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195:, written between 1836 and 1840, was partly aimed as a "correction" of Wordsworth's politics and poetics, but neither the audience nor Wordsworth saw this; instead the poem acquired a reputation for incomprehensibility, and Browning was called "the madman who had foisted the unreadable Sordello upon the world". For his part, Wordsworth seems to have thought very little of Browning, and one of the few recorded statements he made about Browning was in a letter written to a friend on the occasion of Browning's wedding in 1846 to
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talked about 'handfuls of silver and bits of ribbon'. These never influenced the change of politics in the great poet, whose defection, nevertheless, accompanied as it was by a regular face-about of his special party, was to my juvenile apprehension, and even mature consideration, an event to deplore. But just as in the tapestry on my wall I can recognize features which have
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in my hasty youth presume to use the great and venerated personality of
Wordsworth as a sort of painter's model; one from which this or the other particular feature may be selected and turned to account; had I intended more, above all, such a boldness as portraying the entire man, I should not have
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Miss
Barrett, I am pleased to learn, is so much recovered as to have taken herself a Husband. Her choice is a very able man, and I trust that it will be a happy union, not doubting that they will speak more intelligibly to each other than, notwithstanding their abilities, they have yet done to the
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observes, Browning had sought to become "Wordsworth's radical successor", and his attitude towards
Wordsworth was "a test model of a strong poet's quest for self-definition against an overbearing predecessor". The poem's lines "We that had loved him so, followed him, honoured him, / ... / Made him
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dissolved their
Browning Society and spent the funds on chocolate. The lines began: "They just for a handful of chocolate left us / Just for some sweetmeats to put in their throats". In one edition of the poem, the first line had been printed as "Just for a handle of silver he left us", which the
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There was much discussion on whether the poem was addressed to
Wordsworth. In response to queries, Browning always made it clear that the poem was based on Wordsworth, but stopped short of saying that it was directly addressed to Wordsworth himself, instead saying that the portrait was "purposely
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Wordsworth died five years later, in 1850. Browning later came to slightly regret the poem, and possibly even to see
Wordsworth in a positive light again, as he made a few minor revisions, moderating the poem's attack. However, Baker writes that "His attack on Wordsworth was not as unfair as some
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was originally written in reference to
Wordsworth's abandonment of the Liberal cause, with perhaps a thought of Southey, but it is applicable to any popular apostasy. This is one of those songs that do the work of swords. It shows how easily Mr. Browning, had he so chosen, could have stirred the
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We do not nowadays believe that
Wordsworth changed his political opinions in order to be made distributor of stamps Nor did Browning believe this. He did believe, however, that Wordsworth was a turncoat, a renegade—a poet who began as the champion of liberty and ended as its enemy. This is the
220:. Browning saw this acquiescence to orthodox tradition—with its image of Wordsworth literally on his knees in front of the queen—as his "final surrender to the forces of conservatism". The poem arose from the resulting hatred and indignation, and was published in November 1845, in
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disguised a little, used in short as an artist uses a model, retaining certain characteristic traits, and discarding the rest". Thus the poem was on the Lost Leader in the abstract, with
Wordsworth being the most prominent concrete example. In one ambivalent letter, he wrote:
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our pattern to live and to die!" refer to this. However, when he began to perceive
Wordsworth sliding into conservative politics and the Church of England, he became increasingly disillusioned. Wordsworth in his early days had been a youthful rebel, defended
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for what Browning considered his desertion of the liberal cause, and his lapse from his high idealism. More generally, it is an attack on any liberal leader who has deserted his cause. It is one of Browning's "best known, if not actually best, poems".
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a fancy, on occasion, that though truly thus derived, yet would be preposterous as a copy, so, though I dare not deny the original of my little poem, I altogether refuse to have it considered as the 'very effigies' of such a moral and intellectual
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Bhagat Singh, an Indian Marxist Revolutionary and Indian Independence Freedom Fighter used this poem "The Lost Leader", pointing at Lala Lajpat Rai, an Indian Nationalist Freedom Fighter, who turned to communalist politics in his last years.
