Introduction: âThe Pied Piper of Hamelinâ by Robert Browning
âThe Pied Piper of Hamelinâ 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 poemâs popularity as a textbook piece stems from its vivid storytelling, rhythmic verses, and moral undertones, which resonate with both young and mature audiences. Browningâs masterful use of imagery and language, exemplified in lines like âRats! They fought the dogs, and killed the catsâ and âAnd green and blue his sharp eyes twinkledâ, 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: âThe Pied Piper of Hamelinâ by Robert Browning
Hamelin Townâs 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 cooksâ own ladles,
Split open the kegs of salted sprats,
Made nests inside menâs Sunday hats,
And even spoiled the womenâs 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:
âTis clear, cried they, our Mayorâs a noddy;
   And as for our Corporation â shocking
To think we buy gowns lined with ermine
For dolts that canât or wonât determine
Whatâs like to rid us of our vermin!
Rouse up, Sirs! Give your brains a racking
To find the remedy weâre lacking,
Or, sure as fate, weâll 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 Iâd my ermine gown sell;
   I wish I were a mile hence!
Itâs easy to bid one rack oneâs brain â
Iâm sure my poor head aches again
Iâve 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, whatâs 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! â 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 â
There was no guessing his kith and kin!
And nobody could enough admire
The tall man and his quaint attire:
Quoth one: Itâs as my great-grandsire,
Starting up at the Trump of Doomâs tone,
Had walked this way from his painted tombstone!
He advanced to the council-table:
And, Please your honours, said he, Iâm 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 scarfâs 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! â 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 â
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
â 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-pressâs 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!
âSo munch on, crunch on, take your nuncheon,
âBreakfast, 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!
â I found the Weser rolling oâer 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! â 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 cellarâs 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 riverâs brink;
We saw with our eyes the vermin sink,
And whatâs dead canât come to life, I think.
So, friend, weâre 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 Piperâs face fell, and he cried,
No trifling! I canât wait, beside!
Iâve promised to visit by dinner time
Bagdat, and accept the prime
Of the Head Cookâs pottage, all heâs rich in,
For having left, in the Caliphâs kitchen,
Of a nest of scorpions no survivor â
With him I proved no bargain-driver,
With you, donât think Iâll bate a stiver!
And folks who put me in a passion
May find me pipe after another fashion.
How? cried the Mayor, dâye think Iâll 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 musicianâs cunning
   Never gave thâenraptured air)
There was a rustling, that seemâd 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 â
Could only follow with the eye
That joyous crowd at the Piperâs back.
But how the Mayor was on the rack,
And the wretched Councilâs 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!
Heâs forced to let the piping drop,
And we shall see our children stop!
When, lo, as they reached the mountainâs side,
A wondrous portal opened wide,
As if a cavern was suddenly hollowed;
And the Piper advanced and the children followâd,
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, â
Itâs dull in our town since my playmates left!
I canât forget that Iâm 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 eaglesâ 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 burgherâs pate
   A text which says, that Heavenâs Gate
   Opes to the Rich at as easy a rate
As the needleâs eye takes a camel in!
The Mayor sent East, West, North, and South,
To offer the Piper, by word of mouth,
   Wherever it was menâs lot to find him,
Silver and gold to his heartâs content,
If heâd only return the way he went,
   And bring the children behind him.
But when they saw âtwas 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,
âAnd so long after what happened here
   âOn the Twenty-second of July,
âThirteen hundred and Seventy-six:â
And the better in memory to fix
The place of the Childrenâs last retreat,
They called it, The Pied Piperâs Street â
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 thereâs 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 donât understand.
So, Willy, let you and me be wipers
Of scores out with all men â especially pipers:
And, whether they pipe us from rats or from mice,
If weâve promised them aught, let us keep our promise.
