Роберт Браунингтің "Қара Мұнараға Шайқаған Роланд" поэмасы

Poem by Robert Browning
the poem by Browning

"Childe Roland to the Dark Tower Came" is a narrative poem by English author Robert Browning, written on January 2, 1852, and first published in 1855 in the collection titled Men and Women. The poem is often noted for its dark and atmospheric imagery, inversion of classical tropes, and use of unreliable narration. Childe Roland, the only speaker in the poem, describes his journey towards "the Dark Tower", and his horror at what he sees on his quest. The poem ends when Roland finally reaches the tower, leaving his ultimate fate ambiguous.

The poem opens with Roland's suspicion about the truthfulness of a "hoary" crippled man with "malicious eye", whose advice he nevertheless follows by choosing to turn off the thoroughfare into an 'ominous tract' that leads to the Dark Tower. The gloomy, cynical Roland describes how he had been searching for the tower for so long that he could barely feel any joy at finally finding the pathway to it, just a grim hope "that some end might be". Roland describes himself as being like "a sick man very near to death" whose friends have all abandoned him, as Roland had always been dismissed as a member of "The Band"—a group of knights searching for the Dark Tower, all of whom had failed in their quest. Despite that, all Roland wants is to join The Band, whatever the cost. As soon as he steps into the path towards the Dark Tower, the landscape around him shifts, and Roland finds himself completely alone in a featureless wasteland. Wandering onwards, he describes the desolate conditions with increasing despair, until he finds the emaciated body of a horse. Roland is disgusted by its appearance, saying "I never saw a brute I hated so; / He must be wicked to deserve such pain." In an attempt to regain some semblance of strength after the trauma of his surroundings, Roland tries to remember happier times, and thinks back on his old friends. The memory of his friends and fellow knights Cuthbert and Giles brings him comfort, but he then remembers the downfall of each of them (Cuthbert by "one night's disgrace", and Giles by being hanged and declared a traitor by his friends), and his heart is shattered all over again. Declaring "better this present than a past like that", Roland finds the energy to keep on moving. He reaches a river which he fords with trepidation, half convinced that he is stepping on dead bodies floating under the water. Reaching the other bank, Roland is disturbed once more by the apocalyptic landscape, envisioning some dreadful battle that must have happened to create the scene of devastation he observes. Eventually the plain gives way to mountains, and Roland finds himself stuck, unable to find a clear path forward. Suddenly, Roland realizes that the mountain he has been looking at is the very one that hides the Dark Tower. The sunset sets the scene ablaze at that very moment, and a strange sound fills the air. "[I]n a sheet of flame" Roland sees the faces of his dead friends, and hears their names whispered in his ears. Remembering their lives, Roland finds himself surrounded by a "living frame" of old friends. Filled with inspiration, he pulls out his "slug horn", and blows, shouting "Childe Roland to the dark tower came". At this, the poem ends, leaving what lies inside of the Dark Tower a mystery.

Browning explores Roland's journey to the Dark Tower in 34 six line stanzas with the rhyme scheme ABBAAB, using iambic pentameter throughout. It is filled with images from nightmare, but the setting is given unusual reality by much fuller descriptions of the landscape than was normal for Browning at any other time in his career. Many complex visual motifs are woven throughout the poem, including images of disease and deformity, as well as fire (connected with redness and death), eyes (both seeing and blinded), the idea of being suddenly trapped, and destroyed plant life. Despite having a clear narrative structure, the precise point at which a given scene shifts to another is made unclear throughout much of the poem, creating a sense of "esthetic inevitability" in the reader.

The setting of Childe Roland is nightmarish and hallucinatory in nature, and seems to act as a sort of mirror to Roland's psyche throughout the poem. Catharine Blass writes:

text="Roland participates in a seemingly endless, futile quest deep into a landscape that he can never be certain exists outside of his own mind. He is unable to rely fully on his senses to determine his place or direction, which leaves him in mental and emotional agony. At times, he sees things that immediately after disappear, or that shift in front of his eyes; at other times, his senses abandon him completely  The speaker appears to see these images with his eyes as he would something tangible; yet, his sight proves unreliable since these supposedly concrete, observable images  move in and out of his consciousness. His 'seeing' of these figures occurs, in part, within his own mind, and is inseparable from his conscious thoughts about seeing each."

William Lyon Phelps proposes three different interpretations of the poem: In the first two, the Tower is a symbol of a knightly quest. Success only comes through failure or the end is the realization of futility. In his third interpretation, the Tower is simply damnation. For Margaret Atwood, Childe Roland is Browning himself, his quest is to write this poem, and the Dark Tower contains that which Roland/Browning fears most: Roland/Browning "in his poem writing aspect". Harold Bloom reads the poem as a "loving critique" of Shelley, and describes Roland as questing for his own failure. A footnote in the Penguin Classics edition (Robert Browning Selected Poems) advises against allegorical interpretation, saying "readers who wish to try their hand should be warned that the enterprise strongly resembles carving a statue out of fog." This sentiment is echoed by many critics, who believe any quest for interpretation will ultimately fail, due to the dreamlike, illusionary nature of the poem.