The Last Ride together by Robert Browning | The Last Ride together | Robert Browning | Explanation | Summary | Key Points | Word Meaning | Questions Answers | Critical Appreciation | Free PDF Download – Easy Literary Lessons
The Last Ride together
(Robert Browning)
I SAID—Then, dearest, since ’tis so,
Since now at length my fate I know,
Since nothing all my love avails,
Since all, my life seem’d meant for, fails,
Since this was written and needs must be—
My whole heart rises up to bless
Your name in pride and thankfulness!
Take back the hope you gave,—I claim
Only a memory of the same,
—And this beside, if you will not blame;
Your leave for one more last ride with me.
My mistress bent that brow of hers,
Those deep dark eyes where pride demurs
When pity would be softening through,
Fix’d me a breathing-while or two
With life or death in the balance: right!
The blood replenish’d me again;
My last thought was at least not vain:
I and my mistress, side by side
Shall be together, breathe and ride,
So, one day more am I deified.
Who knows but the world may end to-night?
Hush! if you saw some western cloud
All billowy-bosom’d, over-bow’d
By many benedictions—sun’s
And moon’s and evening-star’s at once—
And so, you, looking and loving best,
Conscious grew, your passion drew
Cloud, sunset, moonrise, star-shine too,
Down on you, near and yet more near,
Till flesh must fade for heaven was here!—
Thus leant she and linger’d—joy and fear!
Thus lay she a moment on my breast.
Then we began to ride. My soul
Smooth’d itself out, a long-cramp’d scroll
Freshening and fluttering in the wind.
Past hopes already lay behind.
What need to strive with a life awry?
Had I said that, had I done this,
So might I gain, so might I miss.
Might she have loved me? just as well
She might have hated, who can tell!
Where had I been now if the worst befell?
And here we are riding, she and I.
Fail I alone, in words and deeds?
Why, all men strive and who succeeds?
We rode; it seem’d my spirit flew,
Saw other regions, cities new,
As the world rush’d by on either side.
I thought,—All labour, yet no less
Bear up beneath their unsuccess.
Look at the end of work, contrast
The petty done, the undone vast,
This present of theirs with the hopeful past!
I hoped she would love me; here we ride.
What hand and brain went ever pair’d?
What heart alike conceived and dared?
What act proved all its thought had been?
What will but felt the fleshly screen?
We ride and I see her bosom heave.
There ‘s many a crown for who can reach.
Ten lines, a statesman’s life in each!
The flag stuck on a heap of bones,
A soldier’s doing! what atones?
They scratch his name on the Abbey-stones.
My riding is better, by their leave.
What does it all mean, poet? Well,
Your brains beat into rhythm, you tell
What we felt only; you express’d
You hold things beautiful the best,
And pace them in rhyme so, side by side.
‘Tis something, nay ’tis much: but then,
Have you yourself what ‘s best for men?
Are you—poor, sick, old ere your time—
Nearer one whit your own sublime
Than we who never have turn’d a rhyme?
Sing, riding ‘s a joy! For me, I ride.
And you, great sculptor—so, you gave
A score of years to Art, her slave,
And that ‘s your Venus, whence we turn
To yonder girl that fords the burn!
You acquiesce, and shall I repine?
What, man of music, you grown gray
With notes and nothing else to say,
Is this your sole praise from a friend,
‘Greatly his opera’s strains intend,
But in music we know how fashions end!’
I gave my youth: but we ride, in fine.
Who knows what ‘s fit for us? Had fate
Proposed bliss here should sublimate
My being—had I sign’d the bond—
Still one must lead some life beyond,
Have a bliss to die with, dim-descried.
This foot once planted on the goal,
This glory-garland round my soul,
Could I descry such? Try and test!
I sink back shuddering from the quest.
Earth being so good, would heaven seem best?
Now, heaven and she are beyond this ride.
And yet—she has not spoke so long!
What if heaven be that, fair and strong
At life’s best, with our eyes upturn’d
Whither life’s flower is first discern’d,
We, fix’d so, ever should so abide?
What if we still ride on, we two
With life for ever old yet new,
Changed not in kind but in degree,
The instant made eternity,—
And heaven just prove that I and she
Ride, ride together, for ever ride?
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The Last Ride together by Robert Browning Analysis
I SAID—Then, dearest, since ’tis so,
Since now at length my fate I know,
Since nothing all my love avails,
Since all, my life seem’d meant for, fails,
Since this was written and needs must be—
Explanation: In this opening stanza of The Last Ride Together, the speaker begins with a resigned acceptance of his unrequited love. He acknowledges that his love has not succeeded in winning his beloved’s heart and that his hopes for a life together have failed. The phrase “since ’tis so” reflects his understanding of the finality of his rejection, and “my fate I know” implies he has come to terms with the end of his romantic pursuit. The line “Since this was written and needs must be” suggests a sense of inevitability, as if his fate was predetermined or destined. Despite this disappointment, he addresses his beloved calmly and respectfully, hinting at a mature acceptance rather than bitterness. He seeks solace in requesting one last experience together—a final ride—allowing him to hold onto this connection, even if only briefly.
Poetic Devices
Anaphora: The repetition of “Since” at the beginning of several lines emphasizes the speaker’s process of acceptance and resignation. It creates a rhythm that reflects his calm yet sorrowful contemplation.
Alliteration: The repetition of consonant sounds, such as in “my life seem’d meant” adds a musical quality to the lines and draws attention to the words, highlighting the speaker’s introspective tone.
Metaphor: “My life seem’d meant for, fails” metaphorically expresses his sense of purpose, now shattered. It conveys the emotional depth of his disappointment, as he likens his life’s purpose to a failed endeavor.
Personification: The phrase “my life seem’d meant” personifies his life, as if it had a purpose or intent of its own. This gives a sense of destiny or fate, which the speaker now feels has betrayed him.
