'Up At A Villa— Down In The City' by Robert Browning
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(As Distinguished by an Italian Person of Quality)
I
Had I but plenty of money, money enough and to spare,
The house for me, no doubt, were a house in the city-square;
Ah, such a life, such a life, as one leads at the window there!
II
Something to see, by Bacchus, something to hear, at least!
There, the whole day long, one's life is a perfect feast;
While up at a villa one lives, I maintain it, no more than a beast.
III
Well now, look at our villa! stuck like the horn of a bull
Just on a mountain's edge as bare as the creature's skull,
Save a mere shag of a bush with hardly a leaf to pull!
- I scratch my own, sometimes, to see if the hair's turned wool.
IV
But the city, oh the city—the square with the houses! Why?
They are stone-faced, white as a curd, there's something to take the eye!
Houses in four straight lines, not a single front awry!
You watch who crosses and gossips, who saunters, who hurries by:
Green blinds, as a matter of course, to draw when the sun gets high;
And the shops with fanciful signs which are painted properly.
V
What of a villa? Though winter be over in March by rights,
'Tis May perhaps ere the snow shall have withered well off the heights:
You've the brown ploughed land before, where the oxen steam and wheeze,
And the hills over-smoked behind by the faint grey olive trees.
VI
Is it better in May, I ask you? You've summer all at once;
In a day he leaps complete with a few strong April suns.
'Mid the sharp short emerald wheat, scarce risen three fingers well,
The wild tulip, at end of its tube, blows out its great red bell
Like a thin clear bubble of blood, for the children to pick and sell.
VII
Is it ever hot in the square? There's a fountain to spout and splash!
In the shade it sings and springs; in the shine such foam-bows flash
On the horses with curling fish-tails, that prance and paddle and pash
Round the lady atop in her conch—fifty gazers do not abash,
Though all that she wears is some weeds round her waist in a sort of sash!
VIII
All the year long at the villa, nothing to see though you linger,
Except yon cypress that points like Death's lean lifted forefinger.
Some think fireflies pretty, when they mix in the corn and mingle,
Or thrid the stinking hemp till the stalks of it seem a-tingle.
Late August or early September, the stunning cicala is shrill,
And the bees keep their tiresome whine round the resinous firs on the hill.
Enough of the seasons,—I spare you the months of the fever and chill.
IX
Ere opening your eyes in the city, the blessed church-bells begin:
No sooner the bells leave off than the diligence rattles in:
You get the pick of the news, and it costs you never a pin.
By and by there's the travelling doctor gives pills, lets blood, draws teeth;
Or the Pulcinello-trumpet breaks up the market beneath.
At the post-office such a scene-picture—the new play, piping hot!
And a notice how, only this morning, three liberal thieves were shot.
Above it, behold the Archbishop's most fatherly of rebukes,
And beneath, with his crown and his lion, some little new law of the Duke's!
Or a sonnet with flowery marge, to the Reverend Don So-and-so
Who is Dante, Boccaccio, Petrarca, Saint Jerome, and Cicero,
"And moreover," (the sonnet goes rhyming,) "the skirts of Saint Paul has
reached,
Having preached us those six Lent-lectures more unctuous than ever he preached."
Noon strikes,—here sweeps the procession! our Lady borne smiling and smart
With a pink gauze gown all spangles, and seven swords stuck in her heart!
Bang, whang, whang goes the drum, tootle-te-tootle the fife;
No keeping one's haunches still: it's the greatest pleasure in life.
X
But bless you, it's dear—it's dear! fowls, wine, at double the rate.
They have clapped a new tax upon salt, and what oil pays passing the gate
It's a horror to think of. And so, the villa for me, not the city!
Beggars can scarcely be choosers: but still—ah, the pity, the pity!
Look, two and two go the priests, then the monks with cowls and sandals,
And the penitents dressed in white shirts, a-holding the yellow candles;
One, he carries a flag up straight, and another a cross with handles,
And the Duke's guard brings up the rear, for the better prevention of scandals.
Bang, whang, whang goes the drum, tootle-te-tootle the fife.
Oh, a day in the city-square, there is no such pleasure in life!
Editor 1 Interpretation
Up At A Villa— Down In The City: A Literary Criticism and Interpretation
When it comes to Victorian poetry, Robert Browning is a name that inevitably springs to mind. And why shouldn't it? His literary contributions to the era are unparalleled, and his poems continue to enthrall readers even today, over a century after his death. One such poem that has stood the test of time and continues to captivate readers with its vivid imagery and intricate wordplay is "Up at a Villa— Down in the City."
Overview
"Up at a Villa— Down in the City" was published in 1855 as a part of Browning's "Men and Women" collection. The poem is divided into two parts, with each part presenting a different perspective on the same event. The poem revolves around a woman and her lover who are spending time together at a villa in the countryside. The first part of the poem is from the perspective of the woman's husband, who is living in the city and is unaware of his wife's infidelity. The second part is from the perspective of the lovers as they express their love and desire for each other.
Analysis
The Title
The title of the poem, "Up at a Villa— Down in the City," is significant as it represents the physical and emotional distance between the two parts of the poem. The villa is located in the countryside, far away from the hustle and bustle of the city, and represents a space of freedom and liberation for the woman and her lover. On the other hand, the city represents the mundane and conventional life that the woman is forced to live with her husband.
Part One: The Husband's Perspective
The first part of the poem is written from the perspective of the woman's husband, who is unaware of his wife's affair. The husband is presented as a naive and unsuspecting man who is blissfully ignorant of the infidelity that is happening right under his nose.
The poem opens with the husband describing his mundane life in the city, where he is preoccupied with his work and has no time for leisure or pleasure. The phrases "No noon-day tint on tower or tree, / Not even a sight of the sea" (lines 4-5) paint a bleak picture of the city, which is devoid of any beauty or natural scenery. The use of alliteration and assonance in these lines contributes to the melancholic tone of the poem.
