Deception

Nancy Chang
Eng 200C
Dr. Shlensky
Sept 24, 2006


“Porphyria’s Lover”, Browning

“Porphyria’s Lover,” written by Robert Browning in 1835, is a rather perplexing piece of work, which raises controversies among its readers. Due to the speaker’s inner conflict and struggle to confess the fallacy he administers, also makes it a prolonging poem to read and induces the readers to ponder whose side we should take - Porphyria or the lover?

As mentioned in the introduction of Robert Browning (p. 1410), he attempts to make his readers sympathize with the speakers, even if the speaker is disputable and untrustworthy. The speaker presents and tells the story in an artistic way, smoothing out the outrageous acts he does to one who he thinks to “worship” him. While Porphyria’s Lover kills her without warning, the readers tend to hear his side of the story, not taking into account for a moment that he is the guilty one.

Lines 1 to 4 sets up for the mood the readers are about to encounter. “The sullen wind/tore the elm-tops” creates a gloomy atmosphere and worse yet, it “[vexes] the lake”, seeming to introduce the readers to an ominous story. The unsettling beginning is then warmed up as Porphyria shuts the door and lights up the fireplace. As soon as she takes care of the surroundings, she tends to her lover. Not caring for her wet appearance, she immediately disposes her “dripping cloak and shawl” (11), and begins to seduce her lover; she sits by him, touches him, and whispers lovingly to him. The passage from lines 6 through 25, readers clearly see the intense display of the passion Porphyria has for her lover.

The second half of the poem, “a sudden thought of one so pale” (28) foreshadows the upcoming event that Porphyria’s blushed cheeks will soon fade as she breathes her last breath. As “passion sometimes [prevails]” (26), the speaker holds an obsession over Porphyria and believes it is a wish to have possession of her forever. He loves her; he wants to preserve her youthfulness and beauty. His following debate with himself gives readers a sense of unrest. Sure enough, his final decision to strangle her with her own yellow hair (39-41) seems like the perfect way to retain her “perfectly pure and good” (37) nature. As if doing her a favour, the speaker is proud, if not obsessed with the deed he has done.

Throughout the poem, readers only hear the speaker’s voice and thoughts, while Porphyria has no voice in this. All her reactions and feelings are told by the speaker himself; this prevents readers to further analyse the relationship between the lovers. Even after the murder act, the speaker reassures himself with satisfaction, and admires her “smiling rosy little head” (52). Should we empathise or sympathise the speaker? Or maybe this is what Porphyria wanted too. The speaker seeks for justification in his actions, and since “God has not said a word” (60), Porphyria’s Lover ends on a disturbing closure.