Annotations: âThe Pied Piper of Hamelinâ by Robert Browning
Stanza | Annotation |
âHamelin Townâs in Brunswick,âŠâ | Introduces Hamelin, a pleasant town now overrun by rats. Sets the historical and geographical context. The use of imagery (âriver Weser, deep and wideâ) establishes a vivid setting. |
âRats! They fought the dogs,âŠâ | Describes the rat infestation in grotesque detail. The repetition of ârats!â emphasizes the overwhelming nuisance, while onomatopoeia (âsqueaking and shriekingâ) adds auditory vividness. |
âAt last the people in a bodyâŠâ | Shows the townsfolkâs desperation and frustration with their ineffective leaders. The stanza critiques governance through satire (âour Mayorâs a noddyâ), highlighting themes of incompetence and communal action. |
âAn hour they sate in council,âŠâ | Depicts the helplessness of the Mayor and Corporation. The use of internal rhyme (âfor a guilder Iâd my ermine gown sellâ) and self-deprecating tone enhances the humor and futility of the scene. |
âCome in! â the Mayor cried, looking bigger:âŠâ | Introduces the enigmatic Pied Piper with vivid descriptions (âqueer long coat from heel to headâ). His mysterious charm and otherworldly appearance foreshadow his dual role as savior and avenger. |
âHe advanced to the council-table:âŠâ | Highlights the Piperâs magical abilities. The narrative builds suspense as he confidently offers a solution. The Piperâs exotic experiences (âfreed the Cham, eased the Nizamâ) reinforce his mystique. |
âInto the street the Piper stept,âŠâ | The Piper begins his work, playing music to lure the rats. The stanza uses auditory imagery (âthree shrill notesâ) and rhythmic descriptions (âthe grumbling grew to a mighty rumblingâ) to dramatize the event. |
âGreat rats, small rats, lean rats,âŠâ | Details the procession of rats to their doom, with repetition and cataloging (âBrown rats, black rats, grey ratsâ) emphasizing their sheer number. The imagery (âplunged and perishedâ) conveys the Piperâs effectiveness. |
âYou should have heard the Hamelin peopleâŠâ | The townsfolk celebrate prematurely, believing the problem solved. Irony emerges as their stinginess and dishonesty (âfifty guildersâ instead of a thousand) set the stage for their downfall. |
âThe Piperâs face fell, and he cried,âŠâ | Reveals the Piperâs indignation at the betrayal. His ominous warning (âfolks who put me in a passion may find me pipe another fashionâ) foreshadows his revenge. |
âOnce more he stept into the street;âŠâ | The Piper uses his music to lure the children. The joyous imagery (âlittle hands clapping, little tongues chatteringâ) contrasts with the dark undertone of impending loss. |
âThe Mayor was dumb, and the Council stoodâŠâ | The leaders are powerless as the children follow the Piper. The repetition of âunable to moveâ reinforces their helplessness, while the shift in tone to despair underscores the gravity of their betrayal. |
âWhen, lo, as they reached the mountainâs side,âŠâ | Depicts the children disappearing into the mountain. The imagery of the magical portal (âa wondrous portal opened wideâ) conveys the finality of their fate, leaving behind a sense of mystery and loss. |
âDid I say, all? No! One was lame,âŠâ | Focuses on the lame child, a poignant figure symbolizing innocence left behind. His description of the promised land (âwaters gushed and fruit-trees grewâ) adds an air of longing and sorrow. |
âAlas, alas for Hamelin!âŠâ | Conveys the townâs grief and regret. The moral lesson is emphasized through references to greed (âHeavenâs Gate opens to the Rich at as easy a rate as the needleâs eye takes a camel inâ). |
âSo, Willy, let you and me be wipersâŠâ | Ends with a moral epilogue, urging the fulfillment of promises and ethical conduct. The conversational tone reflects Browningâs engagement with the reader, reinforcing the didactic purpose of the poem. |
Literary And Poetic Devices: âThe Pied Piper of Hamelinâ by Robert Browning
Device | Examples | Explanation |
Alliteration | âGreen and blue his sharp eyes twinkledâ / âShrieking and squeaking in fifty sharps and flatsâ | Repetition of initial consonant sounds enhances musicality and imagery. |
Allusion | âIn Tartary I freed the Chamâ / âIn Asia the Nizamâ | References exotic locations, adding depth to the Piperâs backstory and mystique. |
Assonance | âWith shrieking and squeakingâ / âGreen and blue his sharp eyes twinkledâ | Repetition of vowel sounds (âeeâ) adds rhythm and enhances auditory and visual imagery. |
Cataloging | âGreat rats, small rats, lean rats, brawny ratsâ / âFathers, mothers, uncles, cousinsâ | Lists emphasize abundance or variety, such as the overwhelming number of rats or the community dynamic. |
Contrast | âSmiling first a little smile⊠Then, like a musical adeptâ / âGreat was the joy⊠But the Mayor was on the rackâ | Contrasts mood and actions to highlight duality, such as the Piperâs charm and revenge or joy versus impending loss. |
