Robert Browning

Madhouse Cells

i.
There's Heaven above, and night by night,
I look right through its gorgeous roof;
No suns and moons though e'er so bright
Avail to stop me; splendour-proof
I keep the broods of stars aloof;
For I intend to get to God,
For 'tis to God I speed so fast,
For in God's breast, my own abode,
Those shoals of dazzling glory past,
I lay my spirit down at last.
I lie where I have always lain,
God smiles as he has always smiled;
Ere suns and moons could wax and wane,
Ere stars were thundergirt, or piled
The Heavens, God thought on me his child,

Predestination Logic

The speaker claims God predetermined his sinlessness before creation—a twisted version of Calvinist **election** doctrine that exempts him from moral law entirely.

Ordained a life for me, arrayed
Its circumstances, every one

Predestination Logic

The speaker claims God predetermined his sinlessness before creation—a twisted version of Calvinist **election** doctrine that exempts him from moral law entirely.

To the minutest; ay, God said
This head this hand should rest upon
Thus, ere he fashioned star or sun.
And having thus created me,
Thus rooted me, he bade me grow
Guiltless for ever, like a tree
That buds and blooms, nor seeks to know
A law by which it prospers so:
But sure that thought and word and deed
All go to swell his love for me,
Me made because that love had need
Of something irrevocably
Pledged solely its content to be.
Yes, yes, a tree which must ascend,

Jonah's Gourd

Biblical reference to Jonah 4:6-10, where God grows a gourd to shade Jonah, then kills it. The speaker inverts this: he's the blessed tree, others are the doomed gourd.

No poison-gourd foredoomed to stoop!
I have God's warrant, could I blend
All hideous sins, as in a cup,
To drink the mingled venoms up,
Secure my nature will convert
The draught to blossoming gladness fast,
While sweet dews turn to the gourd's hurt,
And bloat, and while they bloat it, blast,
As from the first its lot was cast.
For as I lie, smiled on, full fed
By exhausted power to bless,
I gaze below on Hell's fierce bed,
And those its waves of flame oppress,
Swarming in ghastly wretchedness,
Whose life on earth aspired to be
One altar-smoke, so pure!—to win
If not love like God's love to me,
At least to keep his anger in,
And all their striving turned Lo sin!
Priest, doctor, hermit, monk grown white
With prayer, the broken-hearted nun,
The martyr, the wan acolyte,
The incense-swinging child,—undone
Before God fashioned star or sun!
God, whom I praise; how could I praise
If such as I might understand,
Make out, and reckon on, his ways,
And bargain for his love, and stand,
Paying a price, at his right hand?
ii.
The rain set early in to-night,
The sullen wind was soon awake,
It tore the elm-tops down for spite,
And did its worst to vex the lake,
I listened with heart fit to break,
When glided in Porphyria: straight
She shut the cold out and the storm,
And kneeled and made the cheerless grate
Blaze up, and all the cottage warm;
Which done, she rose, and from her form
Withdrew the dripping cloak and shawl,
And laid her soiled gloves by, untied
Her hat and let the damp hair fall,
And, last, she sate down by my side
And called me. When no voice replied,
She put my arm about her waist,
And made her smooth white shoulder bare,
And all her yellow hair displaced,
And, stooping, made my cheek lie there,
And spread o'er all her yellow hair,
Murmuring how she loved me; she
Too weak, for all her heart's endeavour,
To set its struggling passion free
From pride, and vainer ties dissever,
And give herself to me for ever:
But passion sometimes would prevail,
Nor could to-night's gay feast restrain
A sudden thought of one so pale
For love of her, and all in vain;
And she was come through wind and rain.
Be sure I looked up at her eyes
Proud, very proud; at last I knew
Porphyria worshipped me; surprise
Made my heart swell, and still it grew
While I debated what to do.
That moment she was mine, mine, fair,
Perfectly pure and good: I found
A thing to do, and all her hair
In one long yellow string I wound
Three times her little throat around,
And strangled her. No pain felt she:
I am quite sure she felt no pain.
As a shut bud that holds a bee
I warily oped her lids; again
Laughed the blue eyes without a stain.
And I untightened next the tress
About her neck; her cheek once more
Blushed bright beneath my burning kiss:
I propped her head up as before,
Only, this time my shoulder bore
Her head, which droops upon it still:
The smiling rosy little head,
So glad it has its utmost will,
That all it scorned at once is fled,
And I, its love, am gained instead!
Porphyria's love: she guessed not how
Her darling one wish would be heard.
And thus we sit together now,
And all night long we have not stirred,
And yet God has not said a word!

