A great black bird, Apollyon’s bosom-friend, 160 Sailed past
The name “Apollyon” from Revelation 9:11 signals a theological crisis. By referencing a demonic presence from both scripture and Paradise Lost, where Milton casts Apollyon among the forces of Hell, Browning frames Roland’s journey as a passage through a world abandoned by providence. As Christopher MacKenna argues, the poem reflects a nineteenth-century “crisis of faith… [and] of knowing/meaning” (MacKenna 475). In a world “without light or redemptive purpose, ” Victorian readers, facing Darwinian science, biblical criticism, and rapid social change, often felt the same disorientation and loss of certainty as Roland (MacKenna 478). Thus, Browning created an image, the Tower, that became a touchstone for future generations confronting existential crises, helping to explain its powerful afterlives in later literature.
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