Caesura: The pause in “I SAID—Then, dearest, since ’tis so” adds emphasis to “Then, dearest,” creating an emotional break and signaling a shift from internal acceptance to outward expression toward his beloved.
My whole heart rises up to bless
Your name in pride and thankfulness!
Take back the hope you gave,—I claim
Only a memory of the same,
—And this beside, if you will not blame;
Your leave for one more last ride with me.
Explanation: In this stanza, the speaker expresses a surprising response to his unrequited love. Instead of bitterness or anger, he feels gratitude and pride, as his “whole heart rises up to bless” his beloved’s name. He thanks her for the hope she once gave him, despite it ultimately leading to disappointment. He asks her to take back this hope, yet he wishes to retain the memory of their love. In a final, humble request, he asks for her permission for “one more last ride” together—a parting moment where he can hold onto their connection for just a little longer. This ride symbolizes both a farewell and a chance to share a final, intimate experience, even if his love remains unreturned.
Poetic Devices
Alliteration: The repetition of consonant sounds in “whole heart” gives the lines a musical quality and draws emphasis to the speaker’s deep emotions.
Personification: The phrase “my whole heart rises up” personifies his heart, making it seem like a living entity capable of action, reinforcing the intensity of his feelings and his desire to honor his beloved.
Euphemism: The phrase “one more last ride” is a subtle way of expressing a final intimate experience without directly stating the pain of parting, making it softer and more wistful.
Irony: There is an irony in his response—despite his love being unreciprocated, he blesses her name with pride and gratitude, showing his gracious acceptance of his fate rather than resentment.
My mistress bent that brow of hers,
Those deep dark eyes where pride demurs
When pity would be softening through,
Fix’d me a breathing-while or two
With life or death in the balance: right!
Explanation: In this stanza, the speaker describes his beloved’s reaction to his request for a final ride together. She looks at him with a mixture of emotions, shown through the expression on her face and the intensity in her “deep dark eyes.” Her “bent brow” suggests a stern or contemplative expression, while her “pride” holds back any pity she may feel. She seems conflicted between maintaining her dignity and showing compassion. This internal struggle is captured in her gaze, which holds him captivated, leaving him in suspense. In this moment, the speaker feels as if his fate—”life or death”—hangs in the balance, waiting on her response. The word “right!” at the end of the stanza conveys his realization that he has reached a pivotal moment, where everything rests on her reaction.
Poetic Devices
Alliteration: The repetition of sounds in “deep dark eyes” adds rhythm to the stanza and emphasizes the description of her gaze, making it more vivid and intense.
Personification: The phrase “where pride demurs when pity would be softening through” personifies pride and pity, as if they are emotions actively at odds within her. This highlights her inner conflict and the tension between her self-respect and possible compassion.
Imagery: Browning uses strong visual imagery with “bent brow” and “deep dark eyes” to paint a clear picture of the beloved’s intense, almost statuesque appearance, allowing readers to feel the suspense and emotional weight of her gaze.
Enjambment: The lines flow into each other without pause, reflecting the continuous, intense moment the speaker experiences as he awaits her response.
Metaphor: “With life or death in the balance” is a metaphor that reflects the speaker’s perception of this moment as crucial and consequential. He feels that his entire emotional fate rests upon her reaction, adding gravity to her gaze.
Caesura: The word “right!” serves as a pause that breaks the stanza’s flow, capturing the speaker’s realization and moment of heightened tension as he waits for her decision.
The blood replenish’d me again;
My last thought was at least not vain:
I and my mistress, side by side
Shall be together, breathe and ride,
So, one day more am I deified.
Who knows but the world may end to-night?
Explanation: In this stanza, the speaker feels a renewed sense of vitality (“The blood replenish’d me again”) as his beloved seems to grant his request for a final ride together. He feels uplifted and almost vindicated, as if this “last thought” and request were not in vain. The realization that they will share this intimate experience fills him with joy and a sense of transcendence. Riding side by side with his beloved makes him feel “deified”—elevated to a god-like state through her company. The phrase “one day more am I deified” highlights the intensity of his emotions, as he feels this moment grants him a higher, almost spiritual experience. The stanza ends with a dramatic thought: “Who knows but the world may end to-night?” This line expresses a sense of fulfillment so complete that he feels as though the world could end, and he would be at peace, having achieved this perfect moment.
Poetic Devices
Metaphor: The phrase “The blood replenish’d me again” is a metaphor for renewed energy or excitement, symbolizing the life and vitality he gains from her companionship.
Alliteration: The repeated “s” sounds in “side by side” add a musical quality to the stanza, emphasizing the closeness and harmony he feels in their union.
Hyperbole: “One day more am I deified” is a form of hyperbole, as he exaggerates the effect of being beside his beloved, suggesting that this brief moment elevates him to a god-like state.
Irony: There is a subtle irony in the idea of feeling “deified” simply by riding with her; it reflects both the intensity of his emotions and the unfulfilled nature of his love, as he elevates a simple ride to divine significance.
Rhetorical Question: “Who knows but the world may end to-night?” is a rhetorical question that emphasizes his feeling of completeness and suggests that, for him, this ride fulfills his life’s purpose, making him indifferent to the future.
Imagery: Words like “breathe and ride” create vivid imagery, allowing readers to envision the couple riding side by side, sharing an intimate, quiet experience together.
Hush! if you saw some western cloud
All billowy-bosom’d, over-bow’d
By many benedictions—sun’s
And moon’s and evening-star’s at once—
And so, you, looking and loving best,
Explanation: In this stanza, the speaker draws a vivid comparison to describe the beauty and emotional depth he feels in the presence of his beloved. He begins with “Hush!” as if inviting a moment of reverence or quiet contemplation. He then describes a “western cloud” with a rich, billowy shape, leaning heavily with blessings from the sun, moon, and evening star. This imagery conveys a sense of divine beauty and tranquility, as if the sky itself is offering blessings. The speaker imagines his beloved as this radiant cloud, embodying the combined beauty of day and night, with sunlight, moonlight, and starlight all shining upon her at once. The phrase “you, looking and loving best” implies that in her presence, he feels as though he is witnessing something celestial, an ideal vision that fulfills him entirely. The beloved is elevated to a near-divine status, symbolizing the speaker’s deep admiration and awe.
