Introduction: “The Pied Piper of Hamelin” by Robert Browning
“The Pied Piper of Hamelin” by Robert Browning first appeared in 1842 as part of his collection Dramatic Lyrics. This narrative poem recounts the tale of a mysterious piper hired by the townsfolk of Hamelin to rid the town of its rat infestation, only to seek revenge by leading away their children when the town reneges on their promised payment. The poem’s popularity as a textbook piece stems from its vivid storytelling, rhythmic verses, and moral undertones, which resonate with both young and mature audiences. Browning’s masterful use of imagery and language, exemplified in lines like “Rats! They fought the dogs, and killed the cats” and “And green and blue his sharp eyes twinkled”, brings the characters and setting to life. The themes of accountability, broken promises, and consequences enrich its timeless appeal, while the dramatic and lyrical quality ensures its place in literary curricula.
Text: “The Pied Piper of Hamelin” by Robert Browning
Hamelin Town’s in Brunswick,
By famous Hanover city;
The river Weser, deep and wide,
Washes its wall on the southern side;
A pleasanter spot you never spied;
But, when begins my ditty,
Almost five hundred years ago,
To see the townsfolk suffer so
From vermin, was a pity.
Rats!
They fought the dogs, and killed the cats,
And bit the babies in the cradles,
And eat the cheeses out of the vats,
And licked the soup from the cooks’ own ladles,
Split open the kegs of salted sprats,
Made nests inside men’s Sunday hats,
And even spoiled the women’s chats
By drowning their speaking
With shrieking and squeaking
In fifty different sharps and flats.
At last the people in a body
To the Town Hall came flocking:
‘Tis clear, cried they, our Mayor’s a noddy;
And as for our Corporation — shocking
To think we buy gowns lined with ermine
For dolts that can’t or won’t determine
What’s like to rid us of our vermin!
Rouse up, Sirs! Give your brains a racking
To find the remedy we’re lacking,
Or, sure as fate, we’ll send you packing!
At this the Mayor and Corporation
Quaked with a mighty consternation.
An hour they sate in council,
At length the Mayor broke silence:
For a guilder I’d my ermine gown sell;
I wish I were a mile hence!
It’s easy to bid one rack one’s brain —
I’m sure my poor head aches again
I’ve scratched it so, and all in vain.
Oh for a trap, a trap, a trap!
Just as he said this, what should hap
At the chamber door but a gentle tap?
Bless us, cried the Mayor, what’s that?
(With the Corporation as he sate,
Looking little though wondrous fat);
Only a scraping of shoes on the mat?
Anything like the sound of a rat
Makes my heart go pit-a-pat!
Come in! — the Mayor cried, looking bigger:
And in did come the strangest figure!
His queer long coat from heel to head
Was half of yellow and half of red;
And he himself was tall and thin,
With sharp blue eyes, each like a pin,
And light loose hair, yet swarthy skin,
No tuft on cheek nor beard on chin,
But lips where smiles went out and in —
There was no guessing his kith and kin!
And nobody could enough admire
The tall man and his quaint attire:
Quoth one: It’s as my great-grandsire,
Starting up at the Trump of Doom’s tone,
Had walked this way from his painted tombstone!
He advanced to the council-table:
And, Please your honours, said he, I’m able,
By means of a secret charm, to draw
All creatures living beneath the sun,
That creep, or swim, or fly, or run,
After me so as you never saw!
And I chiefly use my charm
On creatures that do people harm,
The mole, and toad, and newt, and viper;
And people call me the Pied Piper.
(And here they noticed round his neck
A scarf of red and yellow stripe,
To match with his coat of the self-same cheque;
And at the scarf’s end hung a pipe;
And his fingers, they noticed, were ever straying
As if impatient to be playing
Upon this pipe, as low it dangled
Over his vesture so old-fangled.)
Yet, said he, poor piper as I am,
In Tartary I freed the Cham,
Last June, from his huge swarms of gnats;
I eased in Asia the Nizam
Of a monstrous brood of vampyre-bats:
And, as for what your brain bewilders,
If I can rid your town of rats
Will you give me a thousand guilders?
