Robert Browning’s Homesickness
Robert Browning's "Home-Thoughts, from Abroad" is conventionally known as one of the most patriotic poems in the English language. Although the poem in its original print context is the first of three dramatic monologues, it is invariably seen in popular British culture, as well as in the history of its print circulation in the nineteenth century, as a stand-alone lyric poem celebrating the best of English nationhood. The poem has attracted surprisingly little attention from critics, perhaps because of difficulty with placing its apparent expression of English nationalism within the context of Browning's more uneasy investigations of the construction of nationhood and of cosmopolitanism. This essay argues that "Home-Thoughts, from Abroad" is a deceptively simple poem that in fact interrogates the very patriotism it has been taken to celebrate. Furthermore, the poem is an important part of Browning's experimentation with the dramatic lyric form, and particularly the concept of voice in relation to proximity and distance. "Home-Thoughts, from Abroad" reveals the importance of reading Browning's poems as expressive and interrogative at the very same time. In addition, the complex hybrid genre adopted in the poem participates in nineteenth-century discussions about the relation between England and Europe, in a way that recalls Mary Louise Pratt's concept of "contact zones," over-determined social spaces where cultures encounter one another, and jostle for position, often within asymmetrical and complex power structures. The poem's fundamental dynamic between home and the foreign suggests the importance of border crossing, a movement within and between contact zones, across frontiers and boundaries that are geographical, cultural, political and textual: a movement that, I argue, structures the very concept of the lyric poet itself, always a vital concern for Browning. In a recent and hugely popular endeavor by the British Broadcasting Corporation to record major poems by famous actors, the actor Geoffrey Palmer reads "Home-Thoughts, from Abroad" with music playing softly in the background. (1) The choice of the Largo section (second movement) of Antonin Dvorak's New World Symphony is important, especially to British ears, because it cites a previous and famous use of this section as the soundtrack (arranged for brass band) to a series of well-known television advertisements for Hovis bread, directed by Ridley Scott, and much replayed. The Hovis advertisement was voted in 2006 the most-loved advertisement in Britain, for the nostalgic portrayal of a northern town with a small boy pushing a bike up cobbled streets and carrying loaves of Hovis, associating the packaged bread with what is quintessentially English. (2) In fact, the popular commercial Classic FM station in Britain reported that it was inundated with requests for the "Hovis music," originally composed to commemorate the discovery of the Americas (see Byrne). It might seem peculiar to associate Robert Browning with a loaf of brown bread. But the BBC recitation of "Home-Thoughts, from Abroad" chose a canny patriotic soundtrack. Subtitled "The greatest poems, the finest voices, glorious music," the "Words for You" series of recited poems can be purchased as a CD and seen on YouTube (where it has its own TV channel)) Palmer is perhaps at first glance an unlikely choice, known for his deadpan humor and stuffy, middle-class buffoonery, as his Wikipedia entry puts it, in portrayals of such popular British sit-com characters as Reggie Perrin's brother-in-law in The Rise and Fall of Reginald Perrin and the phlegmatic husband in Butterflies. (4) But Browning's poem suits such an actor perfectly, for like all Browning's dramatic lyrics, "Home-Thoughts, from Abroad" is in fact supremely ironic. In the nineteenth century, the poem was seen as a quintessential expression of English patriotism. It was reprinted, for example, in Mary Isabella Lovejoy's Poetry of the Seasons anthology of 1898 as exemplary of spring. …
Cosmopolitan Soul: Travels in Body and Spirit with Browning’s Cleon and Karshish
