The interaction of partners in a relationship is connected with the construction of specific power dynamics. Recently, gender roles have shifted, and a somewhat unusual dynamic may be built between two people based on a woman’s dominance or mutual assistance and approximately equal roles. However, such a variety of force dynamics in human relationships has only recently come about. There is a clear connection between the man and the dominant role in more traditional societies. As examples confirming such elements, one can consider the biography of people who lived several centuries ago and literary works. The advantage of the latter sources lies in the colorfulness of the descriptions used in them. Such literature, for example, poems, convey the personal attitude of the authors to certain concepts. The purpose of this essay is to analyze Robert Browning’s poem Porphyria’s Lover, an excellent example of such literature, to examine the relationship between gender and power dynamics.
Before directly analyzing the text itself, it makes sense to note that Browning’s poem was written in 1836. This time practically corresponds to the Victorian era, which should define the perception of literature. At that time, a woman was almost always a submissive person at all levels: from personal interactions to political status. Consequently, the only possible power dynamics in this context can only be the complete dominance of the male gender. However, the picture shown by the poem’s author is the complete opposite of the generally accepted standards. The character whose perspective we are observing has neither a name nor an indicated gender. Nevertheless, from the title of the poem and further actions, it can be assumed that he is a man with reasonably high confidence.
However, it is he, and not Porphyria, who sits in a cold house without moving, waiting for the return of his beloved. A storm is raging outside the window, and the fire in the fireplace is almost extinguished. Nevertheless, the person is only helplessly watching everything that happens. Porphyria bursts into the house and drastically changes the whole situation: re-kindles the flame and makes the house more comfortable. Moreover, she takes control of the silent lover, sitting next to him, resting his head on her shoulder, and forcing herself into a hug. All these actions are the most evident manifestations of the dominant dynamics usually inherent in the male gender. This discrepancy is especially strongly felt when analyzing Porphyria’s actions from a historical perspective. For a woman in almost the Victorian era, such behavior was unheard of insolence. Porphyria takes on the role of a protector, which is further emphasized by the words used by the author, powerful and robust: “she shut the cold,” “made the cheerless grate blaze up.” She went through the storm to be close to her loved one, which reflects her independent and rebellious nature.
Compared to her, her lover appears weak, speechless, and pale. It is described using the epithets that are usually awarded to girls, not men. He silently observes all her actions, demonstrating alienation and, perhaps, even gloom caused by the overly rebellious actions of his beloved. However, his behavior changes dramatically when Porphyria expresses her sincere desire and puts herself in a subordinate position. Seeing how she exalts him, the man immediately takes control, seeking to take his gender role and demonstrate his dominance. Porphyria confesses her love to a man, expressing her passivity. In response to that, her lover wants to capture this moment forever by killing her, making her a passive object that will always be with him. However, to some extent, the woman expressed such a desire on her own, both in words and in actions.