Poetic Devices
Imagery: The stanza is rich in visual imagery, particularly with the description of the “western cloud” illuminated by the sun, moon, and evening star. This imagery creates a serene, celestial scene, allowing readers to feel the beauty and wonder the speaker associates with his beloved.
Personification: The cloud is described as “over-bowed by many benedictions,” as if it’s leaning under the weight of blessings. This personification adds a reverent, almost sacred quality to the scene, mirroring the speaker’s awe.
Alliteration: The repeated “b” sounds in “billowy-bosom’d” and “over-bow’d by many benedictions” add a rhythmic softness, emphasizing the calm and beauty of the image.
Metaphor: The entire description of the “western cloud” serves as a metaphor for the beloved’s beauty, comparing her presence to a serene and celestial phenomenon, suggesting she brings the same awe and wonder as a beautiful sunset or starlit sky.
Symbolism: The sun, moon, and evening star symbolize different aspects of beauty and time, hinting at the completeness and timelessness of the speaker’s admiration for his beloved. Together, they represent the full cycle of day and night, capturing his encompassing feelings.
Hyperbole: The description exaggerates the beloved’s beauty by suggesting that she embodies the combined glory of the sun, moon, and stars. This hyperbole emphasizes the depth of the speaker’s admiration, as he elevates her to an almost heavenly status.
Conscious grew, your passion drew
Cloud, sunset, moonrise, star-shine too,
Down on you, near and yet more near,
Till flesh must fade for heaven was here!—
Thus leant she and linger’d—joy and fear!
Thus lay she a moment on my breast.
Explanation: In this stanza, the speaker continues the imagery of his beloved as a celestial phenomenon, emphasizing the emotional and spiritual intensity of their final ride together. He describes how her presence draws in the elements of nature—clouds, sunset, moonrise, and starlight—closer and closer, creating a heavenly experience. As these natural elements converge, the moment becomes so intense and sublime that “flesh must fade,” suggesting that the ordinary, physical world seems to dissolve, replaced by an almost divine presence. In this transcendent moment, she “leans and lingers” on him, bringing him both joy and fear. Her closeness feels like a blessing, and as she rests on his chest for just an instant, he experiences an overwhelming sense of fulfillment. The moment is brief yet unforgettable, capturing the sacred quality of their connection.
Poetic Devices
Imagery: Vivid imagery is present in “cloud, sunset, moonrise, star-shine,” creating a sensory-rich description of the scene. The speaker’s beloved becomes the center of a cosmic alignment, emphasizing the power of her presence.
Personification: The phrase “flesh must fade for heaven was here” personifies the physical body as something that fades or dissolves in the face of a heavenly experience. This enhances the idea that this moment transcends physical limitations, creating a nearly spiritual experience.
Alliteration: The repetition of “f” sounds in “flesh must fade for” adds to the softness and ephemeral nature of the moment, enhancing the delicate and dreamlike atmosphere.
Metaphor: The entire description acts as a metaphor for the beloved’s beauty and the intensity of the speaker’s feelings. By drawing in the heavens themselves, she becomes a divine, almost otherworldly presence.
Hyperbole: The suggestion that “flesh must fade for heaven was here” is an exaggeration, emphasizing the extent to which this moment feels spiritual and transcendent to the speaker.
Contrast (Juxtaposition): The emotions of “joy and fear” are juxtaposed, showing the complexity of his feelings. The beloved’s closeness brings both happiness and a sense of awe or fear, emphasizing the overwhelming nature of this intimate moment.
Caesura: The dash after “heaven was here!” serves as a caesura, giving a pause that allows the reader to feel the gravity of this heavenly presence before continuing.
Then we began to ride. My soul
Smooth’d itself out, a long-cramp’d scroll
Freshening and fluttering in the wind.
Past hopes already lay behind.
What need to strive with a life awry?
Explanation: In this stanza, the speaker begins the long-awaited ride with his beloved, feeling a profound sense of release and freedom. He describes his soul as a “long-cramp’d scroll,” which implies that his inner self has been bound or constrained by past disappointments and unfulfilled desires. As they ride together, this scroll begins to “smooth” and unfold, fluttering freely in the wind. This imagery conveys a sense of liberation, as if the ride is helping him let go of the burdens and disappointments that have weighed him down. He reflects on his past hopes, now distant and irrelevant, as he questions the need to “strive with a life awry.” The speaker seems to embrace the present moment, surrendering his previous struggles and accepting the unpredictability of life. This acceptance brings a sense of peace, allowing him to fully immerse himself in the joy of this final ride.
Poetic Devices
Metaphor: The phrase “my soul / Smooth’d itself out, a long-cramp’d scroll” is a metaphor for the speaker’s emotional release. Comparing his soul to a tightly wound scroll that is now unfurling conveys a sense of inner liberation.
Imagery: The description of the scroll “freshening and fluttering in the wind” creates vivid imagery, allowing readers to visualize the speaker’s sense of newfound freedom as he lets go of past disappointments.
Alliteration: The repetition of “f” sounds in “freshening and fluttering” enhances the sense of movement and lightness, capturing the feeling of liberation in this moment.
Personification: By giving the soul the ability to “smooth” itself out and “flutter” in the wind, Browning personifies it, highlighting the emotional relief the speaker feels.
Rhetorical Question: “What need to strive with a life awry?” is a rhetorical question that reflects the speaker’s realization that struggling against life’s challenges may be futile. This moment of surrender and acceptance brings him peace.
Juxtaposition: The contrast between “past hopes” and the present moment emphasizes the speaker’s shift in focus. He is no longer concerned with what could have been, choosing instead to embrace the immediate experience.
