DOCSLIB.ORG

Theodora Michaeliodu Laura Pence Jonathan Tweedy John Walsh

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. The bounds of effaced states, temporally and spatially through allusion, metaphor, and other tropes. are set in other periods, such as the Renaissance, with which Robert he lines of deceased kings; Victorian Hellenism and Victorian medievalism are two frequently Browning was so fascinated? The data can answer these questions The map here is based on a sampling of poems by Victorian poets Robert We search out dead men’s words, and works of dead men’s hands; discussed phenomena in Victorian literature. Many Victorian poets and provide scholars with other insights into literary history. After Browning and Algernon Charles Swinburne. A prototype online version is were fascinated by the literature, history, and culture of ancient and explicitly documenting (in XML code, a database, or other structure) available at http://purl.oclc.org/swinburnearchive/vis/acsvis0002/. —Matthew Arnold, “Empedocles on Etna” 1 C 90 B 0 0 No. of Poems Poet 0 A Time Place Poet Poem Collection 0 D 2 1865 Oxford Swinburne Dedication Poems and Ballads, First Series (1866) 1864 London Swinburne Before the Mirror Poems and Ballads, First Series (1866) 1-5 1864 London Swinburne Erotion Poems and Ballads, First Series (1866) 1864 Florence Swinburne In Memory of Walter Savage Landor Poems and Ballads, First Series (1866) 1864 London Browning A Likeness Dramatis Personae (1864) 1-5 1863 Paris Swinburne Hermaphroditus Poems and Ballads, First Series (1866) 1863 France Browning Epilogue Dramatis Personae (1864) 1860 Italy Swinburne A Song in Time of Revolution. 1860 Poems and Ballads, First Series (1866) 1860 Rome; London Browning Youth and Art Dramatis Personae (1864) The Algernon Charles Swinburne Project 1856 Paris Browning Apparent Failure Dramatis Personae (1864) 1856 French coast Browning Dîs Aliter Visum; or, Le Byron Dramatis Personae (1864) 1 http://www.swinburneproject.org/ The Bloody Son de Nos Jours Copyright © 2010 John A. Walsh 1855 Venice Browning A Toccata of Galuppi's Men and Women (1855) 1855 Italy Browning By the Fire-Side Men and Women (1855) 1855 Paris Browning Respectability Men and Women (1855) 1855 Tuscany Browning Up at a Villa--Down in the City Men and Women (1855) 1852 Paris Swinburne A Song in Time of Order. 1852 Poems and Ballads, First Series (1866) 1852 England Browning A Face Dramatis Personae (1864) 1852 Dulwich Wood, London Browning May and Death Dramatis Personae (1864) 1850 Madrid Browning How it Strikes a Contemporary Men and Women (1855) 1809 Ratisbon, Germany Browning Incident of the French Camp Dramatic Lyrics (1842) 1 The Sea Swallows 1799 Paris; Naples Swinburne Fragoletta Poems and Ballads, First Series (1866) 1795 Paris Swinburne Song before Death Poems and Ballads, First Series (1866) A Face 1793 Nantes Swinburne Les Noyades Poems and Ballads, First Series (1866) Dedication A Likeness 1 May and Death 1 The Pied Piper of Hamlein 1771 Germany Browning Abt Vogler Dramatis Personae (1864) Youth and Art 1 Before the Mirror 2 4 Erotion 1 Abt Vogler 1762 Pornic, France Browning Gold Hair Dramatis Personae (1864) Apparent Failure 1 Laus Veneris 1700 Saxe-Gotha, Germany Browning Master Hugues of Saxe-Gotha Men and Women (1855) Fragoletta The Laboratory Johannes Agricola in Meditation Respectability Hermaphroditus 1 1 Master Hugues of Saxe-Gotha 1657 Fontainebleau, France Browning Christina and Monaldeschi Jocoseria (1883) A Song in Time of Order. 