Other Literary Forms
Robert Browning is better known as a major Victorian poet and, in particular, as one who perfected the influential verse form called dramatic monologue. His achievement in poetry, for which he forsook the theater altogether in 1846, was unquestionably much greater than what he accomplished as a writer of stage plays, yet it is difficult and unwise to distinguish the subject matter and techniques of Browning’s “failed” dramas from those of his successful poems. Although he was by nature and inclination a dramatic writer, it became apparent that his peculiar interests and talent in that line were more suited to the finer medium of poetry than to the practical exigencies of stagecraft. The verse confirms his acknowledged preoccupation with interior drama (“Action in character, not character in action”). Browning’s verse masterpieces in this mode include “Porphyria’s Lover,” “My Last Duchess,” “The Bishop Orders His Tomb at St. Praxed’s Church,” “Andrea del Sarto,” “Love Among the Ruins,” “The Last Ride Together,” and The Ring and the Book (1868-1869). A dramatic monologue by Browning typically features an incandescent moment of crisis or of self-realization in the mental life of some unusual, often morally or psychologically flawed, character. Rather like a soliloquy except in being addressed to a present but silent listener, this type of poem enabled Browning to let his speakers’ personalities, motives, obsessions, and delusions be revealed—inadvertently or otherwise—in speech and implied gesture. This preoccupation with inward, psychological drama—with the springs of action rather than with action itself—is the origin of Browning’s greatness as a poet and of his limitations as a stageworthy playwright.