One? fifty thousand! — was the exclamation
Of the astonished Mayor and Corporation.
Into the street the Piper stept,
Smiling first a little smile,
As if he knew what magic slept
In his quiet pipe the while;
Then, like a musical adept,
To blow the pipe his lips he wrinkled,
And green and blue his sharp eyes twinkled,
Like a candle-flame where salt is sprinkled;
And ere three shrill notes the pipe uttered,
You heard as if an army muttered;
And the muttering grew to a grumbling;
And the grumbling grew to a mighty rumbling;
And out of the houses the rats came tumbling.
Great rats, small rats, lean rats, brawny rats,
Brown rats, black rats, grey rats, tawny rats,
Grave old plodders, gay young friskers,
Fathers, mothers, uncles, cousins,
Cocking tails and pricking whiskers,
Families by tens and dozens,
Brothers, sisters, husbands, wives —
Followed the Piper for their lives.
From street to street he piped advancing,
And step for step they followed dancing,
Until they came to the river Weser
Wherein all plunged and perished
— Save one who, stout as Julius Caesar,
Swam across and lived to carry
(As he the manuscript he cherished)
To Rat-land home his commentary,
Which was, At the first shrill notes of the pipe,
I heard a sound as of scraping tripe,
And putting apples, wondrous ripe,
Into a cider-press’s gripe:
And a moving away of pickle-tub-boards,
And a leaving ajar of conserve-cupboards,
And a drawing the corks of train-oil-flasks,
And a breaking the hoops of butter-casks;
And it seemed as if a voice
(Sweeter than by harp or by psaltery
Is breathed) called out, Oh rats, rejoice!
The world is grown to one vast drysaltery!
‘So munch on, crunch on, take your nuncheon,
‘Breakfast, supper, dinner, luncheon!
And just as one bulky sugar-puncheon,
Ready staved, like a great sun shone
Glorious scarce an inch before me,
Just as methought it said, Come, bore me!
— I found the Weser rolling o’er me.
You should have heard the Hamelin people
Ringing the bells till they rocked the steeple;
Go, cried the Mayor, and get long poles!
Poke out the nests and block up the holes!
Consult with carpenters and builders,
And leave in our town not even a trace
Of the rats! — when suddenly up the face
Of the Piper perked in the market-place,
With a, First, if you please, my thousand guilders!
A thousand guilders! The Mayor looked blue;
So did the Corporation too.
For council dinners made rare havock
With Claret, Moselle, Vin-de-Grave, Hock;
And half the money would replenish
Their cellar’s biggest butt with Rhenish.
To pay this sum to a wandering fellow
With a gipsy coat of red and yellow!
Beside, quoth the Mayor with a knowing wink,
Our business was done at the river’s brink;
We saw with our eyes the vermin sink,
And what’s dead can’t come to life, I think.
So, friend, we’re not the folks to shrink
From the duty of giving you something for drink,
And a matter of money to put in your poke;
But, as for the guilders, what we spoke
Of them, as you very well know, was in joke.
Beside, our losses have made us thrifty;
A thousand guilders! Come, take fifty!
The Piper’s face fell, and he cried,
No trifling! I can’t wait, beside!
I’ve promised to visit by dinner time
Bagdat, and accept the prime
Of the Head Cook’s pottage, all he’s rich in,
For having left, in the Caliph’s kitchen,
Of a nest of scorpions no survivor —
With him I proved no bargain-driver,
With you, don’t think I’ll bate a stiver!
And folks who put me in a passion
May find me pipe after another fashion.
How? cried the Mayor, d’ye think I’ll brook
Being worse treated than a Cook?
Insulted by a lazy ribald
With idle pipe and vesture piebald?
You threaten us, fellow? Do your worst,
Blow your pipe there till you burst!