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I have been asked the question you now address me with, and as duly answered it, I can't remember how many times; there is no sort of objection to one more assurance or rather confession, on my part, that I
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Originally "triumph for devils". In some versions, Browning strengthened this attack by changing this to "devil's-triumph", as if implying that Wordsworth was himself a (or the) devil. See
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Different approaches to the poem—personal idiosyncratic approaches and those informed by historical context or metrical structure—are discussed as an introduction to "cognitive poetics".
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The lines "We that had loved him so, followed him, honoured him, / ... / Made him our pattern to live and to die!" are framed as the deciding quiz bowl question in Nan Willard Kappo's
237:. The lines "he boasts his quiescence / Still bidding crouch whom the rest bade aspire" referred to what Browning saw as one of Wordsworth's worst crimes as the lost leader, that of
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his acquiescence and instructing the oppressed masses to patiently "crouch" and bear their burden instead of rising up in revolt. This Wordsworth had done in his 1833 poem called
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as a 'semi-atheist', and by himself as a 'patriot of the world'. However, as England went to war against France, the condition in France deteriorated, the
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The original printing used the spelling "riband"; many later printings (including some 19th-century editions) use the more common spelling "ribbon".
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464:"'The Lost Leader': The Story of Wordsworth's Disillusionment: Why the Poet Abandoned His Revolutionary Ideals and Became a Conservative"
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216:". In 1842 he accepted a civil list pension of ÂŁ300 from the government, and in 1843 when Southey died, he accepted the position of
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In 1813 Wordsworth obtained the position of distributor of stamps. This government position was already sufficient to induce
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From an early age, Browning (b. 1812) had been an admirer of the (early) works of Wordsworth (b. 1770). As
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proof-reader tried to justify on the grounds that as no one understood Browning, it would be all right.
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Baker, J. H (1997), "Wordsworth's 'The Warning': A New Source for Browning's 'The Lost Leader'?",
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to great effect, creating verse with "great rhythmic dash and drive". The poem is not in pure
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and Coleridge, "gave up his revolutionary dreams and settled down to the life of a recluse".
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The poem was widely anthologised, and recognised for its direct attack. One editor wrote:
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attacked the Macmillan government with the words "Never glad confident morning again".
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have claimed, and as Browning seems to have feared in later life", and
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Another wrote that the verses "have more bad feeling than poetry".
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was executed, Wordsworth became disillusioned, and, following
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Originally "Aim at our heart ere we pierce through his own".
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Burns, Shelley, were with us,—they watch from their graves!
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Parleyings with Certain People of Importance in Their Day
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William Wordsworth, the subject of the poem. Portrait by
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Volumes 155–159 of American periodical series, 1850–1900
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A Dictionary of biblical tradition in English literature
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Parodies of the works of English & American authors
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Best fight on well, for we taught him—strike gallantly,
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Clasped Hands of Robert and Elizabeth Barrett Browning
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Selections from the poems and plays of Robert Browning
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Learned his great language, caught his clear accents,
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We that had loved him so, followed him, honoured him,
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was used as the title of a book about Wordsworth by
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general view, and it seems to me to be unassailable.
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767:Robert Browning (1899), George Willis Cooke (ed.),
722:James Wilson Bright; Raymond Durbin Miller (1910),
548:. Vol. 1. London: Smith Elder and Co. p.
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Then let him receive the new knowledge and wait us,
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Life's night begins: let him never come back to us!
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Blot out his name, then, record one lost soul more,
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Deeds will be done,—while he boasts his quiescence,
1374:Armstrong Browning Library, collections and papers
665:Issues 233–234 of Maynard's English classic series
135:Forced praise on our part—the glimmer of twilight,
115:We shall march prospering,—not thro' his presence;
90:They, with the gold to give, doled him out silver,
699:The ode less travelled: unlocking the poet within
462:Frank Crane; Edward Jewitt Wheeler, eds. (1918),
170:and the French Revolution, and been described by
125:One task more declined, one more footpath untrod,
1176:How They Brought the Good News from Ghent to Aix
96:Rags—were they purple, his heart had been proud!
