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Title: the Disclosure of Self in Robert Browning's Dramatic Monologues
Title: The Disclosure of self in Robert Browning's dramatic monologues Author: Agnieszka Adamowicz-Pośpiech Adamowicz-Pośpiech Agnieszka. (2014). The Disclosure of Citation style: self in Robert Browning's dramatic monologues. W: W. Kalaga, M. Mazurek, M. Sarnek (red.) "Camouflage : secrecy and exposure in literary and cultural studies" (S. 112-126). Katowice : Wydawnictwo Uniwersytetu Śląskiego Agnieszka Adamowicz-Pośpiech The Disclosure of Self in Robert Browning’s Dramatic Monologues “To read poems,” wrote George Eliot in a review of Browning’s work, “is often a substitute for thought; fine-sounding conventional phrases and the sing-song of verse demand no co-operation in the reader; they glide over the mind.”1 Contrary to Eliot’s assessment, the aim of this paper is to show that by creating a disturbing persona characterized by a fluctuating self-consciousness which was distinctive not only of the fictional character but also of the listener/reader and the writer, Browning hampers uninvolved reading. In his dramatic monologues, the poet employs certain techniques to hide the real nature of his monologists, and the reader is forced painstakingly to gather the dispersed allusions, implications and insinuations so as to uncover the secrets of the speakers. Doubleness in Victorian poetry has been perceived by some critics as one of its defining characteristics.2 Amongst the terms coined to describe it is E.D.H. Johnson’s “dark companion”: “The expressed content [of a poem] has a dark companion, its imaginative counterpart, which accompanies and comments on apparent meaning in such a way as to suggest ulterior motives.”3 Isobel Armstrong proposed a parallel concept “double companion.”4 However, the essential words, seem to me, to be the “imaginative counterpart” – since it is only in the imagination of the reader that the counterpart may arise on condition that the reader becomes involved in unraveling the text. -
Robert Browning Post by Wende
Tea Time: Robert Browning Post by Wende Robert Browning was born in a suburb of London, England on May 7, 1812. His mother was an accomplished pianist and a devout Christian. His father, who worked as a bank clerk, was an artist, scholar, and collector of books and pictures. Through most of his childhood, Robert was homeschooled, being proficient at reading and writing by the age of five, and learning Latin, Greek, and French by the time he was fourteen. In 1828, he enrolled at the University of London, but he soon left, desiring to read and learn at his own pace. Robert Browning enjoyed the poetry of Elizabeth Barrett, and after corresponding with her for a time, married her in 1846. The couple moved to Italy, where they both continued to write. They had a son, Robert "Pen" Browning, in 1849. After Elizabeth’s death in 1861, Robert and Pen moved to London. In his long life Robert Browning wrote many volumes of poems. The Pied Piper of Hamelin is always a favorite with children, as are How they brought the Good News from Ghent to Aix, and Ratisbon. His most popular poems are Pippa Passes, The Ring and the Book, A Blot on the 'Scutcheon, and Saul. Robert Browning died on the same day that his final volume of verse, Asolando, was published, in 1889. The following poem “Spring Song”, excerpted from Pippa Passes, is great for younger children to memorize and recite due to its simple rhyme scheme and vocabulary. The year’s at the spring, And day’s at the morn; Morning’s at seven; The hillside’s dew-pearled; The lark’s on the wing; The snail’s on the thorn: God’s in His Heaven – All’s right with the world! Activities: Read Poetry for Young People, Robert Browning Recite and/or memorize the poem, “Spring Song” Record what you learn about Robert Browning on the notebooking page. -
Browning's Dilemma in Romantic Inheritance: Dramatic Monologue and the Sense of Poetic Career
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Kyutacar : Kyushu Institute of Technology Academic Repository Browning's Dilemma in Romantic Inheritance: Dramatic Monologue and the Sense of Poetic Career 著者 虹林 慶 journal or 九州地区国立大学教育系・文系研究論文集 publication title volume 2 number 1 page range No.2 year 2014-10 URL http://hdl.handle.net/10228/00006684 Browning’s Dilemma in Romantic Inheritance: Dramatic Monologue and the Sense of Poetic Career Kyushu Institute of Technology Kei NIJIBAYASHI Browning is often considered to be one of the major successors of Romanticism, especially in any consideration of his versatile handling of love poetry, as in “Love among the Ruins”, or in his apocalyptic, Gothic poems like “Childe Roland to the Dark Tower Came” and the long, conceptual poems from early in his career: Pauline, Paracelsus and Sordello. However, as Britta Martens argues in Browning, Victorian Poetic and the Romantic Legacy, his inheritance of Romanticism does not enable a straightforward analysis of the specific techniques, themes and styles he adopted. Martens pays close attention to Browning’s ambivalence towards his poetic and private selves, and describes a fraught artistic struggle in the poet’s attachment to and gradual estrangement from Romanticism. One of the causes for Browning’s ambiguity about Romanticism was his urgent need to establish a professional poetic career, unlike the Romantics. 1 (Wordsworth stands as the major exception.) In the creation of the Romantic universe, the sense of career curiously diverged from the business world in favour of the imagination, and triumphant posthumous visions in which the poets gained their artistic and social apotheosis. -
