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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. -
Nineteenth-Century Perceptions of Robert Browning: the Poet Through His Own Eyes and Those of His Victorian Critics and Devoted Readers
NINETEENTH-CENTURY PERCEPTIONS OF ROBERT BROWNING: THE POET THROUGH HIS OWN EYES AND THOSE OF HIS VICTORIAN CRITICS AND DEVOTED READERS By KRISTI MARTIN A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the Department of English May 2010 Winston-Salem, North Carolina Approved By: Melissa Jenkins, Ph.D., Advisor ______________________________ Examining Committee: Eric Wilson, Ph.D., Chairman ______________________________ Jefferson Holdridge, Ph.D. ______________________________ Table of Contents Abstract…………………………………………………………………………………..iii Introduction………………………………………………………………………………1 Chapter One: The Good, the Bad, and the Fanatical: Browning and His Nineteenth- Century Reception……………………………………………………..…………5 Chapter Two: Going Where No Victorians Have Gone Before: The London Browning Society…………………………………………………………………………...29 Chapter Three: Being Robert Browning: The Autobiographical Poems of the Poet……52 Conclusion……………………………………………………………………………….81 Bibliography……………………………………………………………………………..85 ii Abstract Thesis under the direction of Melissa Jenkins, Ph.D., Professor of English. The London Browning Society has been addressed by scholars in modern biographies such as The Life of Robert Browning: A Critical Biography (1996) by Clyde De L. Ryals, and it was studied in a 1969 book by William S. Peterson titled Interrogating The Oracle: A History of the London Browning Society. However, this thesis goes further by approaching the Society as the equivalent of a modern day “fan” community, and by providing a close look at some of the Society’s published documents. The purpose of doing so is to form a picture of Browning’s reputation during his life and career based on the perceptions of the critics of the day, the Society members, and the thoughts he had on himself and his own works. -
Draft Programme the Information in This Programme Is Correct As of 19Th February
The Trollope Society Visit to Florence 1st - 5th April 2020 Draft Programme The information in this programme is correct as of 19th February. For the latest version of the programme visit www.trollopesociety.org/event/trip-florence/ Wednesday 1st April From 5pm Registration and pick up pack Reception, Hotel Ricasoli, Via Delle Mantellate 2, Firenze 6pm – 8pm Welcome to Florence by Dominic Hotel Ricasoli, Via Delle Edwardes, Chair of the Trollope Mantellate 2, Firenze Society Drinks Reception with canapes to include the launch of newly reprinted Fanny Trollope’s The Life and Adventures of Jonathan Jefferson Whitlaw (1836) Thursday 2nd April 10am to 1pm Walking tour of City Centre Meet at the carousel in Piazza della Repubblica, 50123 Firenze 3pm-4pm Talk by Mark Roberts, Consultant to Acton Room, Harold Acton the British Institute on Some 19th- Library, Century Literary Visitors to Florence British Institute, Lungarno Guicciardini, 9, 50125 Firenze See More Information 4.30pm – 6.30pm Visit to the British Institute with The Ferragamo Room, Harold afternoon tea and cake Acton Library, British Institute, Lungarno Guicciardini, 9, 50125 Firenze Friday 3rd April 9.30am Walk to Trollope Villa Trollope Villa, 21 Piazza della Indipendenza 10.15am to 12 Talk by Dominic Edwardes on The noon Life of Fanny Trollope. Talk by Julia Bolton Holloway, Hotel Ricasoli, Via Delle librarian, archivist and custodian of Mantellate 2, Firenze the English Cemetery, on Frances Trollope’s political and social activism The Trollope Society Visit to Florence 2020 – Draft Programme 23rd February 2.00pm Walk to English Cemetery OR English Cemetery, Piazzale 2.30pm Meet at English Cemetery Donatello, 38, 50132 Firenze Followed by refreshments at nearby café 7.00pm Dinner at Gran Caffè San Marco Gran Caffè San Marco, Piazza San Marco, 11/R, 50121 Firenze Included for those who have pre- booked and pre-paid Saturday 4th April 10am - 12 noon Free time or optional visit to the The Stibbert Museum, Via Stibbert Museum. -