Once more he stept into the street;
And to his lips again
Laid his long pipe of smooth straight cane;
And ere he blew three notes (such sweet
Soft notes as yet musician’s cunning
Never gave th’enraptured air)
There was a rustling, that seem’d like a bustling
Of merry crowds justling at pitching and hustling,
Small feet were pattering, wooden shoes clattering,
Little hands clapping, and little tongues chattering,
And, like fowls in a farm-yard when barley is scattering,
Out came the children running.
All the little boys and girls,
With rosy cheeks and flaxen curls,
And sparkling eyes and teeth like pearls,
Tripping and skipping, ran merrily after
The wonderful music with shouting and laughter.
The Mayor was dumb, and the Council stood
As if they were changed into blocks of wood,
Unable to move a step, or cry
To the children merrily skipping by —
Could only follow with the eye
That joyous crowd at the Piper’s back.
But how the Mayor was on the rack,
And the wretched Council’s bosoms beat,
As the Piper turned from the High Street
To where the Weser rolled its waters
Right in the way of their sons and daughters!
However he turned from South to West,
And to Coppelburg Hill his steps addressed,
And after him the children pressed;
Great was the joy in every breast.
He never can cross that mighty top!
He’s forced to let the piping drop,
And we shall see our children stop!
When, lo, as they reached the mountain’s side,
A wondrous portal opened wide,
As if a cavern was suddenly hollowed;
And the Piper advanced and the children follow’d,
And when all were in to the very last,
The door in the mountain side shut fast.
Did I say, all? No! One was lame,
And could not dance the whole of the way;
And in after years, if you would blame
His sadness, he was used to say, —
It’s dull in our town since my playmates left!
I can’t forget that I’m bereft
Of all the pleasant sights they see,
Which the Piper also promised me;
For he led us, he said, to a joyous land,
Joining the town and just at hand,
Where waters gushed and fruit-trees grew,
And flowers put forth a fairer hue,
And every thing was strange and new;
The sparrows were brighter than peacocks here,
And their dogs outran our fallow deer,
And honey-bees had lost their stings,
And horses were born with eagles’ wings:
And just as I felt assured
My lame foot would be speedily cured,
The music stopped and I stood still,
And found myself outside the Hill,
Left alone against my will,
To go now limping as before,
And never hear of that country more!
Alas, alas for Hamelin!
There came into many a burgher’s pate
A text which says, that Heaven’s Gate
Opes to the Rich at as easy a rate
As the needle’s eye takes a camel in!
The Mayor sent East, West, North, and South,
To offer the Piper, by word of mouth,
Wherever it was men’s lot to find him,
Silver and gold to his heart’s content,
If he’d only return the way he went,
And bring the children behind him.
But when they saw ’twas a lost endeavour,
And Piper and dancers were gone for ever,
They made a decree that lawyers never
Should think their records dated duly
If, after the day of the month and year,
These words did not as well appear,
“And so long after what happened here
“On the Twenty-second of July,
“Thirteen hundred and Seventy-six:”
And the better in memory to fix
The place of the Children’s last retreat,
They called it, The Pied Piper’s Street —
Where any one playing on pipe or tabor
Was sure for the future to lose his labour.
Nor suffered they Hostelry or Tavern
To shock with mirth a street so solemn;
But opposite the place of the cavern
They wrote the story on a column,
And on the Great Church Window painted
The same, to make the world acquainted
How their children were stolen away;
And there it stands to this very day.
And I must not omit to say
That in Transylvania there’s a tribe
Of alien people who ascribe
The outlandish ways and dress
On which their neighbours lay such stress
To their fathers and mothers having risen
Out of some subterraneous prison
Into which they were trepanned
Long time ago in a mighty band
Out of Hamelin town in Brunswick land,
But how or why, they don’t understand.
So, Willy, let you and me be wipers
Of scores out with all men — especially pipers:
And, whether they pipe us from rats or from mice,
If we’ve promised them aught, let us keep our promise.
