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Robert and Elizabeth Barrett Browning: An Annotated Bibliography for 1972
Published online by Cambridge University Press: 24 October 2008
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- Type
- Bibliography for 1972
- Information
- Copyright
- