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A Blot in the 'scutcheon
A Blot in the 'Scutcheon: Large Print Robert Browning Robert Browning is one of the most significant Victorian Poets and, of course, English Poetry. Much of his reputation is based upon his mastery of the dramatic monologue although his talents encompassed verse plays and even a well-regarded essay on Shelley during a long and prolific career. He was born on May 7th, 1812 in Walmouth, London. Much of his education was home based and Browning was an eclectic and studious student, learning several languages and much else across a myriad of subjects, interests and passions. Browning's early career began promisingly. The fragment from his intended long poem Pauline brought him to the attention of Dante Gabriel Rossetti, and was followed by Paracelsus, which was praised by both William Wordsworth and Charles Dickens. In 1840 the difficult Sordello, which was seen as willfully obscure, brought his career almost to a standstill. Despite these artistic and professional difficulties his personal life was about to become immensely fulfilling. He began a relationship with, and then married, the older and better known Elizabeth Barrett. We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.
54 pages, Paperback
First published January 1, 2006
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About the author
Robert Browning
2,711 books443 followersRobert Browning (1812-1889) was a British poet and playwright whose mastery of dramatic verse, especially dramatic monologues, made him one of the foremost Victorian poets.
Browning began writing poetry at age 13. These poems were eventually collected, but were later destroyed by Browning himself. In 1833, Browning's "Pauline" was published and received a cool reception. Harold Bloom believes that John Stuart Mill's review of the poem pointed Browning in the direction of the dramatic monologue.
In 1845, Browning wrote a letter to the poet Elizabeth Barrett Browning, professing that he loved her poetry and her. In 1846, the couple eloped to Europe, eventually settling in Florence in 1847. They had a son Pen.
Upon Elizabeth Barrett Browning's death in 1861, Browning returned to London with his son. While in London, he published Dramatis Personae (1864) and The Ring and the Book (1869), both of which gained him critical priase and respect. His last book Asolando was published in 1889 when the poet was 77.
In 1889, Browning traveled to Italy to visit friends. He died in Venice on December 12 while visiting his sister.
Browning began writing poetry at age 13. These poems were eventually collected, but were later destroyed by Browning himself. In 1833, Browning's "Pauline" was published and received a cool reception. Harold Bloom believes that John Stuart Mill's review of the poem pointed Browning in the direction of the dramatic monologue.
In 1845, Browning wrote a letter to the poet Elizabeth Barrett Browning, professing that he loved her poetry and her. In 1846, the couple eloped to Europe, eventually settling in Florence in 1847. They had a son Pen.
Upon Elizabeth Barrett Browning's death in 1861, Browning returned to London with his son. While in London, he published Dramatis Personae (1864) and The Ring and the Book (1869), both of which gained him critical priase and respect. His last book Asolando was published in 1889 when the poet was 77.
In 1889, Browning traveled to Italy to visit friends. He died in Venice on December 12 while visiting his sister.
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Displaying 1 - 8 of 8 reviews
February 17, 2025
Hmmm… Brilliant poet he may have been, but playwright he was not. There are some truly beautiful turns of phrase here, as well as some lyrically-expressed ideas and emotions, but there is no distinction between any of the characters in any noticeable way, there is BARELY any plot (it’s really more of a scene than a play), and can I just say it again: a woman literally dying of a broken heart is a deal breaker for me. I just can’t take it seriously.
Methinks I will be sticking to Browning’s poetry!
Methinks I will be sticking to Browning’s poetry!
August 4, 2024
(1843). Short play set in rural England in the 18th c. A thoroughly neglected work then and now, written when Browning was still a relative unknown. At the time, though, it was considered by Dickens to be the finest poem of the century, "at once the most tender and the most terrible story I have ever read," which is why I decided to read it. "[It] has thrown me into a perfect passion of sorrow," he gushed.
I think it's fitting that Dickens recognized Browning's genius so early and funny that he was able to do so with this not very remarkable work. The play is slightly sentimental ("I know," Dickens wrote, "nothing that is so affecting, nothing in any book I have ever read, as Mildred's recurrence to that 'I was so young—I had no mother.'") so perhaps the sentimental Dickens was responding to that.
Browning opts for a very subtle method of storytelling in the first act, where it may seem nothing interesting is happening, unless you already know the story. But to the astute observer the scenes will seem slightly off. This character seems to be fumbling her words for no reason. That one is not acting naturally, and then somehow too naturally. Dickens, again, with his commercial instincts, immediately zeroed in on this unconventional approach, and wrote how he would've fixed it so that the audience knows what's going on from the beginning:
"I swear it is a tragedy that MUST be played; and must be played, moreover, by Macready. There are some things I would have changed if I could (they are very slight, mostly broken lines); and I assuredly would have the old servant [Gerard] begin his tale upon the scene [II, i]; and be taken by the throat, or drawn upon, by his master, in its commencement."
--which makes for a very characteristic study in contrasts between the two artists.
Otherwise, for a Browning poem, it's a marvel of elucidation. I kept pinching myself that I was understanding all the action. But I think the poet threw the baby out with the bath water. The verse is too tame, the narrative too old-fashioned, to rank with his best stuff.
I find the backstory to the tragedy more tragic:
Dickens had been given the play to peruse by a mutual friend of his and Browning's, before it had been performed or published. He wrote back, "Browning’s play … is full of genius, natural and great thoughts, profound and yet simple and beautiful in its vigour.... But the tragedy I never shall forget, or less vividly remember than I do now. And if you tell Browning that I have seen it, tell him that I believe from my soul there is no man living (and not many dead) who could produce such a work.”