Annotations: “The Pied Piper of Hamelin” by Robert Browning
Stanza | Annotation |
“Hamelin Town’s in Brunswick,…” | Introduces Hamelin, a pleasant town now overrun by rats. Sets the historical and geographical context. The use of imagery (“river Weser, deep and wide”) establishes a vivid setting. |
“Rats! They fought the dogs,…” | Describes the rat infestation in grotesque detail. The repetition of “rats!” emphasizes the overwhelming nuisance, while onomatopoeia (“squeaking and shrieking”) adds auditory vividness. |
“At last the people in a body…” | Shows the townsfolk’s desperation and frustration with their ineffective leaders. The stanza critiques governance through satire (“our Mayor’s a noddy”), highlighting themes of incompetence and communal action. |
“An hour they sate in council,…” | Depicts the helplessness of the Mayor and Corporation. The use of internal rhyme (“for a guilder I’d my ermine gown sell”) and self-deprecating tone enhances the humor and futility of the scene. |
“Come in! — the Mayor cried, looking bigger:…” | Introduces the enigmatic Pied Piper with vivid descriptions (“queer long coat from heel to head”). His mysterious charm and otherworldly appearance foreshadow his dual role as savior and avenger. |
“He advanced to the council-table:…” | Highlights the Piper’s magical abilities. The narrative builds suspense as he confidently offers a solution. The Piper’s exotic experiences (“freed the Cham, eased the Nizam”) reinforce his mystique. |
“Into the street the Piper stept,…” | The Piper begins his work, playing music to lure the rats. The stanza uses auditory imagery (“three shrill notes”) and rhythmic descriptions (“the grumbling grew to a mighty rumbling”) to dramatize the event. |
“Great rats, small rats, lean rats,…” | Details the procession of rats to their doom, with repetition and cataloging (“Brown rats, black rats, grey rats”) emphasizing their sheer number. The imagery (“plunged and perished”) conveys the Piper’s effectiveness. |
“You should have heard the Hamelin people…” | The townsfolk celebrate prematurely, believing the problem solved. Irony emerges as their stinginess and dishonesty (“fifty guilders” instead of a thousand) set the stage for their downfall. |
“The Piper’s face fell, and he cried,…” | Reveals the Piper’s indignation at the betrayal. His ominous warning (“folks who put me in a passion may find me pipe another fashion”) foreshadows his revenge. |
“Once more he stept into the street;…” | The Piper uses his music to lure the children. The joyous imagery (“little hands clapping, little tongues chattering”) contrasts with the dark undertone of impending loss. |
“The Mayor was dumb, and the Council stood…” | The leaders are powerless as the children follow the Piper. The repetition of “unable to move” reinforces their helplessness, while the shift in tone to despair underscores the gravity of their betrayal. |
“When, lo, as they reached the mountain’s side,…” | Depicts the children disappearing into the mountain. The imagery of the magical portal (“a wondrous portal opened wide”) conveys the finality of their fate, leaving behind a sense of mystery and loss. |
“Did I say, all? No! One was lame,…” | Focuses on the lame child, a poignant figure symbolizing innocence left behind. His description of the promised land (“waters gushed and fruit-trees grew”) adds an air of longing and sorrow. |
“Alas, alas for Hamelin!…” | Conveys the town’s grief and regret. The moral lesson is emphasized through references to greed (“Heaven’s Gate opens to the Rich at as easy a rate as the needle’s eye takes a camel in”). |
“So, Willy, let you and me be wipers…” | Ends with a moral epilogue, urging the fulfillment of promises and ethical conduct. The conversational tone reflects Browning’s engagement with the reader, reinforcing the didactic purpose of the poem. |
Literary And Poetic Devices: “The Pied Piper of Hamelin” by Robert Browning
Device | Examples | Explanation |
Alliteration | “Green and blue his sharp eyes twinkled” / “Shrieking and squeaking in fifty sharps and flats” | Repetition of initial consonant sounds enhances musicality and imagery. |
Allusion | “In Tartary I freed the Cham” / “In Asia the Nizam” | References exotic locations, adding depth to the Piper’s backstory and mystique. |
Assonance | “With shrieking and squeaking” / “Green and blue his sharp eyes twinkled” | Repetition of vowel sounds (“ee”) adds rhythm and enhances auditory and visual imagery. |
