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Page 77
PROSPICE. (PAGE 93.)
Written shortly after the death of Mrs. Browning.
Note the vividness of the imagery, the swiftness of the movement, the
rise to the climax, the change in spirit after the climax, and the
note of courage and hope that informs this poem. Compare it with
Tennyson's _Crossing the Bar_. What difference in spirit between
the two?
EPILOGUE TO ASOLANDO. (PAGE 94.)
Sharp's _Life of Browning_ has the following passage: "Shortly
before the great bell of San Marco struck ten, he turned and asked if
any news had come concerning _Asolando_, published that day. His
son read him a telegram from the publishers, telling how great the
demand was, and how favorable were the advance articles in the leading
papers. The dying poet turned and muttered, 'How gratifying!' When the
last toll of St. Mark's had left a deeper stillness than before, those
by the bedside saw a yet profounder silence on the face of him whom
they loved."
What claim does Browning make for himself? Do you find this spirit in
any of his poetry which you have read?
"DE GUSTIBUS--." (PAGE 96.)
Image the scene in the first stanza. Why are the poppies known by
their flutter, rather than their color? Note the rhyme effect and
climax in lines 11-13. What qualities predominate in the first scene?
How does the second scene differ from it? What are the characteristic
objects in the second? Has it more or less of the romantic, or of
grandeur? Compare the human element introduced in each scene. Note
the effectiveness of the epithets _a-flutter_, _wind-grieved_, _baked_,
_red-rusted_, _iron-spiked_. Show how the poem explains its title.
THE ITALIAN IN ENGLAND. (PAGE 98.)
The setting of the story is Italy's struggle against Austria for her
liberty, known as the Revolution of 1848.
8. =Charles=. Carlo Alberto, Prince of Carignano, of the house of
Savoy.
19. =Metternich= (1773-1859). The Austrian diplomatist, and the enemy
of Italian liberty.
25. =Lombardy=. See the Atlas.
76. =Tenebr�= = darkness. A religious service in the Roman Catholic
church, commemorating the crucifixion.
MY LAST DUCHESS. (PAGE 105.)
Ferrara still preserves the medi�val traditions and appearance in
a marked degree. The Dukes of Ferrara were noted art patrons. Both
Ariosto and Tasso were members of their household; but neither poet
was fully appreciated by his master.
8. =Fra Pandolf=. An imaginary artist.
45-46. Professor Corson, in his _Introduction to Browning_,
quotes an answer from the poet himself: "'Yes, I meant that the
commands were that she should be put to death.' And then, after a
pause, he added, with a characteristic dash of expression, as if the
thought had just started in his mind, 'Or he might have had her shut
up in a convent.'"
56. =Claus of Innsbruck=. An imaginary artist.
This poem is a fine example of Browning's skill in the use of dramatic
monologue. (See Introduction.) The Duke is skilfully made to reveal
his own character and motives, and those of the Duchess, and at the
same time to indicate the actions of himself and his listener.
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