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‘Before You Were Mine’ by Carol Ann Duffy

‘Climbing My Grandfather’ by Andrew Waterhouse

‘Eden Rock’ by Charles Causley

‘The Farmer’s Bride’ by Charlotte Mew

‘Follower’ by Seamus Heaney

‘Letters from Yorkshire’ by Maura Dooley

‘Love’s Philosophy’ by Percy Bysshe Shelley

‘Mother, any distance’ by Simon Armitage

‘Neutral Tones’ by Thomas Hardy

‘Porphyria’s Lover’ by Robert Browning

‘Singh Song!’ by Daljit Nagra

‘Sonnet 29 – ‘I think of thee!’’ by Elizabeth Barrett Browning

‘Walking Away’ by Cecil Day-Lewis

‘When We Two Parted’ by Lord Byron

‘Winter Swans’ by Owen Sheers

This poem is a chilling narrative in which a man recounts the evening his lover, Porphyria, visits him during a storm. She arrives wet and windswept, tends the fire, then sits beside him. The speaker remains passive and ponders the extent of her devotion, eventually concluding that she has successfully overcome the societal constraints that had previously kept them apart.

In a moment recounted with eerie clarity, he decides to preserve this perfect moment forever by strangling her with her own hair. The act is described with a disturbingly calm and rational voice; he insists she felt “no pain” and remains beautiful and content in death. He props up her corpse so they sit together as if nothing has changed.

In the final line, he notes that “God has not said a word,” suggesting either his belief in divine approval or his alienation from moral judgment. The poem’s horror lies in its juxtaposition of tenderness and violence, revealing a speaker whose love becomes a desire for possession and control. Browning uses this to interrogate obsessive love, madness, and the danger of viewing others as idealised objects rather than autonomous beings.

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