He is told that he was the son of an archer who saved the lives of Adelaide and Palma when they were nearly killed by a fire set by Ecelin himself. Sordello, long reluctant to do so, finally enquires about his birth and origins. Eglamor's jongleur, Naddo, becomes Sordello's jongleur. At his funeral, Sordello praises him highly. Eglamor responds graciously to his defeat, but walks home alone and troubled, and dies the same night. Impatient with Eglamor's feeble efforts, Sordello interrupts him and continues his song so effectively that, to his own astonishment, he wins the prize, and Palma bestows upon him her scarf. They are listening to the aged troubador Eglamor.

Sordello is wandering through the wood towards Mantua, daydreaming about Palma, when he comes upon a crowd gathered by the city's wall. Sordello once heard that the lady Palma was being wooed by the Guelph, Count Richard, and she became another subject of his daydreams.

Browning comments that an aesthete can fail in life either through attempting nothing, or attempting too much. At other times he would indulge in daydreams about himself as a great hero, in whom all virtues, skills and powers would combine – in other words, as a reinvention of Apollo. Sometimes he would stare at a stone font in a vault of the castle, dreaming that the female statues who held it up were under a curse, and that he could plead with God for their pardon and release. He spent nearly all his time wandering about the pine forest and marsh, and had little human company other than the elderly servants what he knew about the world he knew by hearsay. In a castle at Verona, the Council of Twenty-Four discuss the city's predicament in a distant room, the poet Sordello sits motionless, thinking about his love, Palma.īrowning describes Sordello's childhood and youth as an orphaned page at the lonely castle of Goito, near Mantua. They come back and besiege Ferrara, but when Richard is invited to a parley, he is captured. On his return, he takes vengeance, and Azzo and Richard flee. Not long ago, Taurello had been lured away from Ferrara in his absence, his palaces were burned by Guelphs. The citizens of Verona have just heard that their Guelph prince, Count Richard of St Boniface, has been captured by Taurello Salinguerra. The one who intimidates him most is the 'pale face' Shelley (whom he does not name). Sordello is a Ghibelline, like his lord Ecelin II da Romano, and the soldier Taurello.īrowning begins by summoning the shades of all dead poets to listen to the story he has to tell. The setting is northern Italy in the 1220s, dominated by the struggle between the Guelphs (partisans of the Pope) and the Ghibellines (partisans of the Holy Roman Emperor). The poem was, however, championed decades later by Algernon Swinburne and Ezra Pound. Lord Tennyson manfully tackled it, but he is reported to have admitted in bitterness of spirit: 'There were only two lines in it that I understood, and they were both lies they were the opening and closing lines, 'Who will may hear Sordello's story told,' and 'Who would has heard Sordello's story told!''. It was harshly received at the time of its publication: Alfred, Lord Tennyson's opinion was recorded thus by William Sharp in his biography of Browning: The poem is convoluted and obscure, its difficulties increased by its unfamiliar setting. It consists of a fictionalised version of the life of Sordello da Goito, a 13th-century Lombard troubadour depicted in Canto VI of Dante Alighieri's Purgatorio. Worked on for seven years, and largely written between 18, it was published in March 1840. Sordello is a narrative poem by the English poet Robert Browning.

Poem between the dash