Dialogue | âNo trifling! I canât wait, beside!â / âBless us, cried the Mayor, whatâs that?â | Direct speech brings characters to life, revealing emotions like urgency, surprise, or indignation. |
Enjambment | âAnd ere three shrill notes the pipe uttered / You heard as if an army mutteredâ / âInto the street the Piper stept, / Smiling first a little smileâ | Lines flow seamlessly, mimicking the continuous action, such as the Piperâs music or ratsâ movement. |
Foreshadowing | âMay find me pipe after another fashionâ / âOh for a trap, a trap, a trap!â | Hints at future events, like the Piperâs revenge or the townsfolkâs desperation, building tension. |
Hyperbole | âThe world is grown to one vast drysaltery!â / âAnd whatâs dead canât come to life, I think.â | Exaggeration highlights dramatic impacts, such as the ratsâ greed or the townsfolkâs foolish certainty. |
Imagery | âGreen and blue his sharp eyes twinkledâ / âFamilies by tens and dozensâ | Descriptive language evokes vivid mental images of the Piperâs appearance and the sheer number of rats. |
Irony | âWe saw with our eyes the vermin sink, and whatâs dead canât come to life, I thinkâ / âFor a guilder Iâd my ermine gown sellâ | Highlights the contrast between expectation and reality, such as the Piperâs underestimated power or the leadersâ inability to act responsibly. |
Juxtaposition | âGreat was the joy⊠But how the Mayor was on the rackâ / âTo Coppelburg Hill⊠And after him the children pressedâ | Contrasts joy with despair or expectation with action, enhancing emotional depth. |
Metaphor | âThe Weser rolled its watersâ / âHis queer long coat was half of yellow and half of redâ | Creates vivid comparisons, such as personifying the river or symbolizing the Piperâs dual nature through his attire. |
Mood | âThe Mayor was dumb, and the Council stood as if they were changed into blocks of woodâ / âWith shrieking and squeakingâ | Establishes emotional tones like somber regret or frantic urgency, guiding the readerâs perception. |
Onomatopoeia | âWith shrieking and squeakingâ / âThere was a rustling, that seemed like a bustlingâ | Words mimic sounds, enhancing the sensory experience, especially during action scenes. |
Personification | âBless us, cried the Mayorâ / âThe Weser rolled its watersâ | Assigns human qualities to inanimate objects or concepts, such as the river or the Mayorâs exaggerated expressions. |
Repetition | âRats! They fought the dogs, and killed the catsâ / âBrothers, sisters, husbands, wivesâ | Repeated words or phrases emphasize overwhelming situations, like the rat infestation or the community dynamic. |
Rhyme Scheme | âRats! They fought the dogs, and killed the cats / And bit the babies in the cradlesâ / âAnd ere three shrill notes the pipe uttered / You heard as if an army mutteredâ | Maintains rhythm and flow, reinforcing the lyrical quality of the poem. |
Simile | âLike a candle-flame where salt is sprinkledâ / âAnd like fowls in a farm-yard when barley is scatteringâ | Comparisons using âlikeâ or âasâ create vivid imagery of the Piperâs eyes or the childrenâs movements. |
Symbolism | âA wondrous portal opened wideâ / âThe scarf of red and yellow stripeâ | Symbols like the portal represent mystery and consequences, while the Piperâs attire suggests duality and otherworldly power. |
Themes: âThe Pied Piper of Hamelinâ 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 Mayorâs dismissive attitudeââWe saw with our eyes the vermin sink, and whatâs dead canât come to life, I thinkââreflects their greed and deceit. This betrayal leads to the Piper exacting a harsh punishment, as he lures the townâs children away: âThe Piper advanced, and the children followed.â 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 gainâwithout adequate rewardâprovokes him to turn his abilities against them. The line âAnd folks who put me in a passion may find me pipe another fashionâ 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 Corporationâs abuse of the Piperâs 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 âfiftyâ guilders instead of a thousand. Their focus on maintaining their lavish lifestyle, âFor council dinners made rare havoc with Claret, Moselle, Vin-de-Grave, Hock,â highlights their prioritization of luxury over moral responsibility. The leadershipâs failure to uphold ethical standards causes widespread suffering, symbolized by the loss of the townâs 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 Piperâs magical pipe, is a recurring symbol of transformative and transcendent power in the poem. The Piperâs music commands both the rats and children, driving them to follow him in a trance-like state. Descriptions such as âSoft notes as yet musicianâs cunning never gave thâenraptured airâ 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 Piperâs use of music also conveys a cautionary note about the potential for manipulation, reinforcing the idea that artâs power must be respected and wielded responsibly.
