ROBERT-BROWNING“Soliloquy-of-the-Spanish-Cloister”.doc

ROBERT BROWNINGS POETRYRobert Browning“Soliloquy of the Spanish Cloister”Complete TextGr-r-r there go, my hearts abhorrence! Water your damned flower-pots, do! If hate killed men, Brother Lawrence, Gods blood, would not mine kill you! What? your myrtle-bush wants trimming? Oh, that rose has prior claims Needs its leaden vase filled brimming? Hell dry you up with its flames! At the meal we sit together; Salve tibi! I must hear Wise talk of the kind of weather, Sort of season, time of year: Not a plenteous cork-crop: scarcely Dare we hope oak-galls, I doubt; Whats the Latin name for “parsley?” Whats the Greek name for Swines Snout? Whew! Well have our platter burnished, Laid with care on our own shelf! With a fire-new spoon were furnished, And a goblet for ourself, Rinsed like something sacrificial Ere tis fit to touch our chaps Marked with L. for our initial! (He-he! There his lily snaps!) Saint, forsooth! While brown Dolores Squats outside the Convent bank With Sanchicha, telling stories, Steeping tresses in the tank, Blue-black, lustrous, thick like horsehairs, Cant I see his dead eye glow, Bright as twere a Barbary corsairs? (That is, if hed let it show!) When he finishes refection, Knife and fork he never lays Cross-wise, to my recollection, As do I, in Jesus praise. I the Trinity illustrate, Drinking watered orange-pulp In three sips the Arian frustrate; While he drains his at one gulp. Oh, those melons? If hes able Were to have a feast! so nice! One goes to the Abbots table, All of us get each a slice. How go on your flowers? None double? Not one fruit-sort can you spy? Strange! And I, too, at such trouble, Keep them close-nipped on the sly! Theres a great text in Galatians, Once you trip on it, entails Twenty-nine distinct damnations, One sure, if another fails: If I trip him just a-dying, Sure of heaven as sure as can be, Spin him round and send him flying Off to hell, a Manichee? Or, my scrofulous French novel On grey paper with blunt type! Simply glance at it, you grovel Hand and foot in Belials gripe: If I double down its pages At the woeful sixteenth print, When he gathers his greengages, Ope a sieve and slip it in t? Or, theres Satan! one might venture Pledge ones soul to him, yet leave Such a flaw in the indenture As hed miss till, past retrieve, Blasted lay that rose-acacia Were so proud of! Hy, Zy, Hine . “St, theres Vespers! Plena grati Ave, Virgo! Gr-r-r you swine! SummaryThis highly entertaining poem portrays the grumblings of a jealous monk who finds his pleasures more in the flesh than in the spirit. Presenting himself as the model of righteousness, the speaker condemns a fellow monk, Brother Lawrence, for his immorality; but we soon recognize that the faults he assigns to Lawrence are in fact his own. Unlike many of Brownings monologues, this one has no real historical specificity: we have no clues as to when the speaker might have lived, and the Spanish cloister is simply an anonymous monastery.Form The poem comprises nine eight-line stanzas, each rhyming ABABCDCD. The lines fall roughly into tetrameter, although with some irregularities. Browning makes ample use of the conventions of spoken language, including nonverbal sounds (“Gr-r-r-”) and colloquial language (“Hell dry you up with its flames!”). Many of the later dramatic monologues dispense with rhyme altogether, but this poem retains it, perhaps to suggest the speakers self-righteousness and careful adherence to tradition and formal convention.Because the speaker here is talking to himself, the poem is not technically a dramatic monologue as so many of Brownings poems are; rather, it is, as its title suggests, a “soliloquy” (even though it is a freestanding poem, and not a speech from a play). Nevertheless it shares many of the features of the dramatic monologues: an interest in sketching out a character, an attention to aestheticizing detail, and an implied commentary on morality.Commentary“Soliloquy of the Spanish Cloister” explores moral hypocrisy. On the surface, the poem may seem to be a light historical piece, the utterings of a grumpy but interesting monkhowever, it repeatedly approaches a tone similar to that used by the more strident of Victorian essayists and religious figures. Browning portrays this mans interior commentary to show that behind righteousness often lurks self-righteousness and corruption. The speaker levels some rather malevolent curses at Brother Lawrence, accusing his fellow monk of gluttony and lechery, when it is obvious, based on the examples he gives, that it is the speaker himself who is guilty of these sins (for example, when describing the supposed focus of Lawrences lecherous attentions, the speaker indulges in fairly abundant detail; clearly he has been looking for himself.) Moreover, the speakers fantasies about trapping Lawrence into damnation suggest that Lawrence is in fact a good man who will receive salvation. Thus Browning implies that the most vehement moralists invent their own opposition in order to elevate themselves.Perhaps most importantly, the speaker describes a bargain he would make with Satan to hurt Lawrence. The speaker claims he could make such a bargain that Satan would believe he was getting the speakers soul when in fact a loophole would let the speaker escape. The paradox here is that making any sort of bargain with the devil to the disadvantage of another, whether one tricks Satan in the end or not, must necessarily involve the loss of ones soul: the very act of making such a treacherous bargain con