Cataloging | “Great rats, small rats, lean rats, brawny rats” / “Fathers, mothers, uncles, cousins” | Lists emphasize abundance or variety, such as the overwhelming number of rats or the community dynamic. |
Contrast | “Smiling first a little smile… Then, like a musical adept” / “Great was the joy… But the Mayor was on the rack” | Contrasts mood and actions to highlight duality, such as the Piper’s charm and revenge or joy versus impending loss. |
Dialogue | “No trifling! I can’t wait, beside!” / “Bless us, cried the Mayor, what’s that?” | Direct speech brings characters to life, revealing emotions like urgency, surprise, or indignation. |
Enjambment | “And ere three shrill notes the pipe uttered / You heard as if an army muttered” / “Into the street the Piper stept, / Smiling first a little smile” | Lines flow seamlessly, mimicking the continuous action, such as the Piper’s music or rats’ movement. |
Foreshadowing | “May find me pipe after another fashion” / “Oh for a trap, a trap, a trap!” | Hints at future events, like the Piper’s revenge or the townsfolk’s desperation, building tension. |
Hyperbole | “The world is grown to one vast drysaltery!” / “And what’s dead can’t come to life, I think.” | Exaggeration highlights dramatic impacts, such as the rats’ greed or the townsfolk’s foolish certainty. |
Imagery | “Green and blue his sharp eyes twinkled” / “Families by tens and dozens” | Descriptive language evokes vivid mental images of the Piper’s appearance and the sheer number of rats. |
Irony | “We saw with our eyes the vermin sink, and what’s dead can’t come to life, I think” / “For a guilder I’d my ermine gown sell” | Highlights the contrast between expectation and reality, such as the Piper’s underestimated power or the leaders’ inability to act responsibly. |
Juxtaposition | “Great was the joy… But how the Mayor was on the rack” / “To Coppelburg Hill… And after him the children pressed” | Contrasts joy with despair or expectation with action, enhancing emotional depth. |
Metaphor | “The Weser rolled its waters” / “His queer long coat was half of yellow and half of red” | Creates vivid comparisons, such as personifying the river or symbolizing the Piper’s dual nature through his attire. |
Mood | “The Mayor was dumb, and the Council stood as if they were changed into blocks of wood” / “With shrieking and squeaking” | Establishes emotional tones like somber regret or frantic urgency, guiding the reader’s perception. |
Onomatopoeia | “With shrieking and squeaking” / “There was a rustling, that seemed like a bustling” | Words mimic sounds, enhancing the sensory experience, especially during action scenes. |
Personification | “Bless us, cried the Mayor” / “The Weser rolled its waters” | Assigns human qualities to inanimate objects or concepts, such as the river or the Mayor’s exaggerated expressions. |
Repetition | “Rats! They fought the dogs, and killed the cats” / “Brothers, sisters, husbands, wives” | Repeated words or phrases emphasize overwhelming situations, like the rat infestation or the community dynamic. |
Rhyme Scheme | “Rats! They fought the dogs, and killed the cats / And bit the babies in the cradles” / “And ere three shrill notes the pipe uttered / You heard as if an army muttered” | Maintains rhythm and flow, reinforcing the lyrical quality of the poem. |
Simile | “Like a candle-flame where salt is sprinkled” / “And like fowls in a farm-yard when barley is scattering” | Comparisons using “like” or “as” create vivid imagery of the Piper’s eyes or the children’s movements. |
Symbolism | “A wondrous portal opened wide” / “The scarf of red and yellow stripe” | Symbols like the portal represent mystery and consequences, while the Piper’s attire suggests duality and otherworldly power. |
Themes: “The Pied Piper of Hamelin” by Robert Browning
1. The Consequences of Broken Promises: The central theme of the poem is the consequences of dishonesty and the breaking of promises. When the townsfolk of Hamelin refuse to pay the Piper his agreed-upon fee after he rids the town of its rat infestation, they face dire repercussions. The Mayor’s dismissive attitude—“We saw with our eyes the vermin sink, and what’s dead can’t come to life, I think”—reflects their greed and deceit. This betrayal leads to the Piper exacting a harsh punishment, as he lures the town’s children away: “The Piper advanced, and the children followed.” Browning underscores the moral lesson that failing to honor commitments can lead to devastating outcomes, making the story a cautionary tale about accountability.