Divine Silence

The poem's entire theological question compressed into one line. The murderer interprets God's silence as approval—the same logic as speaker i.

i.
There's Heaven above, and night by night,
I look right through its gorgeous roof;
No suns and moons though e'er so bright
Avail to stop me; splendour-proof
I keep the broods of stars aloof;
For I intend to get to God,
For 'tis to God I speed so fast,
For in God's breast, my own abode,
Those shoals of dazzling glory past,
I lay my spirit down at last.
I lie where I have always lain,
God smiles as he has always smiled;
Ere suns and moons could wax and wane,
Ere stars were thundergirt, or piled
The Heavens, God thought on me his child,

Predestination Logic

The speaker claims God predetermined his sinlessness before creation—a twisted version of Calvinist **election** doctrine that exempts him from moral law entirely.

Ordained a life for me, arrayed
Its circumstances, every one

Predestination Logic

The speaker claims God predetermined his sinlessness before creation—a twisted version of Calvinist **election** doctrine that exempts him from moral law entirely.

To the minutest; ay, God said
This head this hand should rest upon
Thus, ere he fashioned star or sun.
And having thus created me,
Thus rooted me, he bade me grow
Guiltless for ever, like a tree
That buds and blooms, nor seeks to know
A law by which it prospers so:
But sure that thought and word and deed
All go to swell his love for me,
Me made because that love had need
Of something irrevocably
Pledged solely its content to be.
Yes, yes, a tree which must ascend,

Jonah's Gourd

Biblical reference to Jonah 4:6-10, where God grows a gourd to shade Jonah, then kills it. The speaker inverts this: he's the blessed tree, others are the doomed gourd.

No poison-gourd foredoomed to stoop!
I have God's warrant, could I blend
All hideous sins, as in a cup,
To drink the mingled venoms up,
Secure my nature will convert
The draught to blossoming gladness fast,
While sweet dews turn to the gourd's hurt,
And bloat, and while they bloat it, blast,
As from the first its lot was cast.
For as I lie, smiled on, full fed
By exhausted power to bless,
I gaze below on Hell's fierce bed,
And those its waves of flame oppress,
Swarming in ghastly wretchedness,
Whose life on earth aspired to be
One altar-smoke, so pure!—to win
If not love like God's love to me,
At least to keep his anger in,
And all their striving turned Lo sin!
Priest, doctor, hermit, monk grown white
With prayer, the broken-hearted nun,
The martyr, the wan acolyte,
The incense-swinging child,—undone
Before God fashioned star or sun!
God, whom I praise; how could I praise
If such as I might understand,
Make out, and reckon on, his ways,
And bargain for his love, and stand,
Paying a price, at his right hand?
ii.
The rain set early in to-night,
The sullen wind was soon awake,
It tore the elm-tops down for spite,
And did its worst to vex the lake,
I listened with heart fit to break,
When glided in Porphyria: straight
She shut the cold out and the storm,
And kneeled and made the cheerless grate
Blaze up, and all the cottage warm;
Which done, she rose, and from her form
Withdrew the dripping cloak and shawl,
And laid her soiled gloves by, untied
Her hat and let the damp hair fall,
And, last, she sate down by my side
And called me. When no voice replied,
She put my arm about her waist,
And made her smooth white shoulder bare,
And all her yellow hair displaced,
And, stooping, made my cheek lie there,
And spread o'er all her yellow hair,
Murmuring how she loved me; she
Too weak, for all her heart's endeavour,
To set its struggling passion free
From pride, and vainer ties dissever,
And give herself to me for ever:
But passion sometimes would prevail,
Nor could to-night's gay feast restrain
A sudden thought of one so pale
For love of her, and all in vain;
And she was come through wind and rain.
Be sure I looked up at her eyes
Proud, very proud; at last I knew
Porphyria worshipped me; surprise
Made my heart swell, and still it grew
While I debated what to do.
That moment she was mine, mine, fair,
Perfectly pure and good: I found
A thing to do, and all her hair
In one long yellow string I wound
Three times her little throat around,
And strangled her. No pain felt she:
I am quite sure she felt no pain.
As a shut bud that holds a bee
I warily oped her lids; again
Laughed the blue eyes without a stain.
And I untightened next the tress
About her neck; her cheek once more
Blushed bright beneath my burning kiss:
I propped her head up as before,
Only, this time my shoulder bore
Her head, which droops upon it still:
The smiling rosy little head,
So glad it has its utmost will,
That all it scorned at once is fled,
And I, its love, am gained instead!
Porphyria's love: she guessed not how
Her darling one wish would be heard.
And thus we sit together now,
And all night long we have not stirred,
And yet God has not said a word!

