Deconstruction might be an interesting approach to "Porphyria's Lover" by Robert Browning. The poem's speaker is a murderer, and, as it appears to the reader, kind of insane. Since we hear the story through him, everything's a little twisted and traditional ideas of life/death and good/evil are inverted. Yet, the poem itself doesn't seem to offer any commentary on this. If we think that what the speaker did in murdering Porphyria was "bad," then we're applying our own mindsets to the situation described, because to the last, the speaker doesn't seem to have any sense of loss or the badness of what he's done, only a sort of daring, ambiguous hush as the speaker observes "And yet God has not said a word!"
1) Examine the binaries of life/death, purity/passion, good/evil and any others that occur to you as they appear in the relationship between the speaker and Porphyria. How do they seem to invert the regular values placed on these ideas?
2) At the moment preceding Porphyria's death, the speaker says "That moment she was mine, mine, fair, / Perfectly pure and good: I found / a thing to do" and that thing was to murder her. What does it mean that he goes from seeing her as "pure and good" to strangling her with her own hair? What values is he creating for himself?
3) The poem ends "And yet God has not said a word!" We don't know why God "hasn't said a word" any more than the speaker does--it's left ambiguous whether this means consequences are still impending for the speaker or if he's operating in a sort of figurative inverted universe all his own where his actions are effectively justified. What might Browning be hoping to convey with this? Why not end with the speaker being hauled off by the police, for example?
Browning, Robert. "Porphyria's Lover." The Norton Introduction to Poetry. J. Paul Hunter, Alison Booth, and Kelly J. Mays. 9th edition. New York: Norton, 2007. 529-31.