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. -
2013-X-0905-Rascoeelder.Pdf
BULLETIN OF THE UNIVERSITY OF TEXAS NUMBER 92 HUMANISTIC SERIES NO. 5 APRIL t, 1907 The Grotesque in the Poetry of Robert Browning Thesis Presented to the Faculty of the College of Arts of the University of Texas for the Degree of Master of Arts, June, 1906, By LILY BESS CAMPBELL, B. L. Published by the University of Texas semi-monthly. Entered as seoond-dass mail matter at the postoffice at Austin AUSTIN, TEXAS PUBLICATIONS OF THE UN IVERS ITY 0 F TEX~A~S BOARD OF EDITORS WILLIAM JAMES BATTLE, Editor-in-Chief. HERBERT EUGENE BOLTON, Secretary and Manager. KlLLIS CAMPBELL, The University Record. WILLIAM SPENCER CARTER, Galveston, Medical Series. LINDLEY M. KEASBEY, Humanistic Series. THOMAS H. MONTGOMERY, JR., Scientific Series. PHINEAS L. WINDSOR, General Series. The publication!>. Of the University of Texas are issued twice a month. For postal purposes they are numbered consecutively as Bulletins without regard to the arrangement in series. With the exception of the Special Numbers any Bulletin will be sent to citizens of Texas free on request. Communications from other institutions in reference to exchange of publications should be addressed to the University of Texas Library. 132-5117-lm-801 BULLETIN OF THE UNIVERSITY OF TEXAS NUMBER 92 HUMANISTIC SERIES NO. 5 APRIL I, 1907 The Grotesque in the Poetry of Robert Browning Thesis Presented to the Faculty of the College of Arts of the University of Texas for the Degree of Master of Arts, June, 1906, By LILY BESS CAMPBELL, B. L. Published by the University of Texas semi-monthly. Entered as second-class mail matter at the postofjice at Austin AUSTIN, TEXAS Cultivated mind i& the guardian genius of de mocracy. -
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. -
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. -
'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 . -
Robert Browning Oral Marguerite Hagerty Loyola University Chicago
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1944 The Grotesque Artist - Robert Browning Oral Marguerite Hagerty Loyola University Chicago Recommended Citation Hagerty, Oral Marguerite, "The Grotesque Artist - Robert Browning" (1944). Master's Theses. Paper 624. http://ecommons.luc.edu/luc_theses/624 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1944 Oral Marguerite Hagerty 'f THE GROTESQUE ARTIST - ROBERT BROWNING by Oral Marguerite Hagerty A Thesis Submitted in Partial Fulfillment of. the Requirements for the Degree of Master of Arts in Loyola University ·Department of English Chicago, Illinois, June, 1944. p: The Grotesque Artist - Robert Browning ... The Grotesque Artist - Robert Browning Table of Gontents Chapter Introduction 1 I. Ori~in and Nature of the Grotesque Considered Historically and Esthetically ------ 3 II· Reasons for Browning's use of the Grotesque -- 28 III• Browning's Treatment of the Grotesque ----- 50 A. His Method - Grotesque Situation - 0har- - acter - Treatment 51 B. Types of Grotesque Used - Noble - Fanci- - ful - False Grotesque --------- 57 1. Noble Grotesque - "Caliban Upon Setebos" 58 2. Fanciful Grotesque - "The Pied Piper" - 108 3. False Grotesque - "Pacchiarotto" --- 122 IV. Artistic Possibilities and Worth of Browning's Grotesque ------ 130 Conclusion ---------- 148 BibliograPhy ------------ 151 )--( ..... THE GROTESQUE ARTIST - ROBERT BROWNING INTRODUCTION The immense vitality and wide productiveness of Robert Browning demand classification.