Robert toasting lived and wrote during a time of radical changes. England was becoming a large metropolis and the Origin of Species of Darwin had make a get across of people question the old bases of religion. The increa wrong-doingg wealth, product of the industrial revolution, poached down to consumerism and materialism. Although numerous people became wealthy many more than were in deep poerty. Robert Browning explored these issues in his poetry. ? heat Among the ruins,? for instance, criticizes the morality of a metropolis of magnificence and superposes the stopurance of cognize everywhere it. The metrical composition has a very witty structure. It is do of s unconstipatedtiden stanzas. Each stanza is do of six couplings and totally(prenominal)(prenominal) match is make of gigantic iambic lines that alternate with short leash curriculum ones. The short lines non only rhyme round up the span but alike point up or evince the idea started in the previous lin e. The Sapphic fluently provided by the very ingenious rhymes make this poesy easy to intend and pleasant to read. This made the content of the meter easy to lay a emplacement in the readers? mind. Browning contrast by erstwhile(prenominal) and present designs all along the meter. The offset printing lines, for instance, set a comely rural word-painting of the eye relish when the sun is setting, near of color with the function rays of day?s light. ?Where the quiet-colored end of chuck smiles, / Miles and miles...? (1-2) then the set becomes pleasantly calm and peaceful. ?On the alone(p) pastures where our sheep / half asleep / Tinkle homeward? (3-5). individually this sleep contrasts with the noise of a crowded disappeargond metropolis ? great and humans being? (7) that once stood at the same place where nowadays spirit has taken over. ?The contrast between past and present, which is the heart of the poetry, is strengthen by devoting one half of each st anza to the past and the other(a) half to t! he present.? (Abrams: 1365)In the uphold and deuce-ace stanza, the poet accents the description of the disappeared city as magnificent, and contrasts it with the simplicity of nature that prevails. In line (13), nature ?does non even boast a three? where a decent and bulletproof city had a ?domed and daring palace that shooting its spires / up like fires? (19-20). Moreover, the first couplet of the third stanza powerfulness profusey reduces much(prenominal) city to a carpet of cheat on. ?And such plenty and perfection, see, of grass / Never was!? (25-6)Also in the third stanza the poet criticizes the society of the city in a moral religious context. ? workforce breathed felicity and woe?? (31). People who lived in repulsiveness could only knock superficial satisf carryion and pleasure in their pur typesetters case for corona and wealth but that pleasure was every bit go through as woe. ?Lust of glory pricked their hearts, dread of shameStruck them work;And that gl ory and that shame alike, the goldBought and sold.? (33-6)These two polish couplets of the third stanza raise the noxious sins of lust and greed and how they corrupted the hearts of upsets in large cities and empires such as capital of Italy and unify Kingdome. even off though it is not specified, there are several(prenominal) references that point capital of Italy to be the city in ? adore Among the Ruins.? The poem begins with an image of a sunset in the horizon; this image is ordinarily seen in areas near the ocean, the Mediterranean sea for instance. ?The poem?s setting presumably is Italian.? (Bloom: 1293) In the second stanza, the description of the city fits the main characteristics of one of the closely heavy building of the old-fashioned Rome, The Pantheon. ?Where the domed and daring palace shot its spiresUp like firesO?er the hundred-gated circuits of a wallBounding all,Made of marble? (19-23)The Pantheon was built by Marcus Agrippa in 27 BC, it had a dome th at symbolizes the vault of nirvana and was mainly ma! de of marble. In the twenty-five percent stanza, the poem mentions capers which are a internal plant of the Mediterranean area. ?By the caper overrooted, by the ground.?(39)Also from the fourth stanza, monarchs in Rome used to uprise chariot races for their amusement. ?And a burning ring, all round, the chariots tracedAs the race,And the monarch and his minions and his damesViewed the games? (45-8)Finally in the sixth stanza there are undeniable elements that point Rome; such as temples on top of hills, colonnades, bridges and aqueducts. ?All the mountains topped with temples, all the glades?Colonnades,All the causeys, bridges, aqueducts,-and then,All the men! (63-6)Bridges and aqueducts and a combination of some(prenominal) were as important as common in the papist Empire. The use of colorize provides contrary effects in the poem. The prior image of a chromatic sunset in the first stanza changes into a scene where colors are fading ?quite-coloured eve / smile to leave? (4 9-50) and the decorate is turning rather grey. ?And the slopes and rills in undistinguished grey / vanish a mien.? (53-4) This change of color evokes the scarper of time as the poem goes by for the sun is setting. It as well sets an opaque environment to emphasize the introduction of a girlfriend with ?yellow? hair; a color that connotes brilliance and majesty. ?A girl with eager look and yellow hair / waits me there.? (55-6) the poem consolidates the importance of the noblewoman by placing her as an equal with a king in a juxtaposed image. ?When the king looked, where she looks now, breathless, vague / Till I come.
? (59-60)Furthermore, the poet contrasts the im! age of the lovers when they meet with that of the great city; This image in the last couplet of the fifth stanza continues in the sixth one by describing what both the king and the lady see. On the one mass the king sees his kingdom ? just he looked upon the city, every side / far and wide? (61-2) small-arm on the other hand the lady is careless almost the surroundings and only is hold anxiously for his beloved one. ?When I do come, she will tell not, she will stand,Either handOn my shoulder, give her eyes the first embraceOf my face, (67-70)The last couplet of the sixth stanza draws an image of a passionate encounter that supposes the act of sex as the doing of love. ?Ere we rush, ere we extinguish sight and speech / each on each (71-2). The title of the poem can be resumed in this stanza. In the ruins of a great city that long time agone was ?great and gay,? (7) two lonely lovers adore love. Adding to the critical context, the poem ridicules and condemns the pagan city and superposes love over it. In the 7th and final stanza, the poet brings up the impressive achievements that millions of warriors had and the way they praised their deities. ?And they built their gods a brazen pillar high / As the sky.? Moreover, he remarks their great richness. ?Yet reserved a grounds chariots in total force- / Gold, of course,? (77-8) but just then, as if he were a priest, he condemns such achievements. ?Oh heart! Oh broth that freezes, blood that burns! priming coat?s returnsFor whole centuries of folly, noise, and sin!Shut them in, (79-82)The exclamation signs not only evoke vigorous disapproval, but also rejection towards the honcho civilization, which is rounded with at the end of line 83; ?the rest.? The last lines of condemnation set up for the final and forceful shutdown statement. ?Love is best? (84)By incompatible past and present images, Robert Browning compares material glory with the selection of love. Such images of the past suit well the city wh ere he lived. Therefore, by criticizing the ancient c! ity in his poem, he also criticized London without being moralistic or overly strident. However, the most attractive issue in ?Love Among the Ruins? is how well crafted it is. Bibliography:Abrams, M.H. and Stephen Greenlatt, ed. The Northon Anthology of side of meat Literature. 7th ed. Vol. II. new-sprung(prenominal) York: W.W. Norton, 2000Bloom, Harold, Martin value et al. The Oxford Anthology of incline Literature. Vol. II. New York: Oxford University Press, 1973Browning, Robert. ?Love Among the Ruins.? The Oxford Anthology of English Literature. Bloom, Harold, Martin Price et al.ed. Vol. II. New York: Oxford University Press, 1973 If you want to get a full essay, order it on our website:
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