The Laboratory

Robert Browning (1812 – 1889)

 The Poem
• The speaker is a person who kills (or is about to kill) her rival, in the
presence of her lover - who appears to be connected to the speaker
in some way - perhaps her husband or an ex-lover who has spurned
her for the rival who is soon to die.
• It is in the form of a monologue, and once more the silent listener is
important, too. He is an expert in poisons who sells his services to a
wealthy woman. The subtitle (ANCIEN RÉGIME) refers to an older
form of rule or government - suggesting that the speaker comes
from a past age.
• We do not know for certain that the speaker is female - but this is
suggested by the things, listed in the fifth stanza, in which she will
carry her poison ("...an earring, a casket/A signet, a fan-mount, a
filigree basket..."), and by her offering a kiss to the poisoner, when
he has finished his work. The poem recalls the saying that "Hell has
no fury like a woman scorned".
• Browning explores the jealousy and vengefulness of someone
disappointed in love.
 Structure
• The poem is written in twelve stanzas, all of four lines,
rhymed AABB. The metre is anapaestic (two unstressed
syllables, followed by a stressed one) - and this creates
a rather jaunty effect, which seems unsuited to the
poem's subject, if we take it too seriously. But Browning
intends the poem to be perhaps almost comic, over the
top and melodramatic - it has some of the qualities of a
popular horror film, where the characters and situations
are grotesque and outrageous.
• This rollicking, lively effect is reinforced by the frequent
alliteration - "moisten and mash...pound at thy powder".
 Mortar and pestle
Tool used to crush, grind and mix substances
 Apothecary
A historical version of a pharmacist. Provided medicines and
chemicals to doctors; also dispensed advice and sold substances
to members of the public.
 Ancien Regime
‘old rule’ – usually used to refer to France in the period from the
15th – 18th centuries.
 THE LABORATORY - ANCIEN REGIME The old regime
Dramatic First person (describes
monologue France before the
NOW that I, tying thy glass mask tightly, revolution)
To protect from May gaze thro' these faint smokes curling whitely,
poisonous fumes As thou pliest thy trade in this devil's-smithy-- Smoke from making poisons
Which is the poison to poison her, prithee? Suggestion
A woman is to be poisoned! of evil
He is with her; and they know that I know
Where they are, what they do: they believe my tears flow A relationship
gone wrong
There is no While they laugh, laugh at me, at me fled to the drear
consolation Empty church, to pray God in, for them! -- I am here. Narrator is taking control
in religion
of the situation, playing
Grind away, moisten and mash up thy paste, god
Onomatopoeia Pound at thy powder, -- I am not in haste!
and alliteration Almost
Better sit thus, and observe thy strange things, savouring the
Than go where men wait me and dance at the King's. preparations

The bowl in which

the elements are That in the mortar -- you call it a gum?
prepared Ah, the brave tree whence such gold oozings come! Poison
And yonder soft phial, the exquisite blue, described with
Taste is rich imagery
Sure to taste sweetly, -- is that poison too?
deceptive
 Had I but all of them, thee and thy treasures, Poisons
What a wild crowd of invisible pleasures!
Disguises for To carry pure death in an earring, a casket,
the poison
A signet, a fan-mount, a filligree-basket!

Soon, at the King's, a mere lozenge to give Emphasises the

And Pauline should have just thirty minutes to live! deadly effects
But to light a pastille, and Elise, with her head
Jealousy? And her breast and her arms and her hands, should drop dead!

Anxious to get Quick -- is it finished? The colour's too grim!

the poison now Why not soft like the phial's, enticing and dim?
Let it brighten her drink, let her turn it and stir,
And try it and taste, ere she fix and prefer!
Why does she
consider herself What a drop! She's not little, no minion like me--
a minion? That's why she ensnared him: this never will free Trapped a man,
The soul from those masculine eyes, -- say, 'no!' HER man?
To that pulse's magnificent come-and-go.
 For only last night, as they whispered, I brought
Wishes she My own eyes to bear on her so, that I thought
could kill with Could I keep them one half minute fixed, she would fall,
her looks Shrivelled; she fell not; yet this does not all! But the poison will instead

She wants her

Not that I bid you spare her the pain!
to die in pain
Let death be felt and the proof remain; Creates a sense of
Brand, burn up, bite into its grace-- pain she wants her
He is sure to remember her dying face! victim to go through
She wants the man to remember the agony his mistress suffered
Question brings
Is it done? Take my mask off! Nay, be not morose
a sense of
immediacy It kills her, and this prevents seeing it close: Uses imperative verb, like a
The delicate droplet, my whole fortune's fee-- command, she is in control
If it hurts her, beside, can it ever hurt me? Payment for future happiness
Could there be
repercussions?
Now, take all my jewels, gorge gold to your fill, Rich imagery,
Dust You may kiss me, old man, on my mouth if you will! suggests greed
carries the But brush this dust off me, lest horror it brings
horror of Ere I know it -- next moment I dance at the King
the poison
 Strong verbs
help us see how
much she hates
her rival and
wants her dead.

Grind away, moisten and mash up thy

paste,
Pound at thy powder,--I am not in haste!
Better sit thus and observe thy strange
things,
Than go where men wait me and dance at
the King's.
 Repetition
emphasises her
obsession

He is with her, and they know that I know

              Where they are, what they do:
they believe my tears flow
              While they laugh, laugh at me, at
me fled to the drear
              Empty church, to pray God in, for
them!--I am here