1852 4 3 Song Before Death Paracelsus 1 Incident of the French Camp 1653 France Browning The Laboratory Dramatic Romances and Lyrics (1845) 1 Christina and Monaldeschi 1 1608 Florence Browning The Statue and the Bust Men and Women (1855) Gold Hair 2 1 1 Paracelsus Les Noyades Paracelsus Dis Aliter Visum 1564 Ferrara Browning My Last Duchess Dramatic Lyrics (1842) April 1 2 In a Gondola The Leper 2 Sordello 1 A Toccata of Galuppi's 1 My Last Duchess 1530 Germany Browning Johannes Agricola in Meditation Dramatic Lyrics (1842) Up at a Villa -- Down in the City In Memory of Walter Savage Landor 2 3 1530 Würzburg; Browning Paracelsus Paracelsus (1835) By the Fire-Side The Two Dreams 1 Fra Lippo Lippi A Ballad of Life Constantinople; Basil; Pictor Ignotus A Ballad of Death Colmar; Salzburg The Statue and the Bust 1 Faustine 3 5 A Song in Time of Revolution. 1860 Hymn to Proserpine 1 1505 France Swinburne The Leper Poems and Ballads, First Series (1866) 1 The Bishop Orders His Tomb Laus Veneris Rabbi Ben Ezra 1 Paracelsus 1500 Rome Swinburne A Ballad of Life Poems and Ballads, First Series (1866) How It Strikes a Contemporary Fragoletta Youth and Art 2 Anactoria Atalanta in Calydon 4 Sapphics 1 1500 Rome Swinburne A Ballad of Death Poems and Ballads, First Series (1866) At Eleusis 1 Eurydice to Orpheus St. Dorothy Erechtheus 1 1 A Lamentation 1 1500 Florence Browning Pictor Ignotus Men and Women (1855) Phaedra 1 1 Paracelsus A Lamentation 1 Artemis A Death in the Desert 1500 Rome Browning The Bishop Orders his Tomb Dramatic Romances and Lyrics (1845) Itylus Prologuize at St. Praxed's Church 1 1435 Florence Browning Fra Lippo Lippi Men and Women (1855) Satia te Sanguine A Christmas Carol 1376 Hamelin Browning The Pied Piper of Hamlein Dramatic Lyrics (1842) Aholibah 3 2 Epilogue The Masque of Queen Bersabe An Epistle Containing the Strange Medical Experience of Karshish, the Arab Physician 1350 Florence Swinburne The Two Dreams Poems and Ballads, First Series (1866) 1261 Venusberg; Rome Swinburne Laus Veneris Poems and Ballads, First Series (1866) Christina and Monaldeschi Youth and Art 1250 Lombardy Browning Sordello Sordello (1840) Paracelsus Apparent Failure Master Hugues of Saxe-Gotha May and Death 1200 France Swinburne April Poems and Ballads, First Series (1866) An Epistle Containing the Strange Medical Experience of Karshish, the Arab Physician Johannes Agricola in Meditation A Face Dis Aliter Visum Abt Vogler Epilogue A Death in the Desert The Laboratory Up at a Villa -- Down in the City 1135 Rome Browning Rabbi Ben Ezra Dramatis Personae (1864) Fra Lippo Lippi The Statue and the Bust How It Strikes a Contemporary By the Fire-Side 313 Rome Swinburne Hymn to Proserpine Poems and Ballads, First Series (1866) Sordello My Last Duchess Gold Hair Eurydice to Orpheus Pictor Ignotus A Toccata of Galuppi's A Likeness 311 Caesarea Mazaca Swinburne St. Dorothy Poems and Ballads, First Series (1866) Artemis Prologuize Rabbi Ben Ezra The Pied Piper of Hamlein Incident of the French Camp Respectability 125 Rome Swinburne Faustine Poems and Ballads, First Series (1866) Epilogue The Bishop Orders His Tomb at Saint Praxed’s Church Robert Browing 1812-1889 100 Desert near Ephesus Browning A Death in the Desert Dramatis Personae (1864) 2000BC 500AD 1400AD 1800AD 1900AD 66 Bethany Browning An Epistle Containing the Strange Medical Men and Women (1855) Algernon Charles Swinburne 1837-1909 Experience of Karshish, the Arab Physician Hymn to Proserpine Erotion At Eleusis Aholibah St. Dorothy Dedication 1 Bethlehem Swinburne A Christmas Carol Poems and Ballads, First Series (1866) Erechtheus The Masque of Queen Bersabe Faustine The Two Dreams A Song in Time of Revolution. 1860 Fragoletta 530 B.C. Iran/Persia Swinburne Satia te Sanguine Poems and Ballads, First Series (1866) Itylus Satia te Sanguine April Atalanta in Calydon A Ballad of Death In Memory of Walter Savage Landor Anactoria Laus Veneris Song Before Death 550 B.C. Israel and Judah Swinburne Aholibah Poems and Ballads, First Series (1866) Phaedra Sapphics A Christmas Carol A Ballad of Life Before the Mirror 596 B.C. Lesbos Swinburne Anactoria Poems and Ballads, First Series (1866) A Lamentation Les Noyades Hermaphroditus The Leper A Song in Time of Order. 1852 596 B.C. Lesbos Swinburne Sapphics Poems and Ballads, First Series (1866) 991 B.C. Shiloh, Israel Browning Epilogue Dramatis Personae (1864) 1000 B.C. Jerusalem Swinburne The Masque of Queen Bersabe Poems and Ballads, First Series (1866) 1222 B.C. Athens Browning Artemis Prologuizes Dramatic Lyrics (1842) 1235 B.C. Mount Oita; Troy Swinburne A Lamentation Poems and Ballads, First Series (1866) 1236 B.C.