Had I said that, had I done this,
So might I gain, so might I miss.
Might she have loved me? just as well
She might have hated, who can tell!
Where had I been now if the worst befell?
And here we are riding, she and I.
Explanation: In this stanza, the speaker contemplates the “what-ifs” of his relationship, reflecting on actions he could have taken that might have altered his fate with his beloved. He wonders whether saying or doing something different could have led her to love him—or, just as likely, to hate him. This internal questioning reveals his lingering doubts and the human tendency to replay past choices in hopes of finding answers. However, he ultimately acknowledges the futility of these thoughts, recognizing that he cannot know how things might have turned out. He asks himself where he would be now if “the worst befell,” highlighting the fear of rejection and loss that might have haunted him had he acted differently. In the end, he returns to the present moment, grounding himself in the reality that, despite everything, he and his beloved are riding together. This realization brings him a sense of contentment, as he chooses to embrace the moment rather than dwell on regrets.
Poetic Devices
Rhetorical Question: “Might she have loved me?” and “Where had I been now if the worst befell?” are rhetorical questions that convey the speaker’s uncertainty and longing for answers. These questions reflect his emotional struggle with unfulfilled love.
Alliteration: The repetition of the “m” sound in “might I gain, so might I miss” adds rhythm and mirrors the repetitive nature of his thoughts.
Juxtaposition: The pairing of love and hate in “Might she have loved me? just as well / She might have hated” shows the unpredictable nature of human relationships, emphasizing the dual possibilities and emotional risks of love.
Antithesis: The phrases “gain” and “miss,” “loved” and “hated,” present opposing outcomes, highlighting the uncertainty and potential duality in relationships.
Contrast: The shift from hypothetical musings to “And here we are riding, she and I” marks a contrast between his imagined scenarios and the actual reality. This emphasizes his decision to focus on the present instead of dwelling on what could have been.
Fail I alone, in words and deeds?
Why, all men strive and who succeeds?
We rode; it seem’d my spirit flew,
Saw other regions, cities new,
As the world rush’d by on either side.
Explanation: In this stanza, the speaker reflects on his own failures in love, questioning whether he alone has fallen short in his aspirations. He realizes that everyone faces challenges and setbacks, asking, “Why, all men strive and who succeeds?” This rhetorical question expresses a universal truth: most people pursue dreams and desires that are often unfulfilled. As they continue to ride together, he feels a sense of freedom and release from these disappointments, as if his “spirit flew.” In his mind, he travels to “other regions, cities new,” imagining distant places and experiences. This imagery suggests that, in this moment, he feels liberated from the weight of his failures and transported beyond the limitations of his unrequited love. The sensation of the “world rush’d by on either side” captures the intensity and exhilaration of their ride, emphasizing his focus on the present, which frees him from his earlier regrets and longing.
Poetic Devices
Rhetorical Question: The questions “Fail I alone, in words and deeds?” and “Why, all men strive and who succeeds?” reflect the speaker’s internal dialogue and his realization that failure is a shared human experience, which brings him comfort in his own shortcomings.
Alliteration: The repetition of “s” sounds in “strive” and “succeeds” gives the line a flowing quality, emphasizing the universal nature of human striving and the inevitability of falling short.
Imagery: The description of his “spirit flew” and “saw other regions, cities new” creates vivid imagery of the speaker’s mind drifting away, as if he is mentally traveling to far-off places, evoking a sense of freedom and escape.
Personification: The phrase “the world rush’d by on either side” personifies the world, as if it is actively moving past them, highlighting the fast-paced, almost surreal experience of the ride.
Symbolism: The “regions” and “cities new” symbolize possibilities and uncharted territories, representing both physical freedom and emotional release from his past disappointments.
Contrast: The shift from personal introspection to a sense of liberation highlights the contrast between his initial sorrow and his newfound feeling of transcendence during the ride.
I thought,—All labour, yet no less
Bear up beneath their unsuccess.
Look at the end of work, contrast
The petty done, the undone vast,
This present of theirs with the hopeful past!
I hoped she would love me; here we ride.
Explanation: In this stanza, the speaker reflects on the nature of human effort and the inevitability of falling short of our ambitions. He observes that people labor throughout their lives but often face “unsuccess,” suggesting that even the most persistent efforts can end in disappointment. He contrasts the “petty done”—small achievements—with the “undone vast,” or the many aspirations that remain unfulfilled. This juxtaposition highlights the disparity between what people hope to accomplish and what they actually achieve. He then contrasts “this present of theirs”—the reality they must accept—with “the hopeful past,” a time when their dreams and aspirations seemed more attainable. The speaker relates this general truth to his own situation, acknowledging that he once hoped his beloved would love him in return. Yet, despite his unfulfilled hopes, he accepts the moment they are sharing now: “here we ride.” This thought brings him a sense of peace, as he realizes that while his hopes may not have come to fruition, he can still find value and contentment in the present.
Poetic Devices
Juxtaposition: The contrast between “the petty done” and “the undone vast” emphasizes the speaker’s awareness of human limitations and the gap between ambition and reality, underscoring the poem’s theme of accepting life’s imperfections.
Irony: There is irony in the line “Bear up beneath their unsuccess,” as the speaker suggests that people continue striving even in the face of likely failure, revealing the resilience of the human spirit despite inevitable disappointments.
Alliteration: The repetition of “b” sounds in “Bear up beneath” adds a rhythmic quality to the line, emphasizing the resilience required to accept disappointment.
Enjambment: The lines flow seamlessly into one another, mirroring the speaker’s stream of thought and his contemplation of past, present, and future without a clear pause, reflecting the continuity of his reflections.
Contrast: The phrases “hopeful past” and “this present of theirs” highlight the speaker’s transition from idealized dreams to the reality of what has been achieved, suggesting that he has come to terms with the limitations of his aspirations.
What hand and brain went ever pair’d?
