To Robert Browning

The act of singing brings joy, even if no one hears.

Next to the vocalist, there is joy.
In praising, tho’ the praiser sit alone

And observe his praised demeanor from afar, high above.
Shakspeare is not our poet, but the world’s,
reword

Do not speak to him and keep your response short, rephrase as needed.
Browning! From the time when Chaucer was living and well,
so active, no land hath given birth to such a stirring wizard

No individual has traveled on our pathways with such energy, no country has produced such an inspiring magician.
,

Such a lively, curious gaze and voice,
and fewer changing seasons can result in more continuous flowering

The conversation is diverse. However, areas with higher temperatures and less seasonal changes may experience consistent blooming.

Enhance the bird’s colorful feathers and increase its wing strength: the wind.
yonder azure peaks

You are toying with the tall heights of the Alps, carried upon the blue points in the distance.
Beyond Sorrento and Amalfi, where
The Siren is patiently waiting, singing in response to your songs.

Walter Savage Landor, a Victorian poet often mistakenly labeled as “minor,” was actually a strong supporter of the much more prominent writer, Robert Browning. Despite a significant age difference – Landor being born in 1775 and Browning in 1812 – the two formed a close bond. In fact, Landor’s sonnet to Browning reflects the respect and admiration of an older poet for a younger one. This admiration was reciprocated, and the two became close friends. During Landor’s tumultuous later years, he found support from the Browning family, especially since he had spent a considerable amount of time living in Italy.

Originally published in 1845 in the Morning Chronicle, To Robert Browning is an unconventional sonnet for the time period due to its lack of rhyming. Skillfully written in iambic pentameter, it cleverly incorporates syntax and line structure with the effortless flow of a classically trained poet and dramatist. The absence of a traditional rhyme scheme does not distract the reader, as the poem’s words and imagery create a captivating soundscape. The poem is not consistently smooth, as Landor boldly expresses his admiration for Browning’s vigor and diversity in lines seven to 10, while also tackling the formal challenge. The sonnet moves swiftly and expansively in its themes, with line 10 serving as a turning point, leading to a novel beginning.

Landor starts off with a distinctive and memorable saying. The broad statement made in the two lines connects the two poets despite their different circumstances. Browning had just released Sordello (1840) and may have felt like a singer whose voice cannot be heard as he faced its reception. As for Landor, he is described as the “praiser” who gazes up and sees the younger poet being praised highly – but he does not feel resentful at all. The focus is on the joy of the unheard singer and the lesser admirer: there is no bitterness or jealousy in Landor’s kind perspective.

Although there may be an element of playfulness present, it subtly shines through in the spelling choices instead of being overt. Landor’s use of archaic spelling, such as “walkt” and “highths”, was not uncommon during the time of writing, but some choices seem intentionally affected. This touch of irony allows Landor to smirk in a condescending manner at a concept of poetry that even Browning may have scoffed at. Landor views it as a form of elevated expression – a type of imitation of the past that raises the homage he is writing, although he does so with a knowing smile.

Unable to reword.

Was he aware of the upcoming marriage plans? If so, his mention of the waiting Siren could potentially be a playful nod to the future Elizabeth Barrett Browning. If she is able to match Robert “song for song”, could she also be seen as competition in addition to being his inspiration? I believe the underlying vision, whether it portrays Browning’s future wife or simply a mythical Siren, is more generous than that. With a subtle rhyme (“on” / “song”) to emphasize the playful tone, the sonnet concludes with yet another vision of the “delight in singing”, a joy that is meant to be shared this time.

Source: theguardian.com