20 pages • 40 minutes read
Robert BrowningA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
When the speaker requests one last ride with his mistress, he refers to a ride in a horse-drawn carriage, which they have probably enjoyed many times in the past. That situation would bring them close together, sitting next to each other and perhaps exchanging intimate words and gestures that he might remember after they part. Thus, the ride symbolizes the intimacy and affection that still exists between them. He wants to experience them once again, this time knowing that he is about to lose them, which makes this last ride exceptionally important. He commits to the moment, fully enjoying all that it offers and forgetting all else, so that the ride also symbolizes his embrace of Carpe Diem, living for the moment. To a contemporary ear, his ecstatic references to this intimate ride easily conjure up sexual connotations. There is no evidence that Browning did or did not intend a sexual implication, but the thematic context (two lovers’ final time together) and the vehement repetition of the motif throughout the poem invite such a reading. The sexual act, especially the orgasm, is traditionally understood as a moment of special intensity when one forgets about everything else, and thus it fits the Carpe Diem theme. However, the symbolic significance of the ride is the same whether one gives it a sexual slant or not: it stands for the moment of sweeping and extraordinarily potent experience in which earthly joy feels otherworldly.
When the speaker addresses the poet (Line 67), the sculptor (Line 78), and the “man of music” (Line 83), he raises rhetorical questions about the value of dedicating one’s life to artistic endeavor, but art here also represents any human effort in which the ultimate goal (finishing a work of art, for example) may appear to matter more than all the moments that went into achieving it. Artists create beautiful objects (linguistic, physical, or musical), but at the cost of putting art above life itself. Not only is writing about love less “sublime” than being in love (Lines 75-77), but it might even stand in the way of falling in love if the poet cares more for words than for people. The sculptor might love his ideal Venus more than any real woman (Lines 80-81). Philosophers, politicians, businessmen, and all others who strive to reach extraordinary goals may overlook the value of mundane moments of life, such as an intimate ride with a person one loves. As they struggle to reach a destination, they may forget to enjoy the journey.
By Robert Browning