Load more

Recommended publications
  • A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature
    A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor RESEARCH IN MEDIEVAL CULTURE Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor MEDIEVAL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2015 by the Board of Trustees of Western Michigan University All rights reserved Manufactured in the United States of America This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Taylor, Robert A. (Robert Allen), 1937- Bibliographical guide to the study of the troubadours and old Occitan literature / Robert A. Taylor. pages cm Includes index. Summary: "This volume provides offers an annotated listing of over two thousand recent books and articles that treat all categories of Occitan literature from the earli- est enigmatic texts to the works of Jordi de Sant Jordi, an Occitano-Catalan poet who died young in 1424. The works chosen for inclusion are intended to provide a rational introduction to the many thousands of studies that have appeared over the last thirty-five years. The listings provide descriptive comments about each contri- bution, with occasional remarks on striking or controversial content and numerous cross-references to identify complementary studies or differing opinions" -- Pro- vided by publisher. ISBN 978-1-58044-207-7 (Paperback : alk. paper) 1. Provençal literature--Bibliography. 2. Occitan literature--Bibliography. 3. Troubadours--Bibliography. 4. Civilization, Medieval, in literature--Bibliography.
    [Show full text]
  • The Armstrong Browning Library Newsletter God Is the Perfect Poet
    The Armstrong Browning Library Newsletter God is the perfect poet. – Paracelsus by Robert Browning NUMBER 51 SPRING/SUMMER 2007 WACO, TEXAS Ann Miller to be Honored at ABL For more than half a century, the find inspiration. She wrote to her sister late Professor Ann Vardaman Miller of spending most of the summer there was connected to Baylor’s English in the “monastery like an eagle’s nest Department—first as a student (she . in the midst of mountains, rocks, earned a B.A. in 1949, serving as an precipices, waterfalls, drifts of snow, assistant to Dr. A. J. Armstrong, and a and magnificent chestnut forests.” master’s in 1951) and eventually as a Master Teacher of English herself. So Getting to Vallombrosa was not it is fitting that a former student has easy. First, the Brownings had to stepped forward to provide a tribute obtain permission for the visit from to the legendary Miller in Armstrong the Archbishop of Florence and the Browning Library, the location of her Abbot-General. Then, the trip itself first campus office. was arduous—it involved sitting in a wine basket while being dragged up the An anonymous donor has begun the cliffs by oxen. At the top, the scenery process of dedicating a stained glass was all the Brownings had dreamed window in the Cox Reception Hall, on of, but disappointment awaited Barrett the ground floor of the library, to Miller. Browning. The monks of the monastery The Vallombrosa Window in ABL’s Cox Reception The hall is already home to five windows, could not be persuaded to allow a woman Hall will be dedicated to the late Ann Miller, a Baylor professor and former student of Dr.
