Browning's Shorter Poems — Key Ideas to Explore

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Browning, Robert, 1812-1889, Baker, Franklin T. (Franklin Thomas), 1864-1949 [Editor] Project Gutenberg 2005 Not confirmed
English poetry Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 52,392
Reading time 228 min
Text sections 10

For Browning's Shorter Poems — Key Ideas to Explore, the stored edition analysis reports 52,392 words, 3 hr 48 min estimated reading time, and 10 detected text sections.

The text analysis averages about 18.2 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “English poetry,” connecting these edition facts with the source record’s subject description.

This 1917 edition selects Robert Browning's shorter poems for high-school readers, with editor Franklin T. Baker's preface and notes. The collection includes dramatic monologues like 'My Last Duchess' and 'Andrea del Sarto,' narrative poems such as 'The Pied Piper of Hamelin,' and lyrical pieces. Baker emphasizes Browning's vigor, optimism, and intellectual challenge.
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Editorial Edition Score 4.7/5

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  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

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no guessing his kith and kin: And nobody could enough admire The tall man and his quaint attire. Quoth one: "It's as my great grandsire, Starting up at the Trump of Doom's tone, Had walked his way from his painted tombstone!"

He advanced to the council-table: 70 And, "Please your honors," said he, "I'm able, By means of a secret charm, to draw All creatures living beneath the sun, That creep or swim or fly or run, After me so as you never saw! And I chiefly use my charm On creatures that do people harm, The mole and toad and newt and viper; And people call me the Pied Piper." (And here they noticed round his neck 80 A scarf of red and yellow stripe, To match with his coat of self-same cheque: And at the scarf's end hung a pipe; And his fingers, they noticed, were ever straying, As if impatient to be playing Upon this pipe, as low it dangled Over his vesture so old-fangled.) "Yet," said he, "poor piper as I am, In Tartary I freed the Cham,° °89 Last June, from his huge swarms of gnats; 90 I eased in Asia the Nizam° °91 Of a monstrous brood of vampire-bats: And as for what your brain bewilders, If I can rid your town of rats Will you give me a thousand guilders?" "One? fifty thousand!"--was the exclamation Of the astonished Mayor and Corporation.

Into the street the Piper stept, Smiling first a little smile, As if he knew what magic slept 100 In his quiet pipe the while: Then, like a musical adept, To blow the pipe his lips he wrinkled, And green and blue his sharp eyes twinkled, Like a candle-flame where salt is sprinkled; And ere three shrill notes the pipe uttered, You heard as if an army muttered: And the muttering grew to a grumbling; And the grumbling grew to a mighty rumbling; And out of the houses the rats came tumbling. 110 Great rats, small rats, lean rats, brawny rats, Brown rats, black rats, gray rats, tawny rats, Grave old plodders, gay young friskers, Fathers, mothers, uncles, cousins, Cocking tails and pricking whiskers, Families by tens and dozens, Brothers, sisters, husbands, wives-- Followed the Piper for their lives. From street to street he piped advancing, And step for step they followed dancing, 120 Until they came to the river Weser, Wherein all plunged and perished! --Save one, who, stout as Julius Cæsar, Swam across and lived to carry (As he, the manuscript he cherished) To Rat-land home his commentary: Which was: "At the first shrill notes of the pipe, I heard a sound as of scraping tripe, And putting apples, wondrous ripe, Into a cider press's gripe; 130 And a moving away of pickle-tub-boards, And a leaving ajar of conserve-cupboards, And a drawing the corks of train-oil-flasks, And a breaking the hoops of butter-casks: And it seemed as if a voice (Sweeter far than by harp or by psaltery Is breathed) called out, 'Oh, rats, rejoice! The world is grown to one vast drysaltery! So munch on, crunch on, take your nuncheon, Breakfast, supper, dinner, luncheon!' 140 And just as a bulky sugar-puncheon, Already staved, like a great sun shone Glorious scarce an inch before me, Just as methought it said, 'Come, bore me!' --I found the Weser rolling o'er me."

You should have heard the Hamelin people Ringing the bells till they rocked the steeple. "Go," cried the Mayor, "and get long poles, Poke out the nests and block up the holes! Consult with carpenters and builders, 150 And leave in our town, not even a trace Of the rats!"--when suddenly, up the face Of the Piper perked in the market-place, With a, "First, if you please, my thousand guilders!"

