Youth And Art

By Robert Browning

I.     It once might have been, once only:     We lodged in a street together,     You, a sparrow on the housetop lonely,     I, a lone she-bird of his feather. II.     Your trade was with sticks and clay,     You thumbed, thrust, patted and polished,     Then laughed They will see some day     Smith made, and Gibson demolished. III.     My business was song, song, song;     I chirped, cheeped, trilled and twittered,     Kate Browns on the boards ere long,     And Grisis existence embittered! IV.     I earned no more by a warble     Than you by a sketch in plaster;     You wanted a piece of marble,     I needed a music-master. V.     We studied hard in our styles,     Chipped each at a crust like Hindoos,     For air looked out on the tiles,     For fun watched each others windows. VI.     You lounged, like a boy of the South,     Cap and blouse, nay, a bit of beard too;     Or you got it, rubbing your mouth     With fingers the clay adhered to. VII.     And I, soon managed to find     Weak points in the flower-fence facing,     Was forced to put up a blind     And be safe in my corset-lacing. VIII.     No harm! It was not my fault     If you never turned your eyes tail up     As I shook upon E in alt,     Or ran the chromatic scale up: IX.     For spring bade the sparrows pair,     And the boys and girls gave guesses,     And stalls in our street looked rare     With bulrush and watercresses. X.     Why did not you pinch a flower     In a pellet of clay and fling it?     Why did not I put a power     Of thanks in a look, or sing it? XI.     I did look, sharp as a lynx,     (And yet the memory rankles,)     When models arrived, some minx     Tripped up-stairs, she and her ankles. XII.     But I think I gave you as good!     That foreign fellow, who can know     How she pays, in a playful mood,     For his tuning her that piano? XIII.     Could you say so, and never say     Suppose we join hands and fortunes,     And I fetch her from over the way,     Her, piano, and long tunes and short tunes? XIV.     No, no: you would not be rash,     Nor I rasher and something over:     You ve to settle yet Gibsons hash,     And Grisi yet lives in clover. XV.     But you meet the Prince at the Board,     Im queen myself at bals-par,     Ive married a rich old lord,     And youre dubbed knight and an R.A. XVI.     Each life unfulfilled, you see;     It hangs still, patchy and scrappy:     We have not sighed deep, laughed free,     Starved, feasted, despaired, been happy. XVII.     And nobody calls you a dunce,     And people suppose me clever:     This could but have happened once,     And we missed it, lost it for ever.

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Poem Details

Language: English
Keywords: Public Domain
Source: Public Domain Collection
Rights/Permissions: Public Domain

Analysis & Notes:
This untitled poem is a rich narrative of unfulfilled love and the longing for what might have been. The poet employs a unique structure of seventeen stanzas, each with four lines, and a consistent rhyme scheme which enhances the rhythm and flow of the narrative. The tale unfolds of two people, presumably artists of some kind, whose lives are parallel but never intersect in the way they desire. The theme of missed opportunities and regret is strong throughout the poem, and this is further emphasized by the consistent bird imagery which symbolizes freedom, yet, ironically, they never truly attain this freedom in their relationship.

The poem's tone is one of melancholy and longing, with a bitter undercurrent of regret for the love that was never realized. This is illustrated in the lines "Each life unfulfilled, you see; It hangs still, patchy and scrappy", which portrays a sense of dissatisfaction and yearning for what could have been. The poet creatively employs the technique of direct conversation, which makes the poem feel intimate and personal, as if we are privy to a private lament. This technique also provides an engaging dynamic between the characters.

The clever use of humor and wit is noteworthy, seen in the playful banter and teasing between the characters. This lightens the overall melancholy tone of the poem and adds depth to the characters, making them more relatable. The poet's use of the metaphor of artistic creation, both in the form of sculptures and songs, serves as a reflection of their unfulfilled romantic relationship. Overall, this poem is a poignant exploration of unfulfilled love, longing, and the power of art to express complex emotions.

Understanding Reflective Poetry

Reflective poetry is a form of verse that explores the thoughts, emotions, and meditations of the poet. It often delves into personal experiences, memories, and philosophical musings, offering a window into the poet's inner world.


Reflective poems are characterized by their introspective nature, allowing readers to connect with the poet’s contemplations on life, existence, and the human condition. Here are some defining characteristics:

  • Personal Reflection: These poems often center on the poet's own thoughts and feelings, offering a deep dive into their emotional or intellectual state.
  • Philosophical Musings: Reflective poetry frequently addresses larger existential questions, providing a space for the poet to ponder life’s meaning, purpose, and the nature of reality.
  • Imagery and Symbolism: Poets use vivid imagery and rich symbolism to convey their reflections, often drawing on nature, art, or personal experiences to express complex ideas.
  • Quiet and Contemplative Tone: Reflective poems typically have a calm, meditative tone, inviting readers to pause and reflect alongside the poet.

Reflective poetry provides a unique avenue for exploring the poet’s inner world, inviting readers to engage in their own reflections as they journey through the verses.