Appearing in Robert Browning’s 1855 volume Men and Women, “An Epistle Concerning the Strange Medical Experience of Karshish, the Arab Physician” and “Cleon” have long been regarded as companion poems due to their shared epistolary form and concern with how two cultural outsiders living in the first century C.E. might have responded to nascent forms of Christianity. The Greek poet Cleon reflects on a series of different spiritual questions before ultimately dismissing the possibility of an afterlife and any possible insight to be gained from “one called Paulus,” whom he hears about from “certain slaves/Who touched on this same isle, preached him and Christ” (340; 350–51). Karshish’s “strange case” is that of Lazarus, whom he interviews at the behest of some “elders of his tribe” (118), seeking, it seems, a more rational explanation for his claims to have been risen from the dead by a man claiming to be God himself. This explanation Karshish determines rather quickly to be “a case of mania—subinduced/By epilepsy” (79-80), but he remains intrigued by the case and feels compelled to describe it at length to Abib, his correspondent and “Sage at home” (15). Understandably, much of the previous critical commentary juxtaposing these poems has zeroed in on the question of who comes the closest to embracing the new religion, with the consensus being that Karshish is the more successful and the more admirable personality generally. As one of the earliest of those commentators, Arthur Symons, remarked in 1886, “Cleon is a type of the Western and skeptical, Karshish one of the Eastern and believing, attitude of mind; the one repellent, the other absorbent, of new things offered for belief” (96). Symons’s almost patent orientalism also draws our attention to the relative cultural and geographical positioning of the poems—something, oddly, which has received little attention from critics or which is regarded as secondary to the poems’ spiritual concerns. Rarely, however, does Browning venture beyond the borders of Western Europe at this point in his poetic career, let alone deposit us at the heart of the imperial
On Fascist Ideology
Fascism is a political ideology that encompassed totalitarianism, state terrorism, imperialism, racism and, in the German case, the most radical genocide of the last century: the Holocaust. Fascism, in its many forms did not hesitate to kill its own citizens as well as its colonial subjects in its search for ideological and political closure. Millions of civilians perished on a global scale during the apogee of fascist ideologies in Europe and beyond. In historical terms, fascism can be defined as a movement and a regime. Emilio Gentile – who, with Zeev Sternhell and George Mosse,2 is the most insightful historian of fascism – presents fascism as a modern revolutionary phenomenon that was nationalist and revolutionary, anti-liberal and anti-Marxist. Gentile also presents fascism as being typically organized in a militaristic party that had a totalitarian conception of state politics, an activist and antitheoretical ideology as well as a focus on virility and anti-hedonistic mythical foundations. For Gentile a defining feature of fascism was its character as a secular religion which affirms the primacy of the nation understood as an organic and ethnically homogenous community. Moreover, this nation was to be hierarchically organized in a corporativist state endowed with a war-mongering vocation that searches for a politics of national expansion, potency and conquest. Fascism, in short, was not a mere reactionary ideology. Rather, fascism aimed at creating a new order and a new civilization.3 The word fascism derives from the Italian word fascio and refers to a political group (such as the political group lead by Giuseppe Garibaldi during the time of Italian unification.) Fascism also refers visually and historically to a Roman imperial symbol of authority. Its place of birth as a modern political ideology was northern Italy, the year was 1919, and its founder was Benito Mussolini. Thus, fascism as a term as well as a political movement was born on the Italian peninsula. Its ideological origins, however, predated its name. The fact that fascism was born as a concept before its explicit birth as a movement is central to any understanding of fascism. The ideology of radical nationalism that made it possible was part of a larger intellectual reaction to the Enlightenment.4 This tradition was both European and, in the Latin American case, “non-European” as well. To be sure, the original ideology behind fascism was born as a reaction to the progressive European revolutions of the long nineteenth century (from the French revolution of 1789 to the American and Latin American revolutions of 1776 and the 1810s). Fascism represented a post-revolutionary attack against equality. The ideology of the anti-Enlightenment is the major root of the longstanding ideological tradition that created fascism. Its branches constituted a reaction against liberal politics and a rejection of democracy. And yet fascism did not oppose the market economy and put forward a corporatist organization that aimed to be functional to capitalist accumulation. Equally important, fascism is a philosophy of political action that ascribes value to absolute violence in the political realm. This ascription was boosted by one radical outcome of the