A thousand guilders! The Mayor looked blue; So did the Corporation, too. For council dinners made rare havoc With Claret,° Moselle,° Vin-de-Grave,° Hock°; °158 And half the money would replenish Their cellar's biggest butt with Rhenish°. °160 To pay this sum to a wandering fellow With a gypsy coat of red and yellow! "Beside," quoth the Mayor, with a knowing wink, "Our business was done at the river's brink; We saw with our eyes the vermin sink, And what's dead can't come to life, I think. So, friend, we're not the folks to shrink From the duty of giving you something for drink, And a matter of money to put in your poke; But as for the guilders, what we spoke 170 Of them, as you very well know, was in joke. Beside, our losses have made us thrifty. A thousand guilders! Come, take fifty!"

Franklin T. Baker's 1917 edition of Browning's Shorter Poems frames the poet as especially suited for young readers, praising his 'freedom from sentimentality' and 'liveliness of conception and narration.' The preface explicitly addresses the challenge of Browning's difficulty, comparing it to a nut that 'protects and contains the kernel'—a metaphor that sets the tone for a collection designed to reward patience and ingenuity.

The selection spans dramatic monologues, narrative verse, and lyrics, including well-known pieces like 'My Last Duchess' and 'The Pied Piper of Hamelin.' Baker's notes focus on clarifying references and posing interpretive questions, leaving critical analysis largely to the reader. This edition reflects an educational philosophy that values active engagement over passive consumption.

The Editor's Pedagogical Frame

Baker's preface explicitly targets 'the tastes and capacities of readers of the high-school age,' claiming that 'every poem included has been found by experience to be within the grasp of boys and girls.' This practical orientation shapes the selection: poems like 'Incident of the French Camp' and 'How they brought the Good News from Ghent to Aix' offer straightforward narratives with clear heroic arcs, while more complex monologues such as 'Andrea del Sarto' and 'The Bishop Orders his Tomb' are included but supported by notes that gloss historical and linguistic details.

The editor's approach is notably non-critical: 'The present edition attempts but little in the way of criticism.' Instead, notes 'cover such matters as are not readily settled by an appeal to the dictionary' and 'suggest questions that are designed to help in interpretation and appreciation.' This leaves the interpretive work to the student, consistent with Baker's view that Browning's difficulties are 'not more repellent to the thoughtful reader than the nut that protects and contains the kernel.'

Contrasting Visions of Ambition and Failure

Two poems in the collection present sharply opposed models of human striving. In 'A Grammarian's Funeral,' the grammarian is celebrated for choosing knowledge over life: 'This high man, aiming at a million, / Misses an unit.' His deathbed labor over Greek particles—'He settled Hoti's business—let it be!— / Properly based Oun'—is framed as heroic, a 'sacred thirst' that scorns earthly reward. The poem's chorus insists his place is 'where meteors shoot, clouds form, / Lightnings are loosened.'

By contrast, 'Andrea del Sarto' presents a painter who has mastered technique but lacks spiritual ambition: 'I often am much wearier than you think.' Andrea bargains with his wife Lucrezia, offering to work for her friend's friend in exchange for her company. His self-awareness—'I am the faultless painter'—does not spur change. Where the grammarian 'ventured neck or nothing,' Andrea settles for 'the five pictures we require,' his art reduced to commerce. The pairing suggests Browning's interest in the moral weight of different kinds of failure.

Dramatic Monologue and the Reader's Role

Several poems in this collection exemplify Browning's signature form, the dramatic monologue, where a speaker reveals character indirectly. In 'My Last Duchess,' the Duke's casual reference to his 'last Duchess' and his 'commands' that 'all smiles stopped together' implicates the reader in deciphering his cruelty. The poem's power lies in what is left unsaid—the Duchess's fate, the envoy's reaction, the Duke's self-incrimination.

'The Laboratory' similarly draws the reader into a speaker's obsessive revenge fantasy, with vivid sensory details: 'Grind away, moisten and mash up thy paste.' The reader must navigate between the speaker's perspective and the implied moral judgment. Baker's notes, which pose questions rather than supply answers, reinforce this interpretive demand. The collection thus trains readers in the kind of active, suspicious reading that Browning's monologues require—a skill the preface implicitly champions as 'a pleasant challenge to the exercise of a little patience and ingenuity.'

Baker's edition offers a curated entry into Browning's work, shaped by a specific educational mission. Readers may find it useful to compare the editorial framing—which emphasizes optimism and vigor—with the darker ironies of poems like 'The Laboratory' or 'Andrea del Sarto.' The notes provide historical and linguistic help but leave interpretation open, making this a text that rewards rereading and discussion. For those new to Browning, the collection's variety of tone and form provides a broad sample of his range.

I finished that old Browning collection and kept thinking about the Pied Piper, how a single tune can carry people somewhere they didn’t plan to go. It reminded me of Coleridge’s quieter pull, that strange glow he leaves behind, like Poems of Coleridge — Reading Notes sitting on a shelf, waiting for a gray afternoon. The same lingering warmth stayed with me, somehow.

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