Literary Theories and âThe Pied Piper of Hamelinâ by Robert Browning
Literary Theory | Application to âThe Pied Piper of Hamelinâ | 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 townsfolkâs failure to pay the Piper, despite their agreement, leads to the tragic loss of their children, teaching the importance of accountability. | âAnd folks who put me in a passion may find me pipe another fashionâ and âA thousand guilders! Come, take fifty!â reflect the townsfolkâs moral failings. |
Marxist Theory | Examines class conflict and economic inequality. The poem portrays the Mayor and Corporation as greedy leaders who exploit the Piperâs labor for their benefit but refuse to compensate him fairly, reflecting tensions between the ruling class and the working class. | âFor council dinners made rare havoc with Claret, Moselle, Vin-de-Grave, Hockâ illustrates the elitesâ excesses, while âA thousand guilders! Come, take fifty!â shows exploitation. |
Psychoanalytic Theory | This theory explores the unconscious desires and fears of characters. The Piperâs mysterious and vengeful nature can be interpreted as a representation of repressed anger and a subconscious warning about unchecked emotions, while the townsfolkâs desperation reflects collective anxiety. | âThe Piper advanced, and the children followedâ symbolizes the unconscious draw of forbidden desires, and âBless us, cried the Mayor, whatâs that?â reveals latent fear. |
Postcolonial Theory | The Piperâs description as an outsider, with âno tuft on cheek nor beard on chinâ and âno guessing his kith and kinâ, positions him as âthe other.â The townsfolkâs exploitation and eventual fear of him mirrors colonial exploitation and fear of the colonized subjectâs retaliation. | âAnd as for what your brain bewilders, If I can rid your town of ratsâ reflects the Piperâs subjugation for labor, and âMay find me pipe another fashionâ reveals his rebellion. |
Critical Questions about âThe Pied Piper of Hamelinâ 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 townâs leadership. Their unwillingness to fulfill their promise to the Piperâdespite the agreement to pay him a thousand guildersâhighlights their self-serving nature. This is evident when the Mayor casually states, âWhatâs dead canât come to life, I thinkâ, dismissing the Piperâs rightful claim. The leaders prioritize their own indulgences, as shown in the line, âFor council dinners made rare havoc with Claret, Moselle, Vin-de-Grave, Hockâ, emphasizing their extravagant lifestyles over ethical responsibility. Their greed directly leads to the loss of the townâs 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 townâs problem of infestation: âAnd people call me the Pied Piperâ with his âsecret charmâ 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: âMay find me pipe after another fashion.â This dual nature mirrors the unpredictable potential of powerâit can either benefit or harm, depending on how it is wielded and respected. The Piperâs 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?
Browningâs 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: âThey fought the dogs, and killed the cats, and bit the babies in the cradles.â This grotesque imagery highlights the urgency of the townâs plight. Similarly, the Piperâs magical procession is rich in visual and auditory detail: âGreen and blue his sharp eyes twinkled, like a candle-flame where salt is sprinkled,â and âSoft notes as yet musicianâs cunning never gave thâenraptured air.â The sensory details make the Piperâs power and the childrenâs enchantment palpable. Through these vivid images, Browning creates an engaging narrative that captures the readerâs imagination.
