The Renaissance saw a major shift in theories of art. As “Fra Lippo Lippi” discusses, a new realism, based on observation and detail, was coming to be valued, while traditional, more abstract and more didactic forms of art were losing favor. This shifting in priorities is analogous to the shifting views on art and morality in Browning’s time. The Renaissance, like the Victorian era, was also a time of increasing secularism (see “The Bishop Orders His Tomb”) and concentration of wealth and power (“My Last Duchess”. All of these aspects make the Renaissance and the Victorian era rather similar. By talking about the Renaissance, Browning can make his cultural criticism somewhat less biting. He also gains access to a wealth of sensuous detail and historical reference, which he can then use to add vibrancy to his verse. The historical connection, furthermore, lets him talk about his place in the literary tradition: if we still appreciate Renaissance art, hopefully future generations will still appreciate Browning’s poetry.

Browning aspires to redefine the aesthetic. The rough language of his poems often matches the personalities of his speakers. Browning uses colloquialisms, inarticulate sounds (like “Grr”), and rough meter to portray inner conflict and to show characters living in the real world. In his earlier poems this kind of speech often accompanies patterned rhyme schemes; “My Last Duchess,” for example, uses rhymed couplets. The disjunction between form and content or form and language suggests some of the conflict being described in the poems, whether the conflict is between two moral contentions or is a conflict between aesthetics and ethics as systems. Browning’s rough meters and unpoetic language test a new range for the aesthetic.

Women, particularly for the Victorians, symbolize the home—the repository of traditional values. Their violent death can stand in for the death of society. The women in Browning’s poetry in particular are often depicted as sexually open: this may show that society has transformed so radically that even the domestic, the traditional, has been altered and corrupted. This violence also suggests the struggle between aesthetics and morals in Victorian art: while women typically serve as symbols of values (the moral education offered by the mother, the purity of one who stays within the confines of the home and remains untainted by the outside world), they also represent traditional foci for the aesthetic (in the form of sensual physical beauty); the conflict between the two is potentially explosive. Controlling and even destroying women is a way to try to prevent such explosions, to preserve a society that has already changed beyond recognition.