    [Show full text]
  • 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.
    [Show full text]
  • The Elements of Poet :Y
    CHAPTER 3 The Elements of Poet :y A Poetry Review Types of Poems 1, Lyric: subjective, reflective poetry with regular rhyme scheme and meter which reveals the poet’s thoughts and feelings to create a single, unique impres- sion. Matthew Arnold, "Dover Beach" William Blake, "The Lamb," "The Tiger" Emily Dickinson, "Because I Could Not Stop for Death" Langston Hughes, "Dream Deferred" Andrew Marvell, "To His Coy Mistress" Walt Whitman, "Out of the Cradle Endlessly Rocking" 2. Narrative: nondramatic, objective verse with regular rhyme scheme and meter which relates a story or narrative. Samuel Taylor Coleridge, "Kubla Khan" T. S. Eliot, "Journey of the Magi" Gerard Manley Hopkins, "The Wreck of the Deutschland" Alfred, Lord Tennyson, "Ulysses" 3. Sonnet: a rigid 14-line verse form, with variable structure and rhyme scheme according to type: a. Shakespearean (English)--three quatrains and concluding couplet in iambic pentameter, rhyming abab cdcd efe___~f gg or abba cddc effe gg. The Spenserian sonnet is a specialized form with linking rhyme abab bcbc cdcd ee. R-~bert Lowell, "Salem" William Shakespeare, "Shall I Compare Thee?" b. Italian (Petrarchan)--an octave and sestet, between which a break in thought occurs. The traditional rhyme scheme is abba abba cde cde (or, in the sestet, any variation of c, d, e). Elizabeth Barrett Browning, "How Do I Love Thee?" John Milton, "On His Blindness" John Donne, "Death, Be Not Proud" 4. Ode: elaborate lyric verse which deals seriously with a dignified theme. John Keats, "Ode on a Grecian Urn" Percy Bysshe Shelley, "Ode to the West Wind" William Wordsworth, "Ode: Intimations of Immortality" Blank Verse: unrhymed lines of iambic pentameter.
    [Show full text]
  • Gcse English Literature (8702)
    GCSE ENGLISH LITERATURE (8702) Past and present: poetry anthology For exams from 2017 Version 1.0 June 2015 AQA_EngLit_GCSE_v08.indd 1 31/07/2015 22:14 AQA GCSE English Literature Past and present: poetry anthology All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing on any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the publisher, except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of the licence issued by the Copyright Licensing Agency. Notice to teachers: It is illegal to reproduce any part of this work in material form (including photocopying and electronic storage) except under the following circumstances: i) where you are abiding by a licence granted to your school or institution by the Copyright Licensing Agency; ii) where no such licence exists, or where you wish to exceed the terms of a licence, and you have gained the written permission of The Publishers Licensing Society; iii) where you are allowed to reproduce without permission under the provisions of Chapter 3 of the Copyright, Designs and Patents Act 1988. Photo permissions 5 kieferpix / Getty Images, 6 Georgios Kollidas/Fotolia, 8 Georgios Kollidas/Fotolia, 9 Georgios Kollidas/Fotolia, 11 Georgios Kollidas/Fotolia, 12 Photos.com/Thinkstock, 13 Stuart Clarke/REX, 16 culture-images/Lebrecht, 16,© Pictorial Press Ltd/Alamy, 17 Topfoto.co.uk, 18 Schiffer-Fuchs/ullstein