What heart alike conceived and dared?
What act proved all its thought had been?
What will but felt the fleshly screen?
We ride and I see her bosom heave.
Explanation: In this stanza, the speaker meditates on the disconnection between human intentions and their realization. He questions whether the “hand and brain” (action and intellect) are ever perfectly aligned, or if any “heart” ever conceived a desire as fully as it dared to pursue it. His rhetorical questions emphasize the gap between thought and action, ambition and achievement. He wonders if any action has ever completely lived up to the ideals behind it or if any “will” has managed to overcome the limitations of the “fleshly screen” (the physical body). These reflections suggest that human aspirations are always constrained by reality and imperfection. In the last line, he returns to the present moment with his beloved, noting the simple yet powerful sight of her “bosom heave” as they ride. This observation brings him back to the physical, grounding his reflections in the tangible experience of being with her, despite the philosophical musings on unattainable perfection.
Poetic Devices
Rhetorical Questions: The stanza is filled with rhetorical questions, such as “What hand and brain went ever pair’d?” These questions highlight the speaker’s philosophical musings on the limitations of human effort and the inherent gap between desire and fulfillment.
Antithesis: The pairing of words like “hand and brain” and “conceived and dared” presents contrasting ideas, suggesting the divide between thought and action, idealism and reality. This antithesis reinforces the theme of human limitations.
Alliteration: The repetition of sounds in “heart” and “hand,” and “felt the fleshly” adds rhythm and reinforces the contrast between ideals and reality, lending a reflective tone to the stanza.
Metaphor: “Fleshly screen” serves as a metaphor for human limitations—the body as a barrier to the pure realization of one’s will or desires. It reflects the speaker’s belief that physical reality constrains human aspirations.
Imagery: The image of “her bosom heave” provides a grounded, sensory detail that contrasts with the abstract reflections on perfection, bringing the speaker back to the immediate experience of riding with his beloved.
Anaphora: The repeated structure of “What…” at the beginning of each line creates anaphora, emphasizing the universality of the speaker’s questions about human effort and achievement. This device gives the stanza a rhythmic quality, reflecting his deep contemplation and reinforcing the sense of collective human limitation.
There ‘s many a crown for who can reach.
Ten lines, a statesman’s life in each!
The flag stuck on a heap of bones,
A soldier’s doing! what atones?
They scratch his name on the Abbey-stones.
My riding is better, by their leave.
Explanation: In this stanza, the speaker reflects on the achievements of statesmen and soldiers, comparing them to his own simple joy of riding with his beloved. He observes that while many strive to “reach” crowns or achieve fame, their efforts often result in hollow rewards. The statesman’s life is reduced to “Ten lines” carved into history, suggesting that even the greatest achievements are quickly summarized and forgotten. For soldiers, the cost of their glory is grimly represented by “The flag stuck on a heap of bones,” a powerful image of sacrifice and death. The speaker questions if anything can truly atone for this loss, implying that fame and recognition (symbolized by having one’s name “scratched on the Abbey-stones”) fail to justify the price of ambition and warfare. In contrast, he feels that his current experience—riding beside his beloved—is far more fulfilling. This line, “My riding is better, by their leave,” suggests a quiet pride in his choice to find contentment in this intimate moment rather than in public acclaim or sacrifice.
Poetic Devices
Metaphor: The “crown” symbolizes fame and success, particularly in political or martial pursuits. This metaphor contrasts with the speaker’s own contentment in a simple ride, highlighting the futility of striving for recognition.
Irony: The stanza is laced with irony, as the speaker dismisses grand achievements like political or military fame, suggesting they are ultimately trivial compared to the personal joy he finds in his ride with his beloved.
Imagery: Vivid imagery in “The flag stuck on a heap of bones” paints a bleak picture of the soldier’s sacrifice, emphasizing the grim reality behind patriotic symbols. This stark image conveys the cost of glory and contrasts with the serene image of the speaker’s ride.
Juxtaposition: By contrasting the statesman’s “ten lines” and the soldier’s “heap of bones” with the personal satisfaction he finds in riding, the speaker highlights the difference between public glory and private contentment.
Alliteration: The phrase “scratch his name on the Abbey-stones” uses alliteration with the “s” sound, drawing attention to the futility of such recognition, as it becomes a mere “scratch” on a stone in the end.
Symbolism: “Abbey-stones” symbolizes memorialization or the way society remembers its heroes. It reflects the impermanence and superficial nature of such recognition, which stands in contrast to the speaker’s personal fulfilment.
What does it all mean, poet? Well,
Your brains beat into rhythm, you tell
What we felt only; you express’d
You hold things beautiful the best,
And pace them in rhyme so, side by side.
Explanation: In this stanza, the speaker turns his attention to poets, questioning their role and the meaning behind their work. He asks, “What does it all mean, poet?” as if seeking insight into the purpose of poetry and art. He acknowledges that poets “beat” their thoughts and emotions into rhythmic structure, capturing and expressing what others feel but cannot articulate. The speaker observes that poets value beauty above all else, focusing on creating harmonious expressions of emotion and thought. The phrase “pace them in rhyme so, side by side” suggests that poets carefully organize their words and ideas, arranging them thoughtfully in a way that conveys beauty, harmony, and balance. Through this contemplation, the speaker implies that while poets may capture beauty, they, too, grapple with life’s unanswered questions and imperfect realities, just as he does.
Poetic Devices
Rhetorical Question: The opening line, “What does it all mean, poet?” poses a rhetorical question, conveying the speaker’s search for meaning in poetry and art, as well as his contemplation of its deeper purpose.
Alliteration: The repetition of the “b” sound in “brains beat” emphasizes the mental effort poets put into structuring their work, suggesting the intellectual struggle involved in shaping raw emotion into art.
Personification: The phrase “brains beat into rhythm” personifies the mind as something that labors to create rhythm, conveying the disciplined effort poets apply to make sense of emotions and experiences through structured verse.