The Qualities of Browning
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Mid-West Quarterly, The (1913-1918) Mid-West Quarterly, The (1913-1918) 1914 The Qualities of Browning Harry T. Baker Follow this and additional works at: https://digitalcommons.unl.edu/midwestqtrly Part of the Arts and Humanities Commons Baker, Harry T., "The Qualities of Browning" (1914). Mid-West Quarterly, The (1913-1918). 43. https://digitalcommons.unl.edu/midwestqtrly/43 This Article is brought to you for free and open access by the Mid-West Quarterly, The (1913-1918) at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Mid-West Quarterly, The (1913-1918) by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in THE MID-WEST QUARTERLY 2:1 (October 1914), pp. 57-73. Published by G.P. Putnam’s Sons & the University of Nebraska. THE QUALITIES OF BROWNING I The opening lines of Pippa Passes pulse with the tremendous vitality which the reader of Browning has early learned to expect of his poetry: "Day! Faster and more fast, O'er night's brim day boils at last: Boils, pure gold, o'er the cloud-.cup's brim Where spurting and suppressed it lay, For not a froth-flake touched the rim Of yonder gap in the solid gray Of the eastern cloud, an hour away; But forth one wavelet, then another, curled, Till the whole sunrise, not to be suppressed, Rose, reddened, and its seething breast Flickered in bounds, grew gold, then overflowed the world." Of this remarkable vital force the last poem from his pen, the Epilogue to Asolando, shows no diminution. -
A PDF Link to the Newsletter of the the Browning
The Browning Society Newsletter Issue No: 2 March 2017 his depiction of the Holy Family, particu- rescued by Stephen Evans from St Giles Man and Wife larly in the figure of the baby Jesus. The in the Fields, where it had been placed new-born child is shown blessing his prior to the old parish church’s demoli- Hanging above the altar in St. Maryle- parents and the world, as if already aware tion in 1949. The Brownings’ marriage bone Parish Church when Elizabeth Bar- of his allotted role in life. In his startling- is, therefore, now permanently commem- rett married Robert Browning in Septem- ly bold depiction of Jesus, West gives the orated at St. Marylebone, together with ber 1846 was an oil-painting of the Holy baby’s face an almost adult seriousness, the memory of one of their Italian admir- Family. The work of the Anglo-American which becomes the focus of the painting. ers and commentators. President of the Royal Academy, Benja- A shaft of light from above suggests the min West, the picture is still in the parish presence of God, while the Trinity is church today, but had been moved into completed by a dove roosting on a beam NOTES the old parish church when the architect above the baby’s head. The Deptford Heritage Festival was re- Thomas Harris reordered the present par- Just how much of this Robert and Eliza- vived in 2015 and, for the past two years, ish church in the 1880s. The painting the Browning Society has been invited to returned to the parish church in its pre- beth Barrett Browning saw during their wedding is unknown. -
Porphyria's Lover Wikipedia, the Free Encyclopedia Porphyria's Lover from Wikipedia, the Free Encyclopedia
12/4/2015 Porphyria's Lover Wikipedia, the free encyclopedia Porphyria's Lover From Wikipedia, the free encyclopedia "Porphyria's Lover" is a poem by Robert Browning which was first published as "Porphyria" in the January 1836 issue of Monthly Repository. Browning later republished it in Dramatic Lyrics (1842) paired with "Johannes Agricola in Meditation" under the title "Madhouse Cells." The poem did not receive its definitive title until 1863. "Porphyria's Lover" is Browning's first ever short dramatic monologue, and also the first of his poems to examine abnormal psychology.[1] Although its initial publication passed nearly unnoticed and it received little critical attention in the nineteenth century, the poem is now heavily anthologised and much studied. In the poem, a man strangles his lover – Porphyria – with her hair; "... and all her hair / In one long yellow string I wound / Three times her little throat around, / And strangled her." Porphyria's lover then talks of the corpse's blue eyes, golden hair, and describes the feeling of perfect happiness the murder gives him. Although he winds her hair around her throat 3 times to throttle her, the woman never cries out. The poem uses a somewhat unusual rhyme scheme: A,B,A,B,B, the final repetition bringing each stanza to a heavy rest. A possible source for the poem is John Wilson's "Extracts from Gosschen's Diary", a lurid account of a murder published in Blackwood's Magazine in 1818. Browning's friend and fellow poet Bryan Procter acknowledged basing his 1820 "Marcian Colonna" on this source, but added a new detail; after the murder, the killer sits up all night with his victim.[2] Contents 1 Psychological interpretations 2 "Porphyria's Lover" as tableau vivant 3 See also 4 Full text 5 References 6 External links Psychological interpretations Browning's monologues are frequently voiced by eccentrics, lunatics, or people under emotional stress. -
