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RCBEKT BROWNING and Paintdig RCBEKT BROWNING AND PAINTDiG: PROLEGOMENA TO A READING OF BROWNING'S POETRY MARY ALICE MONTAÜT PH.D. BEDFORD COLLEGE ProQuest Number: 10098388 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10098388 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT ROBERT BK0WNH;G Aim PAINTING; PROLEGOmiA TO A READING OP BROWNING’S POETRY Mary Alice Montant Browning’s poetry is notable for the mamber and importance of its references to other arts. This thesis attempts to assess the influence of painting and painterly ideas on Browning’s poetry, with special reference to his contacts with painting in the early rirt of his life. His father’s taste for and knowledge of painting are discussed, and connections are made between them and formal or technical details of Browning’s style. His father’s own artistic abilities and his interest in engraving are also considered in this light. This entails some consideration of the methodology of com­ parison between painting and poetry, both as Browning would have known it and, with reference to my own explorations, in a modern context. Stress is laid on the fact that Browning’s father’s taste provided the poet with an alternative set of artistic models to those Romantic literary ones which are usually assumed to be of primary importance to his art. Specific comparison is made between features of Browning’s work and Hogarth’s, who was his father’s favourite artist. This leads into a consideration of Browning’s use of irony, based on principles shared with visual art. The final chapter deals with aspects of Browning’s artistic relationship with his friend. Lord Leighton. Throughout, the comparisons of part­ icular poems with paintings are intended rather as examples of Brovxning’s usage than as claims of specific and confined borrowing or influence. CONTENTS INTRODUCTION P. 1 CHAPTER ONE* HIS FATHER'S TASTE IN PAINTING p. 20 CHAPTER TWO* HIS FATHER'S CARICATURES p. 54 CHAPTER THREE* HIS FATHER'S INTEREST IN ENGRAVING P# 66 CHAPTER FOUR* THE INFLUENCE OF HOGARTH ON BROWNING p. 85 CHAPTER FIVE* BROWNING'S USE OF IRONY p. 207 CHAPTER SIX* BROVMING AND LEIGHTON p. 262 BIBLIOGRAPHY ILLUSTRATIONS* 1. Teniers Sow and Litter Dulwich Gallery p. 29 2. Brouwer Interior of an Me House Dulwich Gallery p. 32 3* Poussin Rinalclo end Am l d a Dulwich Gallery p# 41 4. Robert Browning Senior Heads V & A Museum p, $6 5. Robert Browning Senior Three Feasants V & A Museum p# 59 6. Robert Browning Senior Whig and Tory V & A iteeum p. 59 7# Hogarth Strolling Actresses Undressing in a Ba m p. 101 S. G. F, Watts Ariadne on Naxos p,231 9# Lord Leighton Clvtemnestra p#233 10. Hogarth Frontesnlece.to Kirby's Perspective p.240 11. Lord Leighton Helen of Troy p., 2^0 12. Lord Leighton Hercules Wrestling With Death p.;293 INTRODUCTION In the light of modem psychological knowledge, it would be foolish indeed for a person who was searching to understand the influences which may have affected a given writer to ignore that writer's early life at home. However, since the relevance, and the interest, of those influences would be expressed in the writer's works, a purely psychological approach will not, in all likelihood, serve the critic. The critic must decide how to assess the psychological implications of the facts in the context of the writer's art. He may choose to discard as irrelevant facts which have repercussions in the writer's life but not ostensibly in his art; or he may choose to interpret as vital a stray piece of Information which the writer himself, if it were possible to question him, might find hard to recall and assess. The biographer plainly does not have this degree of freedom in approaching his subject. The biographer is likely to assess the early influences in the light of the writer's character, of which he will attempt some understanding. He is not at liberty to ignore events, and his duty is to assess their importance to the writer personally. Unless these distinctions are observed by the critic and the biographer, a con­ fusion is likely to arise about the way in which the writer himself related to his art; for if the critic is prepared to accept biographical likeli­ hood as a critical criterion for an interpretation, or if the biographer is willing to view the writer's works as direct evidence about his life, the implication is inevitable that the writer had no art, that he wrote his own history merely. That the critical use of biographical details need not carry such implication however is amply shown by such a writer as Rudolph Wittkower in his Gian Lorenzo Bernini, Phaidon 1955# For him, biographical details usually serve to confirm or clarify observations on the nature of Bernini's art; and even where influences on his art are under discus­ sion, the critic refrains from any simplistic interpretation of the ait in terms of the life, and gives precedence to critical insight, using biographical fact or probability as auxiliary* "Such an intensity of realistic penetration, such verisimili­ tude and psychological analysis, had no parallel in Italian sculpture. Before the Anima Dannata. works by Carravaggio come to mind such as the Medusa, the Bov Bitten bv a Lizard, or the head of Isaac in the Sacrifice of Abraham. The two latter were in the 151.1a Borghese and therefore probably well known to Bernini. Although the Carravaggio heads appear res­ trained and almost conventional in comparison with the Anima Dannata. they may well have stimulated Bernini's interest in rendering the expression of terror, for the open mouth with the meticulous representation of the tongue and teeth, is a characteristic 'emblem' of Carravaggio's imagery..." (pp2-3) In this book, in fact, Wittkower almost creates a 'life-stoiy' for Bernini out of a subtle reading of the visible development in his sculpture. In contrast with this approach, consider these brief extracts from Fred, A. Pottle, Shellev and Browning; A M^rbh and Some Facts (1923). Pottle, working from some known facts of Browning's life, seeks to create a character for him first, and then to interpret his poetry purely in the light of that character* "If we could catch (Browning) at the time he was an aetheist and vegetarian, we should find him startlingly like the Shelley of the Queen Me.b days..." "If we had the verse he wrote ... we should find it startlingly Shelleyan..." (p3) The confusion which Pottle shows about the nature of his job as a critic arises because he is not content to say merely that he, critically, finds important affinities between Browning and Shelley# In his preface, he mentions both as favourite poets of his o;m, but goes no further. As the title of the book suggests, he is partially intent on establishing biographical data with accuracy, rather than on setting out a critical thesis, but he does not separate the two tasks. The criteria by which he skilfully sifts the false reports of Browning's first copy of Shelley from the true - historical detective work - are used,Inappropriately I would argue, to decide on problems of emphasis in the text of Pauline. The result inevitably is that the poem appears to be purely autobiographical, and the care the writer took to give it form and independent life - his art - is ignored. These two examples are meant to do no more than illustrate a general difference of approach, and one which is perhaps common between critics of the visual arts and those of literature. The difference may reflect the simple fact that, since words are everyday tools which we use to deal with the world rather than to imitate it, when words are used in this latter function, it is all too easy to treat them as if they were intended to be significant in the same way as in ordinary speech; whereas most of the colour, depth and form we see does not represent our 'thinking aloud' or serve us ordinarily for communications. It may tax our imaginations more heavily to consider Browning's Pauline as an example of his art, rather than as a slice of his life; we don't face the same undermining choice as we look at Bernini's Anima Dannata. Nevertheless, there is reason for the literary critic to concern himself with the events of a writer's life. As I began by suggesting, the impact of modern psychological knowledge upon the critics' methods has been considerable. The development of ideas about perception, and the inerradicability of the early set of the mind, mean that information ■ which previously should have concerned the biographer is open to different, exploitation by the critic. His task is not, however, to assess how early environment or events affected the character of his author, but how ideas , about art, its laws and purposes, may have been sown in the author's mind before he realised enough about it to accept or reject their influence deliberately.
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