Introduction Love is a set of closeness, passion, and commitment emotions and behaviors. This includes caring, proximity, security, attraction, affection, and confidence. The intensity of love may fluctuate and alter with time. It has a spectrum of good feelings, including enjoyment, excitation, contentment with life, and pleasure, and bad feelings like jealousy and tension. According to Lopez-Cantero and Archer, “when one is falling out of love, one loses an important point of reference for self-understanding” (3). For centuries, poets have come up with ways to express all of its forms in films, literature, and beyond. Today we will look at two literary figures and compare their works with each other. The comparison will be between Robert Browning and Amanda Brown’s love mixtape. This work was written with the aim of studying two works and their characteristics. Robert Browning For his skill of dramatic monologs and emotional characterization, Robert Browning was a leading Victorian English poet. According to Pearson, “Browning’s conception of stage authorship is founded on a historically inscribed notion that poetry and theatre can sustain the same text” (57). Browning, the child of a banker at London’s Bank of England, got just a little formal education, but his dad taught him a primary education in Latin and Greek. After a half-session, he continued studying at the University of London. Few poets have experienced more from a hostile misunderstanding or misguided appreciation than Browning, both of which often arise from a failure to understand the most dramatic essence of his writing. His great poetry revealed the dramatic monolog’s growing mastery. This comprises a single-character narrative and is complemented by his remarks on his story and the conditions he speaks. The reader will be able to judge the intellect and honesty of the narrator and the worth of his opinions from his knowledge of the historical or other facts or from the inference of the poetry itself. This style of dramatic monolog is particularly suited to the ironist because it depends on the speaker’s unconscious giving of the evidence that the reader should be judging him. Browning’s affection for this style has still promoted the two most prevalent misunderstandings about the character of his poetry – that he is purposefully dark and that its fundamental “message” is an easy optimism. Both critiques are not groundless; they are both imperfect. He has obtained evident congratulations in many works and concise lyrics. However, his surface difficulties are pretty obvious, preventing a simple comprehension of the meaning of a passage: his efforts to communicate the broken, uneven rhythm of his speech nearly make it hard to read the stanza fast. However, the interests of the poems are rarely exhausted, even when specific style and technical issues are overcome. Browning typically picks an unusual viewpoint, particularly in his monologues, pushing the reader to adopt an unknown viewpoint. Secondly, he can alter the focus of a poem. Love and Other Catastrophes: A Mix Tape Amanda Brown’s “Love and Other Catastrophes: A Mix Tape” is a collection of different love songs; it is remarkable how someone from a list of songs can construct an entire tale. The sort of mixtape tells a tale, and, at the start of i