    [Show full text]
  • Robert Browning (1812–1889) Robert Browning Was a Romantic Poet in Great Effect When Disclosing a Macabre Or Every Sense of the Word
    THE GREAT Robert POETS Browning POETRY Read by David Timson and Patience Tomlinson NA192212D 1 How They Brought the Good News from Ghent to Aix 3:49 2 Life in a Love 1:11 3 A Light Woman 3:42 4 The Statue and the Bust 15:16 5 My Last Duchess 3:53 6 The Confessional 4:59 7 A Grammarian’s Funeral 8:09 8 The Pied Piper of Hamelin 7:24 9 ‘You should have heard the Hamelin people…’ 8:22 10 The Lost Leader 2:24 11 Soliloquy of the Spanish Cloister 3:55 12 The Laboratory 3:40 13 Porphyria’s Lover 3:47 14 Evelyn Hope 3:49 15 Home Thoughts from Abroad 1:19 16 Pippa’s Song 0:32 Total time: 76:20 = David Timson = Patience Tomlinson 2 Robert Browning (1812–1889) Robert Browning was a romantic poet in great effect when disclosing a macabre or every sense of the word. He was an ardent evil narrative, as in The Laboratory, or The lover who wooed the poet Elizabeth Confessional or Porphyria’s Lover. Barrett despite fierce opposition from Sometimes Browning uses this matter- her tyrannical father, while as a poet – of-fact approach to reduce a momentous inheriting the mantle of Wordsworth, occasion to the colloquial – in The Keats and Shelley – he sought to show, Grammarian’s Funeral, for instance, in in the Romantic tradition, man’s struggle which a scholar has spent his life pursuing with his own nature and the will of God. knowledge at the expense of actually But Browning was no mere imitator of enjoying life itself.
    [Show full text]
  • University Microfilms, a XERQ\Company, Ann Arbor, Michigan
    72- 19,021 NAPRAVNIK, Charles Joseph, 1936- CONVENTIONAL AND CREATED IMAGERY IN THE LOVE POEMS OF ROBERT BROWNING. The University of Oklahoma, Ph.D. , 1972 Language and Literature, general University Microfilms, A XERQ\Company, Ann Arbor, Michigan (^Copyrighted by Charles Joseph Napravnlk 1972 THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED THE UNIVERSITY OF OKIAHOMA GRADUATE COLLEGE CONVENTIONAL AND CREATED IMAGERY IN THE LOVE POEMS OP ROBERT BROWNING A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY BY CHARLES JOSEPH NAPRAVNIK Norman, Oklahoma 1972 CONVENTIONAL AND CREATED IMAGERY IN THE LOVE POEMS OF ROBERT BROWNING PROVED DISSERTATION COMMITTEE PLEASE NOTE: Some pages may have indistinct print. Filmed as received. University Microfilms, A Xerox Education Company TABLE OF CONTENTS Chapter Page I. INTRODUCTION...... 1 II. BACKGROUND AND RATIONALE.................. 10 III, THE RING, THE CIRCLE, AND IMAGES OF UNITY..................................... 23 IV. IMAGES OF FLOWERS, INSECTS, AND ROSES..................................... 53 V. THE GARDEN IMAGE......................... ?8 VI. THE LANDSCAPE OF LOVE....... .. ...... 105 FOOTNOTES........................................ 126 BIBLIOGRAPHY.............. ...................... 137 iii CONVENTIONAL AND CREATED IMAGERY IN THE LOVE POEMS OP ROBERT BROWNING CHAPTER I INTRODUCTION Since the founding of The Browning Society in London in 1881, eight years before the poet*a death, the poetry of Robert
    [Show full text]
  • 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.