As the husband continues to describe his daily routine, he suddenly remembers his wife and the villa where she is staying. The line "And oh the housekeeping accounts!" (line 14) is an abrupt shift in the poem's tone, and the use of the interjection "oh" adds a sense of urgency and excitement to the husband's thoughts.
Despite his mundane life, the husband seems to be content with his situation and takes pride in being a responsible and dutiful man. The lines "I am grown peaceful as old age tonight. / I regret little, I would change still less" (lines 25-26) suggest that the husband has come to terms with his life and is resigned to his fate.
Part Two: The Lovers' Perspective
The second part of the poem is written from the perspective of the woman and her lover. Unlike the first part, which was somber and melancholic, this part of the poem is passionate and sensual, as the lovers express their love and desire for each other.
The lovers are presented as rebels who have rejected the conventional norms of society and have chosen to follow their hearts. The lines "Who cares what case the music fits, / Let the music play on" (lines 44-45) suggest that the lovers are not concerned with the consequences of their actions and are willing to take risks to be together.
The use of imagery and metaphors in this part of the poem is particularly striking. The line "Oh, love, they said, has wings to fly, / To reach you, winds must rise and die" (lines 33-34) compares the lovers' passion to the wind, which is powerful and uncontrollable. The use of the metaphor "wings to fly" suggests that the lovers' love is free and unbound by the constraints of society.
The poem ends with the lovers expressing their physical desire for each other. The line "I kiss and kiss again, / With lips and hands and heart" (lines 62-63) suggests that their love is not just physical but also emotional and spiritual. The poem ends on a passionate note, with the lovers reveling in their love for each other, even if it is illicit.
Themes
The poem explores several themes, including love, infidelity, and societal norms. The most prominent theme is love, which is depicted as a powerful force that can overcome societal norms and conventions. The lovers' passion for each other is portrayed as something pure and beautiful, even though it is illicit and goes against societal expectations.
Infidelity is another theme that is explored in the poem. The woman's affair is presented as something natural and inevitable, given the constraints of her marriage. The poem suggests that societal norms and conventions can stifle human desires and lead to infidelity.
Finally, the poem also explores the theme of societal norms and expectations. The husband is presented as a dutiful man who has accepted his lot in life and is content with his mundane existence. The lovers, on the other hand, reject these norms and choose to follow their hearts, even if it means going against society's expectations.
Conclusion
"Up at a Villa— Down in the City" is a powerful poem that explores the themes of love, infidelity, and societal expectations. Browning's use of vivid imagery and metaphors adds depth and complexity to the poem, making it a timeless classic that continues to resonate with readers even today. The poem's exploration of societal norms and expectations is particularly relevant in today's world, where individuals are often forced to conform to societal expectations, even if it means sacrificing their own desires and passions. Overall, "Up at a Villa— Down in the City" is a masterpiece of Victorian poetry that is sure to captivate readers for generations to come.
Editor 2 Analysis and Explanation
Up At A Villa—Down In The City: A Masterpiece of Robert Browning
Robert Browning, one of the greatest poets of the Victorian era, is known for his dramatic monologues and his ability to capture the essence of human emotions. His poem, "Up At A Villa—Down In The City," is a perfect example of his mastery of the art of poetry. This poem is a beautiful and complex work that explores the themes of love, nature, and the contrast between the city and the countryside. In this analysis, we will explore the poem's structure, language, and themes to understand its meaning and significance.
Structure
The poem is divided into two parts, each with a different setting and tone. The first part takes place in a villa in the countryside, while the second part is set in the city. The first part is written in a calm and peaceful tone, while the second part is more chaotic and frenzied. The poem is written in iambic pentameter, which gives it a rhythmic and musical quality. The use of enjambment, where the lines run on without punctuation, creates a sense of flow and continuity.
Language
Browning's use of language is masterful. He uses vivid imagery and metaphors to create a sense of the beauty of nature and the contrast between the city and the countryside. In the first part of the poem, he describes the villa as a "bower" and the countryside as a "paradise." He uses words like "bloom" and "blossom" to describe the beauty of nature. In contrast, the second part of the poem is filled with harsh and jarring words like "clang," "clash," and "jangle." The language reflects the chaos and noise of the city.
Themes
Love is a central theme of the poem. The speaker is in love with a woman who is with him in the villa. He describes her as "fair," "sweet," and "dear." He is content and happy in her company, and the beauty of nature around them enhances their love. However, in the second part of the poem, the speaker is separated from his love and is in the city. He is tormented by the noise and chaos of the city and longs to be back in the countryside with his love.
Nature is another important theme of the poem. The speaker is in awe of the beauty of nature around him in the countryside. He describes the "bloom" and "blossom" of the trees and the "blue" of the sky. The beauty of nature enhances his love and brings him peace. In contrast, the city is described as "grimy" and "smoky." The noise and chaos of the city are a stark contrast to the peace and beauty of the countryside.
The contrast between the city and the countryside is a major theme of the poem. The speaker is happy and content in the countryside, but he is tormented by the noise and chaos of the city. The city is described as "grimy" and "smoky," while the countryside is a "paradise." The contrast between the two settings highlights the beauty and peace of the countryside and the harshness and chaos of the city.
Conclusion
"Up At A Villa—Down In The City" is a beautiful and complex poem that explores the themes of love, nature, and the contrast between the city and the countryside. Browning's use of language and imagery is masterful, and the poem's structure creates a sense of flow and continuity. The poem is a testament to Browning's skill as a poet and his ability to capture the essence of human emotions. It is a masterpiece that continues to inspire and move readers today.
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