Metaphor: “Your brains beat into rhythm” serves as a metaphor for the poet’s craft, suggesting that poetry is a process of shaping abstract feelings and thoughts into a rhythmic and structured form.
Imagery: The description of poets arranging words “side by side” in rhyme creates an image of order and beauty, reflecting the poet’s pursuit of harmony within the constraints of language.
Irony: The stanza contains a subtle irony. While poets express beauty and harmony through rhyme, the speaker implies that the true meaning behind these expressions might be elusive, hinting at the limitations of art to fully capture the complexity of human experience.
Enjambment: The continuous flow from one line to the next reflects the speaker’s contemplative tone, allowing his reflections on poetry to unfold without interruption.
‘Tis something, nay ’tis much: but then,
Have you yourself what ‘s best for men?
Are you—poor, sick, old ere your time—
Nearer one whit your own sublime
Than we who never have turn’d a rhyme?
Sing, riding ‘s a joy! For me, I ride.
Explanation: In this stanza, the speaker continues his reflection on the role of poets, acknowledging that poetry—”’Tis something, nay ’tis much”—has significant value in capturing and expressing beauty. However, he questions whether poets, in their pursuit of the “sublime,” have truly found the best path for fulfillment. He wonders if they, despite their talents, are actually closer to achieving an ideal life than ordinary people who do not create art. The phrase “poor, sick, old ere your time” paints a picture of the hardships often associated with poets, suggesting that the pursuit of beauty through poetry does not necessarily bring happiness or a better life. The speaker contrasts this with his own choice, which is simply to “ride” and enjoy the present moment. This line, “For me, I ride,” emphasizes his belief that finding joy in simple experiences may be more fulfilling than chasing lofty ideals or intellectual pursuits. By challenging the poet’s role, the speaker advocates for embracing the present and valuing personal experiences over abstract aspirations.
Poetic Devices
Irony: There is an ironic tone in questioning whether poets, who strive for beauty and meaning, actually lead better lives. The speaker implies that despite their pursuit of the sublime, poets may be no closer to happiness than those who do not create art.
Rhetorical Question: The question, “Have you yourself what’s best for men?” challenges the value of poetry, asking if it truly provides fulfillment. This rhetorical question conveys skepticism about the poet’s claim to a higher understanding of life.
Contrast: The speaker contrasts the poet’s pursuit of the “sublime” with his own simpler joy in riding. This contrast highlights his belief that personal experience, rather than abstract ideals, may bring greater satisfaction.
Repetition: The repetition of the “Tis” in “’Tis something, nay ’tis much” adds a musical quality, subtly emphasizing the value of poetry while hinting at the speaker’s ambivalence.
Imagery: The description of poets as “poor, sick, old ere your time” creates vivid imagery that reflects the hardships often associated with artists, reinforcing the idea that poetry does not necessarily lead to a fulfilling life.
Juxtaposition: The juxtaposition of “your own sublime” and “we who never have turn’d a rhyme” places the poet’s lofty aspirations next to the simplicity of ordinary life, suggesting that happiness might be found more easily in the latter.
Direct Address: The use of “you” directly addresses poets, creating an intimate and almost confrontational tone, as the speaker challenges the assumption that poetry provides a better understanding of life.
And you, great sculptor—so, you gave
A score of years to Art, her slave,
And that ‘s your Venus, whence we turn
To yonder girl that fords the burn!
You acquiesce, and shall I repine?
Explanation: In this stanza, the speaker addresses a sculptor who, like the poet, has devoted much of his life to art. The sculptor has “given a score of years” (twenty years) to creating beautiful works, becoming “her slave” to the demands of Art. The phrase suggests both dedication and sacrifice, as the sculptor has committed much of his life to achieve perfection in his craft. The speaker references the sculptor’s masterpiece, “your Venus,” a statue representing beauty and idealism. However, despite its artistic perfection, people quickly turn their gaze from the statue to admire the natural, youthful beauty of a girl crossing a nearby stream (“that fords the burn”). This contrast between the idealized beauty of art and the spontaneous charm of real life highlights the transient, living beauty that art can never fully capture. The speaker acknowledges the sculptor’s acceptance (“You acquiesce”) of this reality and asks himself if he, too, should “repine,” or feel regret, over the impermanence of life’s beauties. This line suggests that rather than lamenting, he should appreciate the fleeting nature of beauty and the present moment.
Poetic Devices
Direct Address: The use of “you” directly addresses the sculptor, creating an intimate tone as the speaker reflects on the sculptor’s sacrifices and choices in the pursuit of art.
Personification: Art is personified as a mistress to whom the sculptor is a “slave.” This personification emphasizes the demanding, consuming nature of artistic pursuits.
Contrast: The comparison between the sculpted “Venus” and the living girl highlights the difference between idealized, static beauty and the natural, vibrant beauty of real life. This contrast underscores the limitations of art in capturing the essence of life.
Irony: There is irony in the sculptor’s years of devotion to creating the perfect Venus, only for observers to prefer the charm of a real, ordinary girl. This irony points to the paradox of art: despite its pursuit of perfection, it can never match the appeal of simple, living beauty.
Imagery: The image of “yonder girl that fords the burn” paints a vivid picture of natural beauty, evoking a scene that feels alive and immediate in contrast to the static Venus statue.
Rhetorical Question: “Shall I repine?” is a rhetorical question that reflects the speaker’s contemplation on whether he should regret or lament the impermanence of beauty and life. This question implies that acceptance may be more fulfilling than longing for unattainable ideals.
Juxtaposition: By placing the sculptor’s devotion to art next to the ordinary girl’s beauty, Browning juxtaposes the grand ambition of artists with the simple joys of natural beauty, reinforcing the theme of appreciating the present.
What, man of music, you grown gray
With notes and nothing else to say,
Is this your sole praise from a friend,
‘Greatly his opera’s strains intend,
But in music we know how fashions end!’