Robert Browning (1812-89)
Robert Browning (1812-89) Life.- Robert Browning was born at Camberwell, May 7, 1812, and was privately educated. His first published poem, Pauline, appeared in 1833.In 1846 he married Elizabeth Barrett, then more widely known as a poet than himself. Their happy married life was spent almost entirely in Florence. After Mrs Browning’s death in 1861, Browning settled in London, though he still made long visits to the Continent. In November 1889 he joined his son in Venice, and there he died on 12th December of that year. Works.- Pauline (1833) Strafford (1837) Sordello (1840) Bells and Pomegranates (8 parts, 1841-6) Christmas Eve and Easter Day (1850) Men and Women (1855) Dramatis Personae (1864) The Ring and the Book (1868-9) Balaustion’s Adventure (1871) Prince Hohenstiel-Schwangau (1871) Fifine at the Fair (1872) Red Cotton Night-Cap County (1873) Aristophanes’s Apology (1875) The Inn Album (1875) Pacchiarotto (1876) La Saisiaz (1878) The Two Poets of Croisic (1878) Dramatic Idylls 1879-80) Jacoseria (1883) Ferishtah’s Fancies (1884) Parleying with Certain People (1887) Asolando (1889) Character.- Browning was a man of intense and vigorous personality, his consciousness of health was vivid and had a boundless capacity for enjoyment. He loved life and was a familiar figure in society and a regular diner-out. Sound in body and mind, he was altogether unaffected by the melancholy which accompanied the spiritual upheaval of his age. His robust optimism, though stated in terms of the religious philosophy by which it was reinforced, had its roots in his healthy and happy nature. -
Title Browning in Asolo Author(S) Rees, Simon Citation 英文学評論
Title Browning in Asolo Author(s) Rees, Simon Citation 英文学評論 (1989), 57: 21-34 Issue Date 1989-03 URL https://doi.org/10.14989/RevEL_57_21 Right Type Departmental Bulletin Paper Textversion publisher Kyoto University Browning in Asolo 2 1 Browning in Asolo Simon Rees The city of Asolo embraces Browning's career from Sordelb and Pippa Passes at the beginning of the Victorian era to the last collection of poems, Asolando, published on the day of his death. Asolo is Browning's microcosm, an ideal city, almost pure stage and theatre, where the civic and religious buildings, the castle, the church, the convent and the fortress, are piled close together within the walls, and set on top of a hill overlooking the plain of Treviso below. In looking at the way Browning used this city-I call it a city although at the time it had only a few thousand inhabitants, and is hardly any larger today-I want to separate the real city, visited briefly once in 1838 and again forty years later, from the ideal city, the setting of Pippa Passes and the other poems. Howdid Browning come to Asolo, what did he find there, and why did he return? In his introduction to More than Friend, his edition of the letters of Brown- ing and Katharine de Kay Bronson, Michael Meredith describes Browning's first and subsequent visits to the city1'. In Sordello, we find the earliest men- tion of Asolo in Browning's works: a boy from the town climbs the hills singing Sordello's song: Lo, on a heathy brown and nameless hill By sparkling Asolo, in mist and chill, Morning just up, higher and higher runs A child barefoot and rosy. -
Victorian Literature: an Anthology
423 From Pippa Passes2 Song The year’s at the spring And day’s at the morn; Morning’s at seven; The hill-side’s dew-pearled; Robert Browning The lark’s on the wing; 5 The snail’s on the thorn: God’s in his heaven— All’s right with the world! My Last Duchess3 FERRARA That’s my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now: Frà Pandolf’s4 hands Worked busily a day, and there she stands. Will’t please you sit and look at her? I said 5 ‘Frà Pandolf’ by design, for never read Strangers like you that pictured countenance, The depth and passion of its earnest glance, But to myself they turned (since none puts by The curtain I have drawn for you, but I) 10 And seemed as they would ask me, if they durst, How such a glance came there; so, not the first Are you to turn and ask thus. Sir, ’twas not Her husband’s presence only, called that spot Of joy into the Duchess’ cheek: perhaps 15 Frà Pandolf chanced to say ‘Her mantle laps Over my Lady’s wrist too much,’ or ‘Paint Must never hope to reproduce the faint Half-flush that dies along her throat’; such stuff Was courtesy, she thought, and cause enough 20 Notes 2 title this song recurs throughout Pippa Passes. Pippa, a marriage in 1565 with the niece of the Count of Tyrol (Barbara young girl, works in a silk mill and passes through Asolo, an of Austria, 1539–72), using the count’s emissary, Nikolaus Italian town near Venice. -