    [Show full text]
  • The Tomb of the Author in Robert Browning's Dramatic Monologues
    Előd Pál Csirmaz The Tomb of the Author in Robert Browning’s Dramatic Monologues MA Thesis (for MA in English Language and Literature) Eötvös Loránd University (ELTE), Budapest, Hungary, 2006 Supervisor: Péter Dávidházi, Habil. Docent, DSc. Abstract Even after the death of the Author, its remains, its tomb appears to mark a text it cre- ated. Various readings and my analyses of Robert Browning’s six dramatic mono- logues, My Last Duchess, The Bishop Orders His Tomb at Saint Praxed’s Church, Andrea del Sarto, “Childe Roland to the Dark Tower Came,” Caliban upon Setebos and Rabbi Ben Ezra, suggest that it is not only possible to trace Authorial presence in dramatic monologues, where the Author is generally supposed to be hidden behind a mask, but often it even appears to be inevitable to consider an Authorial entity. This, while problematizes traditional anti-authorial arguments, do not entail the dreaded consequences of introducing an Author, as various functions of the Author and vari- ous Author-related entities are considered in isolation. This way, the domain of metanarrative-like Authorial control can be limited and the Author is turned from a threat into a useful tool in analyses. My readings are done with the help of notions and suggestions derived from two frameworks I introduce in the course of the argument. They not only help in tracing and investigating the Author and related entities, like the Inscriber or the Speaker, but they also provide an alternative description of the genre of the dramatic monologue. Előd P Csirmaz The Tomb of the Author ii Contents 1 INTRODUCTION 1 2 THE THEORY OF THE AUTHOR 1 2.1 A History of the Death of the Author 2 2.2 From the Methodological to the Ontological and Back: The Functions of the Author and its Death 3 A.
    [Show full text]
  • Unit 39 Two Poems from Men and Women
    UNIT 39 TWO POEMS FROM MEN AND WOMEN Structure 39.0 Objectives 39.1 Introduction 39.2 Reading 'Childe Roland to the Dark Tower Came' 39.2.1 Introducing 'Childe Roland' 39.2.2 The plan and purpose of 'Childe Roland' 39.3 Reading 'Fra Lippo Lippi' 39.3.1 Giorgio Vasari and his Life of Fra Filippo Lippi 39.3.2 Introduction to 'Fra Lippo Lippi' 39.4 Let's sum up 39.5 Answers to exercises 39.6 Further reading 39.0 OBJECTIVES After having read this unit you would be able to appreciate two of Browning's poems first published in Men and Women (1855). They are: o 'Childe Roland to the Dark Tower Came' and o 'Fra Lippo Lippi'. By learning to appreciate them you will gain the ability to read and appreciate any other poem of Browning with the help of criticism available on them. on your o\\'n 39.1 INTRODUCTION - Ln two earljer units you read two poems of Browning and an excerpt from Sordcllo. In this unit you will read two more poems written in the early fifties of the nineteenth century., With the help of these three units you should be able to appreciate the growth and development .of Browning's poetic art, In this unit you will be prepared to analyse another poem of your choice of Browning such as 'Andrea del Sarto', 'The Grammarian's Funeral', 'Abt Vogler', 'Karshish'. and 'Rabbi Ben Ezra' with the help of articles and other reference material. Don't' try to read more than a major subsection such as 39.2.1 or 39.2.2 at a time.
    [Show full text]
  • 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.
    [Show full text]
  • Levitsky Dissertation
    The Song from the Singer: Personification, Embodiment, and Anthropomorphization in Troubadour Lyric Anne Levitsky Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Anne Levitsky All rights reserved ABSTRACT The Song from the Singer: Personification, Embodiment, and Anthropomorphization in Troubadour Lyric Anne Levitsky This dissertation explores the relationship of the act of singing to being a human in the lyric poetry of the troubadours, traveling poet-musicians who frequented the courts of contemporary southern France in the twelfth and early thirteenth centuries. In my dissertation, I demonstrate that the troubadours surpass traditionally-held perceptions of their corpus as one entirely engaged with themes of courtly romance and society, and argue that their lyric poetry instead both displays the influence of philosophical conceptions of sound, and critiques notions of personhood and sexuality privileged by grammarians, philosophers, and theologians. I examine a poetic device within troubadour songs that I term ‘personified song’—an occurrence in the lyric tradition where a performer turns toward the song he/she is about to finish singing and directly addresses it. This act lends the song the human capabilities of speech, motion, and agency. It is through the lens of the ‘personified song’ that I analyze this understudied facet of troubadour song. Chapter One argues that the location of personification in the poetic text interacts with the song’s melodic structure to affect the type of personification the song undergoes, while exploring the ways in which singing facilitates the creation of a body for the song.
    [Show full text]