I gave my youth: but we ride, in fine.
Explanation: In this stanza, the speaker addresses a musician who has dedicated his life to his art, yet now finds himself “grown gray” and perhaps weary, with “notes and nothing else to say.” This phrase suggests that despite years of work, the musician may feel that his life’s purpose and meaning are incomplete, confined to the notes of his compositions. The speaker imagines the praise the musician might receive from a friend: “Greatly his opera’s strains intend,” which acknowledges the ambition and intent behind his music. However, the friend then adds a bittersweet truth—“in music we know how fashions end!” This implies that music, like any art form, is subject to changing tastes and trends, and what is celebrated today may be forgotten tomorrow. The speaker seems to sympathize with the musician’s dilemma, recognizing the fleeting nature of fame and artistic achievement. In contrast, he expresses a different kind of satisfaction, returning to his own present moment, saying, “I gave my youth: but we ride, in fine.” This statement reflects his contentment in sharing a simple, meaningful experience with his beloved, rather than chasing lasting fame or artistic legacy.
Poetic Devices
Direct Address: The speaker directly addresses the “man of music,” creating an intimate, almost sympathetic tone as he reflects on the musician’s sacrifices and the limitations of his art.
Irony: There is irony in the musician’s dedication, as despite his lifetime of work, his accomplishments are subject to the temporary nature of “fashions.” This irony underscores the fleeting nature of artistic fame.
Alliteration: The repetition of sounds in “grown gray” and “notes and nothing” adds a rhythmic quality, highlighting the monotony and unchanging nature of the musician’s situation as he grows older.
Juxtaposition: The line “I gave my youth: but we ride, in fine” juxtaposes the speaker’s satisfaction in the present with the musician’s possible regrets about devoting his life to art. This contrast reinforces the theme of finding fulfillment in simple, immediate experiences rather than in lofty ambitions.
Imagery: The phrase “grown gray with notes” provides imagery that conveys the physical and emotional toll of the musician’s devotion, evoking an image of age and weariness.
Metaphor: “Notes and nothing else to say” serves as a metaphor for the limitations of the musician’s life, suggesting that despite his creativity, he may feel unfulfilled or confined to a singular purpose.
Rhetorical Question: The question, “Is this your sole praise from a friend?” emphasizes the transient nature of artistic praise and prompts reflection on whether such recognition is truly fulfilling.
Personification: “Fashions end” personifies musical trends as if they have a life cycle, emphasizing the impermanence of artistic styles and fame.
Who knows what ‘s fit for us? Had fate
Proposed bliss here should sublimate
My being—had I sign’d the bond—
Still one must lead some life beyond,
Have a bliss to die with, dim-descried.
Explanation: In this stanza, the speaker ponders the nature of fate and fulfillment, questioning what is truly “fit” or suitable for human happiness. He wonders if fate had offered him perfect “bliss” in this life—if he had agreed to a kind of “bond” or commitment to such an idealized happiness—would that truly be enough? The speaker suggests that even if he had achieved an ideal state of joy, there would still be a need for something “beyond” this life, an eternal fulfillment or happiness that transcends earthly experiences. The phrase “a bliss to die with, dim-descried” implies a vision of an elusive, perhaps spiritual happiness that remains slightly out of reach and only vaguely visible (“dim-descried”). This reflection conveys the speaker’s awareness that earthly joys are temporary and that a deeper, perhaps divine form of happiness may exist, though it is unclear and faintly perceived. The stanza adds a layer of philosophical questioning, suggesting that human beings may always long for something more, something infinite or eternal, even when earthly happiness is attained.
Poetic Devices
Rhetorical Question: “Who knows what’s fit for us?” opens the stanza with a rhetorical question, expressing the speaker’s uncertainty about human desires and the elusive nature of true happiness.
Metaphor: “Sign’d the bond” is a metaphor for committing to a life of ideal happiness. This legal imagery suggests a binding agreement with fate, emphasizing the permanence and seriousness of such a commitment.
Imagery: The phrase “a bliss to die with, dim-descried” provides an image of a faint, distant vision of happiness, hinting at the mysterious and hard-to-grasp nature of ultimate fulfillment.
Irony: There is irony in the speaker’s reflection that even “bliss” might not be sufficient, suggesting that human beings are always inclined to seek something more, even in the face of perfect happiness.
This foot once planted on the goal,
This glory-garland round my soul,
Could I descry such? Try and test!
I sink back shuddering from the quest.
Earth being so good, would heaven seem best?
Now, heaven and she are beyond this ride.
Explanation: In this stanza, the speaker imagines what it would be like to achieve the ultimate “goal” or the pinnacle of happiness, symbolized by having “this glory-garland round my soul.” This image represents a state of complete fulfillment or victory in life, where he reaches an idealized sense of joy or success. However, he immediately questions if such a perfect happiness is truly attainable. “Could I descry such? Try and test!” conveys a moment of doubt, as he wonders if this ultimate state is even visible or accessible to him. The phrase “I sink back shuddering from the quest” reflects his hesitation and perhaps a fear of pursuing something so absolute, realizing that the pursuit of perfection might be daunting or even unsettling.
The speaker then questions whether reaching a heavenly state of fulfillment would truly surpass the beauty of earthly joys: “Earth being so good, would heaven seem best?” This rhetorical question implies that the earthly pleasures he experiences, like his ride with his beloved, are precious and may be sufficient, even if they are imperfect and fleeting. Finally, he acknowledges that both “heaven and she” are beyond the reach of this ride, accepting that his ideal happiness and his beloved are unattainable in this lifetime. This acceptance brings him back to the present moment, where he finds value in the ride itself, rather than in chasing elusive ideals.
Poetic Devices
Metaphor: “This foot once planted on the goal” and “glory-garland round my soul” are metaphors for achieving perfect happiness and fulfillment, representing the ultimate aspirations he could have attained.