2. The Exploitation of Power: The poem explores the theme of power and its misuse. The Piper wields an extraordinary magical ability to influence others through his music, initially using it for the benefit of the townsfolk by eliminating the rats. However, their exploitation of his power for personal gain—without adequate reward—provokes him to turn his abilities against them. The line “And folks who put me in a passion may find me pipe another fashion” foreshadows his vengeful act of luring the children. This theme reflects the duality of power: it can be used to create or destroy, depending on how it is treated. The Mayor and Corporation’s abuse of the Piper’s trust illustrates how power imbalances can lead to conflict.
3. Greed and Corruption in Leadership: Browning critiques the greed and corruption of political leadership in Hamelin through the portrayal of the Mayor and Corporation. Their selfishness is evident when they refuse to pay the Piper the promised sum, offering only “fifty” guilders instead of a thousand. Their focus on maintaining their lavish lifestyle, “For council dinners made rare havoc with Claret, Moselle, Vin-de-Grave, Hock,” highlights their prioritization of luxury over moral responsibility. The leadership’s failure to uphold ethical standards causes widespread suffering, symbolized by the loss of the town’s children. Through this theme, Browning examines the devastating effects of corruption and greed on communities.
4. The Power of Art and Music: Music, as represented by the Piper’s magical pipe, is a recurring symbol of transformative and transcendent power in the poem. The Piper’s music commands both the rats and children, driving them to follow him in a trance-like state. Descriptions such as “Soft notes as yet musician’s cunning never gave th’enraptured air” emphasize the enchanting and otherworldly nature of his melodies. The poem suggests that art, when wielded with intent, can shape the world in profound ways. However, the Piper’s use of music also conveys a cautionary note about the potential for manipulation, reinforcing the idea that art’s power must be respected and wielded responsibly.
Literary Theories and “The Pied Piper of Hamelin” by Robert Browning
Literary Theory | Application to “The Pied Piper of Hamelin” | References from the Poem |
Moral Criticism | This theory focuses on the ethical lessons conveyed in the text. The poem highlights the consequences of dishonesty and broken promises. The townsfolk’s failure to pay the Piper, despite their agreement, leads to the tragic loss of their children, teaching the importance of accountability. | “And folks who put me in a passion may find me pipe another fashion” and “A thousand guilders! Come, take fifty!” reflect the townsfolk’s moral failings. |
Marxist Theory | Examines class conflict and economic inequality. The poem portrays the Mayor and Corporation as greedy leaders who exploit the Piper’s labor for their benefit but refuse to compensate him fairly, reflecting tensions between the ruling class and the working class. | “For council dinners made rare havoc with Claret, Moselle, Vin-de-Grave, Hock” illustrates the elites’ excesses, while “A thousand guilders! Come, take fifty!” shows exploitation. |
Psychoanalytic Theory | This theory explores the unconscious desires and fears of characters. The Piper’s mysterious and vengeful nature can be interpreted as a representation of repressed anger and a subconscious warning about unchecked emotions, while the townsfolk’s desperation reflects collective anxiety. | “The Piper advanced, and the children followed” symbolizes the unconscious draw of forbidden desires, and “Bless us, cried the Mayor, what’s that?” reveals latent fear. |
Postcolonial Theory | The Piper’s description as an outsider, with “no tuft on cheek nor beard on chin” and “no guessing his kith and kin”, positions him as “the other.” The townsfolk’s exploitation and eventual fear of him mirrors colonial exploitation and fear of the colonized subject’s retaliation. | “And as for what your brain bewilders, If I can rid your town of rats” reflects the Piper’s subjugation for labor, and “May find me pipe another fashion” reveals his rebellion. |