1265:Prince Hohenstiel-Schwangau, Saviour of Society
373:'s memoir of the final years of Prime Minister
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127:One more devils'-triumph and sorrow for angels,
121:Still bidding crouch whom the rest bade aspire:
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129:One wrong more to man, one more insult to God!
86:Found the one gift of which fortune bereft us,
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145:Pardoned in heaven, the first by the throne!
110:He alone breaks from the van and the freemen,
8:
1301:Pacchiarotto, and How He Worked in Distemper
283:quotes the poem as an example of the use of
94:How all our copper had gone for his service!
835:Eliakim Littell; Robert S. Littell (1914),
439:, Wm. B. Eerdmans Publishing, p. 766,
112:—He alone sinks to the rear and the slaves!
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790:, Scott. Foresman and company, p. 391
597:, Columbia University Press, p. 277,
229:The "handful of silver" is a reference to
133:There would be doubt, hesitation and pain,
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117:Songs may inspirit us,—not from his lyre;
106:Shakespeare was of us, Milton was for us,
92:So much was theirs who so little allowed:
33:Robert Browning, the poet. Photograph by
104:Made him our pattern to live and to die!
82:Just for a handful of silver he left us,
773:, Houghton Mifflin Company, p. 405
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233:, a phrase associated with betrayal or
141:Menace our heart ere we master his own;
88:Lost all the others she lets us devote;
84:Just for a riband to stick in his coat—
877:Rumpole and the Penge Bungalow Murders
804:The lost leader: a study of Wordsworth
682:Southern literary messenger, Volume 16
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398:An excerpt of the poem is featured in
212:to write a sonnet of mild reprimand, "
100:Lived in his mild and magnificent eye,
770:The poetical works of Robert Browning
725:The elements of English versification
685:, Jno. R. Thompson, 1850, p. 454
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384:The poem is frequently alluded to by
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1216:Childe Roland to the Dark Tower Came
1109:Pauline: A Fragment of a Confession
336:is the title of a book of poems by
137:Never glad confident morning again!
925:, Fairleigh Dickinson Univ Press,
892:Cognitive poetics: an introduction
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1156:Soliloquy of the Spanish Cloister
824:, Reeves & Turner, p. 50
275:national feeling with his lyrics.
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756:, S.R. Crocker, 1886, p. 31
728:, Ginn and Company, p. 22,
1132:Johannes Agricola in Meditation
1388:The Barretts of Wimpole Street
939:Dabundo, Laura (Autumn 2005),
750:The literary world, Volume 17,
669:, Maynard, Merrill, p. 26
433:David L. Jeffrey, ed. (1992),
1:
841:, Living Age Co., p. 115
801:Hugh I'Anson Fausset (1933),
253:writes, of Browning's views:
1281:Red Cotton Night-Cap Country
1195:Christmas-Eve and Easter-Day
1167:Dramatic Romances and Lyrics
1031:King Victor and King Charles
591:William Harmon, ed. (2005),
223:Dramatic Romances and Lyrics
52:Dramatic Romances and Lyrics
49:first published in his book
16:1845 poem by Robert Browning
895:, Routledge, pp. 1–4,
869:Rumpole for the Prosecution
470:, vol. 65, p. 389
349:(a Victorian competitor of
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1422:Elizabeth Barrett Browning
1308:The Agamemnon of Aeschylus
1172:Home-Thoughts, from Abroad
919:Baker, John Haydn (2004),
838:The Living age, Volume 282
594:Classic writings on poetry
1459:Poetry by Robert Browning
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343:The poem was parodied by
1318:The Two Poets of Croisic
1047:A Blot in the 'Scutcheon
1039:The Return of the Druses
889:Peter Stockwell (2002),
818:Walter Hamilton (1889),
784:Robert Browning (1919),
660:Robert Browning (1905),
640:, Scribner, p. 51,
1430:Robert Barrett Browning
943:Browning and Wordsworth
922:Browning and Wordsworth
381:, alludes to the poem.