Alliteration: The repeated “g” sounds in “glory-garland” add rhythm and emphasize the allure of this idealized achievement, enhancing the sense of grandeur.
Rhetorical Question: The question “Could I descry such?” reflects the speaker’s doubt about the attainability of this idealized goal, while “Earth being so good, would heaven seem best?” questions whether ultimate happiness would truly be superior to the joys found on earth.
Imagery: The “glory-garland round my soul” creates vivid imagery, portraying a wreath or crown of victory that symbolizes complete fulfillment and success.
Irony: There is an ironic tension in the speaker’s realization that pursuing ultimate happiness may lead to discomfort or dissatisfaction, suggesting that the pursuit of perfection might be unsettling rather than fulfilling.
Personification: “Earth being so good” personifies earth as a source of goodness, contrasting it with an abstract heaven, and highlighting the value of earthly experiences.
Juxtaposition: The contrast between “heaven” and “earth” emphasizes the speaker’s choice to value the present, earthly experiences over an unattainable, idealized state of happiness.
Enjambment: The line “I sink back shuddering from the quest” flows into the next line without pause, mirroring the speaker’s retreat from his pursuit of perfection.
And yet—she has not spoke so long!
What if heaven be that, fair and strong
At life’s best, with our eyes upturn’d
Whither life’s flower is first discern’d,
We, fix’d so, ever should so abide?
Explanation: In this stanza, the speaker notices that his beloved has been silent for a long time. This silence gives him a moment to reflect on the nature of heaven and the possibility that perhaps this present moment with her might be a form of heaven. He wonders, “What if heaven be that”—a state of being “fair and strong” at life’s peak, where everything is at its most beautiful. He imagines heaven as a state where they remain in this ideal moment forever, “with our eyes upturn’d” in admiration, gazing upon the source of life’s beauty, symbolized by “life’s flower.” The phrase “life’s flower” represents the essence or best part of life, a peak moment of fulfillment and connection. The speaker envisions a heaven where they are “fix’d so,” frozen in this state of admiration and completeness, unchanging, experiencing an eternal present. This hypothetical heaven is one where time does not pass, and they are eternally bound in a shared gaze, appreciating the beauty of life and each other. Through this contemplation, the speaker suggests that perhaps heaven is not a distant, abstract place, but rather a perfect moment of harmony and presence.
Poetic Devices
Rhetorical Question: “What if heaven be that, fair and strong” poses a rhetorical question that invites the reader to consider whether heaven could be an ideal moment in life rather than a distant paradise.
Personification: “Life’s flower” personifies life as having a peak moment or essence, implying that the most beautiful part of life is like a blossoming flower that they can admire.
Imagery: The phrases “eyes upturn’d” and “life’s flower” create a vivid image of two people gazing upward, admiring something beautiful and transcendent, enhancing the sense of a peaceful, idyllic moment.
Metaphor: “Life’s flower” serves as a metaphor for the pinnacle or essence of life’s beauty, capturing the speaker’s sense of admiration for this perfect moment.
Alliteration: The repetition of “f” sounds in “fair” and “flower” adds a musical quality, emphasizing the harmonious and idealized nature of this hypothetical heaven.
Enjambment: The lines flow into each other, reflecting the speaker’s continuous stream of thought as he contemplates the possibility of heaven being an eternal moment of love and beauty.
Juxtaposition: The idea of a dynamic life contrasted with a “fix’d” or unchanging state suggests the paradox of wanting to preserve a beautiful moment, questioning whether true happiness might come from remaining in a perfect but static experience.
What if we still ride on, we two
With life for ever old yet new,
Changed not in kind but in degree,
The instant made eternity,—
And heaven just prove that I and she
Ride, ride together, for ever ride?
Explanation: In this final stanza, the speaker imagines the possibility of an eternal ride with his beloved, where they are “for ever old yet new.” This phrase suggests a timeless state in which their relationship continues endlessly, combining the familiarity of the past with the excitement of the present. He wonders if they might remain “changed not in kind but in degree,” indicating that while they might evolve, the essence of their bond would stay the same, growing deeper over time. The idea of “The instant made eternity” reflects his longing to freeze this perfect moment, allowing it to stretch on forever as a form of heaven. In this vision, heaven becomes a continuous journey, where he and his beloved “ride, ride together, for ever ride,” bound in an unending experience of shared joy and connection. This image symbolizes the speaker’s ultimate wish: that instead of a distant, static paradise, heaven might be found in the eternal repetition of this cherished moment with her.
Poetic Devices
Repetition: The phrase “ride, ride together, for ever ride” uses repetition to emphasize the speaker’s longing for a continuous, eternal journey with his beloved. It creates a rhythmic flow that mirrors the endless nature of his envisioned heaven.
Imagery: The description of “life for ever old yet new” paints a vivid picture of timelessness, capturing the essence of a relationship that endures and remains vibrant over time.
Paradox: The idea of being “for ever old yet new” is paradoxical, combining opposites to suggest an eternal state where familiarity and novelty coexist, reflecting the speaker’s vision of heaven as both unchanging and ever-refreshing.
Metaphor: “The instant made eternity” serves as a metaphor for freezing a moment in time, suggesting that true heaven could be found in preserving the beauty of a fleeting experience.
Juxtaposition: The contrast between “changed not in kind but in degree” suggests subtle growth within a stable, unchanging relationship, highlighting the depth of connection he envisions with his beloved.
Hypothetical Language: The repeated use of “What if” throughout the stanza conveys a sense of longing and hope, as the speaker imagines an idealized future that may not be real but represents his deepest desires.
Anaphora: Anaphora is present through the repetition of the phrase “What if” at the beginning of consecutive lines. This repeated structure emphasizes the speaker’s contemplative and hopeful tone, as he imagines different possibilities for an eternal, idealized experience with his beloved. Each “What if” introduces a new hypothetical, reinforcing his yearning for a heaven defined by their everlasting ride together.