Critical Questions about “The Pied Piper of Hamelin” by Robert Browning
1. How does the poem explore the theme of greed and its consequences?
The poem critiques greed, particularly through the behavior of the Mayor and the town’s leadership. Their unwillingness to fulfill their promise to the Piper—despite the agreement to pay him a thousand guilders—highlights their self-serving nature. This is evident when the Mayor casually states, “What’s dead can’t come to life, I think”, dismissing the Piper’s rightful claim. The leaders prioritize their own indulgences, as shown in the line, “For council dinners made rare havoc with Claret, Moselle, Vin-de-Grave, Hock”, emphasizing their extravagant lifestyles over ethical responsibility. Their greed directly leads to the loss of the town’s children, demonstrating how selfishness can result in devastating consequences. The poem serves as a cautionary tale, warning against valuing wealth over integrity.
2. In what ways does the Pied Piper embody duality in his character?
The Pied Piper is portrayed as both a savior and a vengeful figure, embodying duality in his character. Initially, he appears as a benevolent helper, offering to solve the town’s problem of infestation: “And people call me the Pied Piper” with his “secret charm” that can rid the town of rats. However, after being betrayed, he reveals a darker side, using the same charm to exact revenge by leading the children away: “May find me pipe after another fashion.” This dual nature mirrors the unpredictable potential of power—it can either benefit or harm, depending on how it is wielded and respected. The Piper’s transformation from a hero to a figure of retribution underscores the complexity of human behavior and the consequences of betrayal.
3. How does Browning use imagery to create a vivid sense of place and action in the poem?
Browning’s use of imagery vividly brings Hamelin and its events to life, immersing the reader in the story. The description of the rat infestation is particularly striking: “They fought the dogs, and killed the cats, and bit the babies in the cradles.” This grotesque imagery highlights the urgency of the town’s plight. Similarly, the Piper’s magical procession is rich in visual and auditory detail: “Green and blue his sharp eyes twinkled, like a candle-flame where salt is sprinkled,” and “Soft notes as yet musician’s cunning never gave th’enraptured air.” The sensory details make the Piper’s power and the children’s enchantment palpable. Through these vivid images, Browning creates an engaging narrative that captures the reader’s imagination.
4. What moral lessons can be drawn from the townsfolk’s treatment of the Piper?
The poem delivers a strong moral message about the importance of keeping promises and acting ethically. The townsfolk’s betrayal of the Piper—“A thousand guilders! Come, take fifty!”—demonstrates a lack of integrity and respect for labor. This dishonesty leads to dire consequences, as the Piper punishes the town by taking their children: “The Piper advanced, and the children followed.” The loss devastates the town, leaving a legacy of sorrow and regret. The final stanza underscores the moral lesson: “Let us keep our promise.” Browning’s narrative serves as a timeless reminder that breaking trust and exploiting others for personal gain can have far-reaching and irreversible repercussions.
Literary Works Similar to “The Pied Piper of Hamelin” by Robert Browning
- “Goblin Market” by Christina Rossetti
Similar in its use of rich imagery and a moral undertone, this narrative poem explores themes of temptation, betrayal, and consequences, akin to the Piper’s revenge for broken promises. - “The Rime of the Ancient Mariner” by Samuel Taylor Coleridge
This poem shares the theme of moral lessons through supernatural intervention, as the mariner faces the repercussions of his actions, much like the townsfolk of Hamelin. - “The Ballad of Reading Gaol” by Oscar Wilde
Both poems deliver moral critiques—Browning of dishonesty and greed, and Wilde of the justice system—using vivid narrative and lyrical storytelling. - “Tam o’ Shanter” by Robert Burns
Similar in its storytelling structure, this poem narrates a tale of recklessness and the supernatural with a mix of humor and dark consequences, mirroring the dual tone in Browning’s work. - “The Highwayman” by Alfred Noyes
Both poems are dramatic narratives with rhythmic verses, focusing on betrayal, loyalty, and the consequences of human actions, while employing strong imagery and moral depth.
