monologue, addressed to a listener (the hearer) but not silent inert . The speaking of the speaker shows a situation reached a crisis state past or present, and one or more characters, their conflicts and resolution, often dramatic or tragic that conflict .
In addition, exploration of the themes is given to characters who speak in their own name. Thus, each of them becomes a mask through which Browning explores a facet of reality . His goal, he wrote, is to arrive at the truth, divided into prismatic hues .
The themes addressed by Robert Browning are not only numerous but treated from different points of view, sometimes not compatible. This thematic diversity is made possible only by the diversity of those who expose it. Who indeed speak in these works? When It Comes to an idea, a doctrine, system, writes Charles Perquin, "Browning creates a person to illustrate the problem" ; this, Yann Tholoniat adds: "the figure of the author is reflected in all these speakers, and it dissolves in them, dissipates, fades, loses its essence, is fading in the same time when the ramifications of meaning .
TS Eliot did not make a mistake when he wrote: "In fact, what is normally meant in the dramatic monologue, the voice of the poet, who put the clothes and makeup of any historical figure or belonging to fiction ". Indeed, multiple characters are all masks behind which Browning explores different facets of the same cases .
Some characters receive approval from Browning, Fra Lippo Lippi, the monk-painter in love with life, for example, others, like Andrea del Sarto technician flawless paint, not because there is a censor him . Still others seem at first sight distance, as the bishop Bloughram Bloughram Bishop's Apology, encased in his intellectual and doctrinal comfort . In How it Strikes a Contemporary, the protagonist, the Corregidor, has an ambiguous profile: Is there a lonely poet and alienated from society, in which case his inspiration is divine and abstract poetry? Or a man of action, inspired solely by men, in which case his poetry is objective and concrete? Two masks here, for the same poem that Browning is trying alternately .
Two figures for the same mask, that of the speaker, this time: Karshish and Lazarus in An Epistle Containing the Strange Medical Experience of Karshish, the Arab Physician: one discovers, as a science journalist, land and faith, the other once awakened from death, remains silent and numb, like a child (about 117, referring to Matthew xviii, 3) , obedient as a sheep (to 119), with sudden impulse voltages that the author of literally speechless, can not be explained "technical structural tension and balance," says K. Mishler, whose book by its title alone ("God against God), succinctly summarizes the impact cultural and spiritual constituting the climax of the poem.
In 1881, the founding of the Robert Browning Society by Frederick Furnivall occurs Browning defending the body itself, which was quoted on that, and French: "It seems to me that this sort of thing borders on ridiculous . However, the poet feels obliged to attend some meetings of the association in which his own poems are analyzed by third parties. Most often, it comes to their interpretation of a philosophical perspective. His usual attitude is, so to listen patiently, nodding his head to thank the speaker for having learned something about his book and take off without further comment .
by: Laura Steinfield
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