Through Music Literature And Painting The Romantic Artists Attempted To Nature And Human Nature In The Poetry Of Browning

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Nature And Human Nature In The Poetry Of Browning

Nature plays an important role in literature. The word “nature” refers to the entire universe, everything living or inanimate. Browning had his own attitude towards nature, in keeping with his modesty and poetic sensibilities. In this essay, we will briefly consider the treatment of nature in Browning’s poetry.

Brought up in a romantic atmosphere of poetry, Browning did not ignore the influence of nature on mankind; but in order to create a new kind of poetry, he consciously avoided overemphasis on nature and tried to focus on human nature. More precisely, for Browning, love was more important than nature.

It was the established practice of the Neoclassical authors to take the unique/unique phenomena of nature in small and careful ways, and then extract from them the unique/universal. The Romantics showed the opposite tendency in their creative writings. It is true that the Romantics viewed nature subjectively rather than objectively. Browning believed that mere sensory perception is not as important as intuitive and intuitive vision of the semantic aspects of objects in nature. Browning discovered in “Nature” an unmistakable figure endowed with a variety of human feelings, and its powerful influence evoked in us many different reactions – harmless, terrible, awe-inspiring. “Nature and passion are strong,” and Browning’s poetic technique combines the dynamic human nature and primal passions with subtlety and mastery.

As a poet, Browning was more drawn to Italian painting, sculpture, and music than to its beautiful landscapes. Landor’s own inscription, “Nature I loved, and art after nature,” could for Browning have been merely an abuse of word order, and in the restored word order Browning would have declared: “Art I loved, then.” Art and Nature.” In nature, Browning saw the simple power of doing good and evil. Browning is not at all partial, and does not tend to increase the power of benevolence by diminishing evil.

Browning sees nature as a whole. In other words, he observes a harmonious existence in nature: on the one hand, calm and quiet beauty, and on the other hand, roughness, ugliness and vulgarity. As children of Mother Nature, we identify with the bright, the luminous, the beautiful, the terrifying, the gross. Browning’s moodiness and poetic nature were more drawn to the toad-like rough and tumble, top-heavy, toad-stool and grooved. As such, this element of vulgarity is heavily reflected in his depictions of human figures and landscapes. , in using poem form and vocabulary.

However, Browning is always at ease when describing an object or landscape, and it captures vivid images well. By the way, one of Browning’s friends asked, “Do you care much for nature?” We remember that question. In response, Browning said, “Yes, very much, but more of a human being.” Browning’s keen interest in nature is evident in his beautiful artistic depictions of the moon as the most “featured”.

“Porphyry’s Lover” opens with a description of the lover as a raging storm rages outside.

It rained early in the night,

Soon the dull wind woke up,

It tore off the top of the elm.

And did the worst thing to trouble the lake:

I heard from my heart.

The storm outside is terrible and is doing “the worst thing to destroy the lake,” and when the lover explains this, he shows his perfect sanity, but when he listens to it in his heart, his anger is felt in full force. Thus, the “terrible storm” described by Bristow not only serves the purpose of a decorative background, but also acquires a symbolic dimension.

Browning believed that nature was universally indifferent to the condition and affairs of man; but this does not entirely rule out the possibility of ancient powers abundant in nature. In some extremely rare and special cases, his lovers “play touch for a moment”, and this happy moment removes the barriers between spirit and spirit, man and nature.

Through a perfect combination of natural imagery and sensory imagery, Browning tries to reinforce the physical appeal and charm of her lover, her physical beauty, and her pleasure. The interstellar rays fall on the “concave-breasted” cloud, painted with beautiful colors, and the blue and blushing beauty of the “western cloud” is transient and mature, and clearly expresses the influence of the speaker’s lover.

Although Browning firmly believed that souls existed even in inanimate objects, in his Transcendentalism he did not use the scientific concept of the evolutionary process inextricably linked to the ocean, nor did he find any strong connection between his voice. the ocean and the human spirit. Perhaps he left out this aspect of nature because he intended to reveal human nature; and he turned nature into a foil for man. Browning has no right to philosophize nature because he downplays the importance of nature in his poetic scheme and imposes its main orientation on the inner nature of man. He does not have a clear philosophical view of nature.

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