4. What moral lessons can be drawn from the townsfolkâs treatment of the Piper?
The poem delivers a strong moral message about the importance of keeping promises and acting ethically. The townsfolkâs betrayal of the PiperââA thousand guilders! Come, take fifty!ââdemonstrates a lack of integrity and respect for labor. This dishonesty leads to dire consequences, as the Piper punishes the town by taking their children: âThe Piper advanced, and the children followed.â The loss devastates the town, leaving a legacy of sorrow and regret. The final stanza underscores the moral lesson: âLet us keep our promise.â Browningâs 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 âThe Pied Piper of Hamelinâ by Robert Browning
- âGoblin Marketâ 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 Piperâs revenge for broken promises. - âThe Rime of the Ancient Marinerâ 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. - âThe Ballad of Reading Gaolâ by Oscar Wilde
Both poems deliver moral critiquesâBrowning of dishonesty and greed, and Wilde of the justice systemâusing vivid narrative and lyrical storytelling. - âTam oâ Shanterâ 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 Browningâs work. - âThe Highwaymanâ 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 âThe Pied Piper of Hamelinâ by Robert Browning
Quotation | Context | Theoretical Perspective |
âAnd folks who put me in a passion may find me pipe another fashion.â | 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. |
âRats! They fought the dogs, and killed the cats, and bit the babiesâŠâ | Describes the severity of the rat infestation in Hamelin. | Ecocriticism: Highlights human conflict with nature, portraying the rats as an overwhelming environmental challenge. |
âA thousand guilders! Come, take fifty!â | 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). |
âSoft notes as yet musicianâs cunning never gave thâenraptured air.â | Describes the Piperâs music, which entrances the rats and later the children. | Psychoanalytic Theory: Suggests the power of subconscious desires and the hypnotic effect of art. |
âThe Piper advanced, and the children followed.â | 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). |
âThe Mayor sent East, West, North, and SouthâŠâ | The Mayor desperately seeks to recover the children after their loss. | Moral Criticism: Reflects regret and the belated realization of ethical failure. |
âWith shrieking and squeaking in fifty sharps and flats.â | Describes the chaotic noise made by the rats. | Structuralism: The auditory imagery reinforces the conflict between humans and their chaotic environment. |
âGreat was the joy in every breast⊠But how the Mayor was on the rack.â | Contrasts the townsfolkâs celebration with the Mayorâs anxiety over paying the Piper. | Juxtaposition and Irony: Highlights the tension between superficial joy and underlying deceit. |
âLike a candle-flame where salt is sprinkled.â | Vividly describes the twinkling, otherworldly quality of the Piperâs eyes. | Symbolism: Suggests the Piperâs duality as both savior and harbinger of vengeance. |
âAnd out of the houses the rats came tumbling.â | Portrays the dramatic success of the Piperâs music in leading the rats to their doom. | Narrative Theory: Exemplifies Browningâs use of action-driven storytelling to advance the plot. |
Suggested Readings: âThe Pied Piper of Hamelinâ by Robert Browning
- âThe Pied Piper of Hamelin.â The Aldine, vol. 4, no. 6, 1871, pp. 90â91. JSTOR, http://www.jstor.org/stable/20636049. Accessed 4 Jan. 2025.
- Dickson, Arthur. âBrowningâs Source for âThe Pied Piper of Hamelin.'â Studies in Philology, vol. 23, no. 3, 1926, pp. 327â36. JSTOR, http://www.jstor.org/stable/4171951. Accessed 4 Jan. 2025.
- Burt, Forrest D. âBROWNINGâS âPIED PIPER OF HAMELIN: A CHILDâS STORYâ AND âTHE CARDINAL AND THE DOGâ: CONSIDERING THE POETâS EARLY INTEREST IN DRAMA AND ART.â Studies in Browning and His Circle, vol. 16, 1988, pp. 30â41. JSTOR, http://www.jstor.org/stable/45285237. Accessed 4 Jan. 2025.
- Poston, Lawrence. âBROWNING REARRANGES BROWNING.â Studies in Browning and His Circle, vol. 2, no. 1, 1974, pp. 39â54. JSTOR, http://www.jstor.org/stable/45285364. Accessed 4 Jan. 2025.
- Hildebrand, Verna, and Rebecca Peña Hines. âThe Pied Pipers of Poetry.â Young Children, vol. 36, no. 2, 1981, pp. 12â17. JSTOR, http://www.jstor.org/stable/42643753. Accessed 4 Jan. 2025.