Victorian writers used literature to express explicit emotions through their writings that would otherwise be suppressed in public. The two different aspects of emotional containment and emotional release are explored in each writer's respective poems, The Blessed Damozel by Dante Rosetti and Porphyria's Lover by Robert Browning. Each writer explores an emotional attachment that is expressed both implicitly and explicitly when her feminine interests are praised and ultimately pursued. This research is sought for the realization of emotional attachment that is achieved through their writings. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay In Robert Browning's poem Porphyria's Lover, Porphyria's lover articulates an emotion of obsession with Porphyria. Browning begins with a contrast of emotional states as the poem begins by stating that Porphyria's presence warms the lover as she "Shuts out the cold and the storm" (Browning, line 7) in contrast to a stormy reality that her lover seems to be experiencing without her. However, this warmth becomes more intimate when Porphyria calls her lover and he does not answer, but lets his actions speak for her such as: "He put his arm around my waist, and exposed his smooth white shoulder, and all her yellow hair moved." , And, bending down, made my cheek like that, And spread, above all, her yellow hair" (Browning, Lines 16-20). The simple action of baring her shoulder and letting her thick hair yellows spread over him expressed other emotions of lust that were seen as taboo in 19th century Victorian society, but not confined through Browning's writing As Porphyria and her lover's intimacy reach new levels, the lovers experience the moment as he quotes, “That moment was mine, mine, beautiful, perfectly pure and good: I found a thing to do,” (lines 36-38) he strangles both lovers. While Porphyria's lover strangles her with his own hair, which he was obsessed with at the beginning of the poem, he is strangled by his emotional obsession and notes “He felt no pain; I'm pretty sure he felt no pain" (Browning, Lines 41-42). His full realization shows that, although he released emotions frowned upon in 19th century Victorian society, these same emotions exceed his ability to ration his own emotions The emotions that are explored are not only obsessive but reflect a self-satisfying emotional release as the lover begins to address how his love's wish was heard as he quotes, "His cherished wish would be heard. And all night we didn't move, and yet God didn't say a word!" (Browning, lines 57-60). Here the lover has become so immune to the reality of his actions that his emotions once again overcome his ability to ration. He justifies that God did not say a word, thus prospectively approving these actions in his eyes. This denial of a rational conscience manifests itself in the liberation of his emotional state which results in the death of this lover, as well as in the his fall from social and moral justification. In Dante Gabriel Rossetti's Benedetto Damozel, the speaker respects and realizes his emotional restraint due to a situation that is beyond his control. He cannot control the fact that his lover is dead and does not look down on him. However, he remains obsessed with his love. The speaker embraces his.