Theodora Michaeliodu Laura Pence Jonathan Tweedy John Walsh
Look, the world tempts our eye, And we would know it all! Setting is a basic characteristic of literature. Novels, short stories, classical Greece and medieval Europe and the literary traditions the temporal and spatial settings of individual literary works, one can dramas, film, and much poetry—especially narrative poetry—typically inspired by those periods. Major Victorian poets, including Tennyson, map and visualize the distribution of literary settings across historical We map the starry sky, have an identifiable setting in both time and space. Victorian poet the Brownings, Arnold, Rossetti, and Swinburne, provide a rich variety periods and geographic space; compare these data to other information, We mine this earthen ball, Matthew Arnold’s “Empedocles on Etna,” for instance, is set in Greek of representations of classical and medieval worlds. But what does the such as year of publication or composition; and visualize networks of We measure the sea-tides, we number the sea-sands; Sicily in the fifth century B.C. “Empedocles” was published in 1852. quantifiable literary data reveal about these phenomena? Of the total authors and works sharing common settings. The data set is a growing Swinburne’s Tristram of Lyonesse (1882) is set in Ireland, Cornwall, number of published works or lines of verse from any given period, collection of work titles, dates, date ranges, and geographic identifiers We scrutinise the dates and Brittany, but in an uncertain legendary medieval chronology. or among a defined set of authors or texts, how many texts have and coordinates. Challenges include settings of imprecise, legendary, Of long-past human things, In the absence of a narrative setting, many poems are situated classical, medieval, biblical, or contemporary settings? How many texts and fictional time and place. -
'B' Class: XI Topic: Meeting at Night Date: 02.07.2020 About the Po
ST. LAWRENCE HIGH SCHOOL A JESUIT CHRISTIAN MINORITY INSTITUTION STUDY MATERIAL 4 Sub: ENGLISH ‘B’ Class: XI Topic: Meeting At Night Date: 02.07.2020 About the Poet: Robert Browning (7 May 1812 – 12 December 1889) was an English poet and playwright whose mastery of the dramatic monologue made him one of the foremost Victorian poets. His poems are known for their irony, characterization, dark humour, social commentary, historical settings, and challenging vocabulary and syntax. He is widely recognized as a master of dramatic monologue and psychological portraiture. Browning wrote eight plays and fifty-one poems during his lifetime. He established his career first as a poet and then as a playwright. His works won global recognition marked by allusive imagery, symbolic structures, dramatic monologue, a blend of dark humour and irony. Browning successfully used dramatic monologue techniques which enabled the readers to see an event using the character’s lenses. Moreover, he explored the beauty of the real-world using artistic techniques in his poems. Some of his famous poems include My Last Duchess, The Pied Piper of Hamelin, Porphyria’s Lover, Hilde Roland to the Dark Tower, The Lost Leader, Meeting at Night, Fra Lippo Lippi, and The Laboratory. Besides poetry, he tried his hands on plays. Some of them include Colombe’s Birthday, King Victor and King Charles, Pippa Passes and In a Balcony. Browning’s literary ideas have left deep imprints on English as well as international literature. His distinctive writing approach and unique way of expression made him stand among the best Victorian poets. His thoughtful ideas influenced many great poets and writers including Robert Frost, Ezra Pound, and T.S. -
Catalogue of the Library of the Browning Society of Boston
CATALO GUE OF THE LIBRARY OF THE BRO W NING SO CIETY OF BO STO N ' BOSTON PUBLIS HE D BY THE SOC IETY MD CCC' CVII r Ah , that b ave n s one r r Bou ty of poet , the oyal ace r w a s o r i n r ' That eve , will be , the wo ld They give n o gift that bou nds its elf a nd ends ’ I the giving a nd the taking : thei rs so b reeds . ’ ’ I r a n d s 0 r s o r ns s the hea t oul the take , t a mute m a n n w a s m a n r The who o ly a befo e , r s i n his rn ca n That he g ow godlike tu , give ’ s s r s r He al o ha e the poet p ivilege , r n r n e w ne w r . B i g fo th good, beauty , f om the old B ’ ALAU STI ON S A D V E NT U R E . IFI I K CLASS CAT ON OF BOO S ON THE S HE LV ES . n n C omplete wo rk s arra ged ch ro ologically . r n rr n r n Pa tial collectio s a a ged ch o ologically . Sin gle wo rk s arranged ch ron ologically . Selection s a n d adaptatio ns . Lette rs . Songs with music . Bibliography . Biography . C ritical a n d illus t rative wo rks .