Representative Quotations of “The Pied Piper of Hamelin” by Robert Browning
Quotation | Context | Theoretical Perspective |
“And folks who put me in a passion may find me pipe another fashion.” | The Piper warns the Mayor and townsfolk of the consequences of their dishonesty. | Moral Criticism: Reflects the consequences of breaking promises and the ethical need for accountability. |
“Rats! They fought the dogs, and killed the cats, and bit the babies…” | Describes the severity of the rat infestation in Hamelin. | Ecocriticism: Highlights human conflict with nature, portraying the rats as an overwhelming environmental challenge. |
“A thousand guilders! Come, take fifty!” | The Mayor refuses to pay the promised fee after the Piper has completed his task. | Marxist Theory: Exposes class exploitation, with the ruling class undervaluing the labor of the working class (the Piper). |
“Soft notes as yet musician’s cunning never gave th’enraptured air.” | Describes the Piper’s music, which entrances the rats and later the children. | Psychoanalytic Theory: Suggests the power of subconscious desires and the hypnotic effect of art. |
“The Piper advanced, and the children followed.” | The children are lured away by the Piper after he is betrayed by the townsfolk. | Postcolonial Theory: Symbolizes rebellion of the oppressed (Piper) against the exploiters (town leadership). |
“The Mayor sent East, West, North, and South…” | The Mayor desperately seeks to recover the children after their loss. | Moral Criticism: Reflects regret and the belated realization of ethical failure. |
“With shrieking and squeaking in fifty sharps and flats.” | Describes the chaotic noise made by the rats. | Structuralism: The auditory imagery reinforces the conflict between humans and their chaotic environment. |
“Great was the joy in every breast… But how the Mayor was on the rack.” | Contrasts the townsfolk’s celebration with the Mayor’s anxiety over paying the Piper. | Juxtaposition and Irony: Highlights the tension between superficial joy and underlying deceit. |
“Like a candle-flame where salt is sprinkled.” | Vividly describes the twinkling, otherworldly quality of the Piper’s eyes. | Symbolism: Suggests the Piper’s duality as both savior and harbinger of vengeance. |
“And out of the houses the rats came tumbling.” | Portrays the dramatic success of the Piper’s music in leading the rats to their doom. | Narrative Theory: Exemplifies Browning’s use of action-driven storytelling to advance the plot. |
Suggested Readings: “The Pied Piper of Hamelin” by Robert Browning
- “The Pied Piper of Hamelin.” The Aldine, vol. 4, no. 6, 1871, pp. 90–91. JSTOR, http://www.jstor.org/stable/20636049. Accessed 4 Jan. 2025.
- Dickson, Arthur. “Browning’s Source for ‘The Pied Piper of Hamelin.'” Studies in Philology, vol. 23, no. 3, 1926, pp. 327–36. JSTOR, http://www.jstor.org/stable/4171951. Accessed 4 Jan. 2025.
- Burt, Forrest D. “BROWNING’S ‘PIED PIPER OF HAMELIN: A CHILD’S STORY’ AND ‘THE CARDINAL AND THE DOG’: CONSIDERING THE POET’S EARLY INTEREST IN DRAMA AND ART.” Studies in Browning and His Circle, vol. 16, 1988, pp. 30–41. JSTOR, http://www.jstor.org/stable/45285237. Accessed 4 Jan. 2025.
- Poston, Lawrence. “BROWNING REARRANGES BROWNING.” Studies in Browning and His Circle, vol. 2, no. 1, 1974, pp. 39–54. JSTOR, http://www.jstor.org/stable/45285364. Accessed 4 Jan. 2025.
- Hildebrand, Verna, and Rebecca Peña Hines. “The Pied Pipers of Poetry.” Young Children, vol. 36, no. 2, 1981, pp. 12–17. JSTOR, http://www.jstor.org/stable/42643753. Accessed 4 Jan. 2025.