John Forster, the friend, did not tell Browning, but decades later, as I read online, "he quoted the letter in his The Life of Charles Dickens (1873). There RB eventually saw it, more than 30 years after the writing. He made a copy on Athenaeum Club stationery and noted: 'I was never ‘told’ a word of the above, and read it for the first time thirty years after the telling would have been useful to me.'"
Some "friend" that Forster was.
Quote:
"But, frenzied, pour forth all our woeful story,
The love, the shame, and the despair - with them
Round me aghast as men round some cursed fount
That should spirt water, and spouts blood."
Rather shocking imagery, this.
I think it's fitting that Dickens recognized Browning's genius so early and funny that he was able to do so with this not very remarkable work. The play is slightly sentimental ("I know," Dickens wrote, "nothing that is so affecting, nothing in any book I have ever read, as Mildred's recurrence to that 'I was so young—I had no mother.'") so perhaps the sentimental Dickens was responding to that.
Browning opts for a very subtle method of storytelling in the first act, where it may seem nothing interesting is happening, unless you already know the story. But to the astute observer the scenes will seem slightly off. This character seems to be fumbling her words for no reason. That one is not acting naturally, and then somehow too naturally. Dickens, again, with his commercial instincts, immediately zeroed in on this unconventional approach, and wrote how he would've fixed it so that the audience knows what's going on from the beginning:
"I swear it is a tragedy that MUST be played; and must be played, moreover, by Macready. There are some things I would have changed if I could (they are very slight, mostly broken lines); and I assuredly would have the old servant [Gerard] begin his tale upon the scene [II, i]; and be taken by the throat, or drawn upon, by his master, in its commencement."
--which makes for a very characteristic study in contrasts between the two artists.
Otherwise, for a Browning poem, it's a marvel of elucidation. I kept pinching myself that I was understanding all the action. But I think the poet threw the baby out with the bath water. The verse is too tame, the narrative too old-fashioned, to rank with his best stuff.
I find the backstory to the tragedy more tragic:
Dickens had been given the play to peruse by a mutual friend of his and Browning's, before it had been performed or published. He wrote back, "Browning’s play … is full of genius, natural and great thoughts, profound and yet simple and beautiful in its vigour.... But the tragedy I never shall forget, or less vividly remember than I do now. And if you tell Browning that I have seen it, tell him that I believe from my soul there is no man living (and not many dead) who could produce such a work.”
John Forster, the friend, did not tell Browning, but decades later, as I read online, "he quoted the letter in his The Life of Charles Dickens (1873). There RB eventually saw it, more than 30 years after the writing. He made a copy on Athenaeum Club stationery and noted: 'I was never ‘told’ a word of the above, and read it for the first time thirty years after the telling would have been useful to me.'"
Some "friend" that Forster was.
Quote:
"But, frenzied, pour forth all our woeful story,
The love, the shame, and the despair - with them
Round me aghast as men round some cursed fount
That should spirt water, and spouts blood."
Rather shocking imagery, this.
December 7, 2024
A Blot in the 'Scutcheon is considered one of Browning's great works, but I found it to be a difficult read. The story is dense with a lot of action and twists -- which, at the end of a semester and with a full brain -- took a lot of work to follow. I tried to find a video of the play, thinking that would help, but YouTube Gods could have been more helpful. So, my review here is short to avoid spoilers and, hopefully, try not to show how much nuance I missed.
Family honor is good and evil. It holds you to a high standard but worsens the sting when you fall short. Young love always finds a way to mess up the best-laid plans. Jumping to assumptions can have dire consequences. When someone warns you that they think a particular person will freak out when you give them bad news, believing them and planning for it is usually a good idea.
Family honor is good and evil. It holds you to a high standard but worsens the sting when you fall short. Young love always finds a way to mess up the best-laid plans. Jumping to assumptions can have dire consequences. When someone warns you that they think a particular person will freak out when you give them bad news, believing them and planning for it is usually a good idea.
October 30, 2021
Mildred. sin has surprised us, so will punishment.
Tresham. Mildred, I do believe a brother's love
For a sole sister must exceed them all.
For see now, only see! there's no alloy Of earth that creeps into the perfect'st gold
Of other loves—no gratitude to claim;
You never gave her life, not even aught
That keeps life—never tended her, instructed,
Enriched her—so, your love can claim no right O'er her save pure love's claim: that's what I call
Freedom from earthliness.
Oh yes—with age, respect comes, and your worth
Is felt, there's growing sympathy of tastes,
There's ripened friendship, there's confirmed esteem:
—Much head these make against the newcomer!
Tresham. Mildred, I do believe a brother's love
For a sole sister must exceed them all.
For see now, only see! there's no alloy Of earth that creeps into the perfect'st gold
Of other loves—no gratitude to claim;
You never gave her life, not even aught
That keeps life—never tended her, instructed,
Enriched her—so, your love can claim no right O'er her save pure love's claim: that's what I call
Freedom from earthliness.
Oh yes—with age, respect comes, and your worth
Is felt, there's growing sympathy of tastes,
There's ripened friendship, there's confirmed esteem:
—Much head these make against the newcomer!
February 5, 2020
This was a very quick read. I recommend for anyone who is a fan of classic dramas.
July 25, 2022
Nothing special...
September 13, 2022
Short play rails against the difficulties of the patriarchy
August 14, 2014
headcanon: guendoline is based on elizabeth barret browning. other than that, three of the most ridiculous death scenes i've ever read.
Displaying 1 - 8 of 8 reviews