Divine Silence

The poem's entire theological question compressed into one line. The murderer interprets God's silence as approval—the same logic as speaker i.

Source Wikipedia Poetry Foundation

Reading Notes

Two Dramatic Monologues, One Theology

CONTEXT Browning published these as separate poems—"Johannes Agricola in Meditation" (i) and "Porphyria's Lover" (ii)—in 1836, then paired them as "Madhouse Cells" in 1842. The title matters: both speakers are insane, and their insanity takes the same theological form.

Both speakers believe God has given them personal exemption from moral law. Speaker i explicitly claims predestined sinlessness through Calvinist election taken to psychotic extremes. He can "drink the mingled venoms up" of all sins and his nature will "convert / The draught to blossoming gladness"—he's incapable of sin by divine decree. Speaker ii never states this doctrine, but demonstrates it: he strangles Porphyria and waits for God's judgment, interpreting silence as consent.

The pairing creates a devastating critique of antinomianism—the heresy that the elect are above moral law. Johannes Agricola was a real 16th-century theologian who taught this doctrine (Luther called him out). Browning makes the logic explicit in poem i, then shows what it looks like in action in poem ii. The madhouse setting isn't metaphorical: Browning is diagnosing a theological position as literally insane.

Notice the poems' structure: both end with the speaker in static eternity. Johannes "lies" in God's breast forever; Porphyria's lover sits with the corpse "all night long" without stirring. Both have stopped time at the moment of their certainty. Both are waiting for a God who won't speak.

Porphyria's Agency and Erasure

The first half of poem ii is a grammar lesson in control. Count Porphyria's actions: she shut, kneeled, made (twice), rose, withdrew, laid, untied, let fall, sat, called, put, made (again), displaced, stooped, made (again), spread. Fifteen verbs in fifteen lines. The speaker does nothing—he's entirely passive, "When no voice replied."

Then watch the reversal. "While I debated what to do"—the speaker's first decision. "I found / A thing to do"—notice he won't name it even mentally. "I wound"—his first action. After the murder, he performs a grotesque parody of her earlier care: "I warily oped her lids," "I untightened," "I propped." He's rearranging her corpse to mirror the scene she created, but now he's in control.

The name Porphyria comes from Greek *porphyra* (purple dye), suggesting aristocracy—she left a "gay feast" to visit him. The class difference matters: "Too weak, for all her heart's endeavour, / To set its struggling passion free / From pride, and vainer ties dissever." She can't marry him. His solution is to freeze the moment when "she was mine, mine, fair, / Perfectly pure and good"—to preserve her at the instant of maximum devotion by killing her.

The poem's horror is how he narrates her desire: "So glad it has its utmost will." He's convinced he's fulfilled her wish. This is the same theology as poem i—he's interpreting his own desire as divine will, his action as sinless because it feels right. The final line connects both poems: God's silence means approval.