231:thirty pieces of silver
1258:Balaustion's Adventure
1228:A Toccata of Galuppi's
1208:"Love Among the Ruins"
702:, Gotham, p. 84,
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74:Benjamin Robert Haydon
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35:Julia Margaret Cameron
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1406:Pied Piper of Hamelin
1288:Aristophanes' Apology
1251:The Ring and the Book
950:The Wordsworth Circle
945:by John Haydon Baker"
855:, (2003) frontispiece
395:, published in 2002.
340:, published in 2008.
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45:" is an 1845 poem by
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1244:Caliban upon Setebos
853:Glimmers of Twilight
696:Stephen Fry (2006),
634:Robert Lynd (1919),
379:Glimmers of Twilight
355:) when the women of
328:Hugh I'Anson Fausset
1339:Ferishtah's Fancies
637:Old and new masters
495:10.1093/nq/44.3.340
406:published in 2010.
289:dactylic tetrameter
1273:Fifine at the Fair
1099:Poetry collections
1055:Colombe's Birthday
545:The Poetical Works
319:Literary allusions
251:Robert Wilson Lynd
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57:William Wordsworth
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1125:Porphyria's Lover
932:978-0-8386-4038-8
902:978-0-415-25895-1
735:978-0-8414-9889-1
709:978-1-59240-248-9
624:, pp. 94–97)
604:978-0-231-12371-6
483:Notes and Queries
446:978-0-8028-3634-2
197:Elizabeth Barrett
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243:"The Warning"
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167:Rights of Man
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55:. It berates
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1415:Family life
1212:Evelyn Hope
851:J. Haines,
622:Baker (2004
563:Baker (2004
518:Baker (2004
364:Nigel Birch
281:Stephen Fry
235:selling out
180:Robespierre
1464:1845 poems
1453:Categories
1438:Casa Guidi
1314:La Saisiaz
1117:Paracelsus
957:(4): 197,
913:References
371:Joe Haines
338:Mick Imlah
311:struck out
293:catalectic
1399:1957 film
1394:1934 film
1331:Jocoseria
1101:and poems
1015:Strafford
941:"Review:
807:, J. Cape
330:in 1933.
263:Reception
172:Coleridge
1352:Asolando
1254:(1868–9)
1238:(1864, "
1170:(1845, "
1150:(1842, "
1139:Sordello
1134:" (1836)
1127:" (1836)
963:24044276
542:(1897).
239:boasting
192:Sordello
1362:Related
1206:(1855,
663:Poems,
210:Shelley
204:public.
184:Southey
151:Context
76:, 1842.
37:, 1865.
1425:(wife)
1354:(1889)
1348:(1887)
1342:(1884)
1334:(1883)
1320:(1878)
1310:(1877)
1304:(1876)
1296:(1875)
1290:(1875)
1284:(1873)
1276:(1872)
1268:(1871)
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1198:(1850)
1142:(1840)
1120:(1835)
1112:(1833)
1082:(1855)
1074:(1846)
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1042:(1843)
1034:(1842)
1026:(1841)
1018:(1837)
961:
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732:
706:
644:
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291:, but
1433:(son)
1063:Luria
1007:Plays
959:JSTOR
417:Notes
352:Punch
162:Paine
1316:and
1242:", "
1226:", "
1222:", "
1218:", "
1214:", "
1186:", "
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927:ISBN
897:ISBN
730:ISBN
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599:ISBN
441:ISBN
64:Text
1210:, "
550:249
491:doi
487:242
402:'s
346:Fun
306:did
164:'s
1455::
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955:36
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388:.
295:.
245:.
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199::
1130:"
1123:"
992:e
985:t
978:v
879:.
552:.
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493::
41:"
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