These dramatic monologues have a different purpose from those we read last time. Through them, Browning explores complex issues of art, philosophy, and theology. For instance, in addition to creating a memorable psychological portrait of the speaker, “Fra Lippo Lippi” also has something to say about art and beauty, and the relationship between them, the flesh, and the spirit. Consider the following questions: What kind of man is Lippo and how do we know? What issues does he struggle with as he describes his life? How has he been criticized by the leaders of his monastic order? Do you find his response convincing, and why or why not? Examining the paintings of the real Fra Lippo Lippi and those of his predecessors and contemporaries will help you understand what he is talking about. I’ve provided images of those paintings; simply click on the small pictures next to the poem and you can see them in better detail.
The comedian and actor Martin Mull once said, “Writing about music is like dancing about architecture.” Yet Browning excelled at creating a sense of musical form through his use of poetic form. Why is Vogler’s music unusual? What makes it an apt subject for poetry? How does Browning convey a sense of how Vogler’s music might have sounded?
“Abt Vogler” is a poem about music and about religious faith, in addition to being about a man. How does Browning connect these ideas?
In a poem such as “Porphyria’s Lover,” “My Last Duchess,” or “Soliloquy of the Spanish Cloister,” the distance between the speaker’s character or psychological state and Browning’s is obvious. Can you detect any gap between Browning and his speaker in these two poems?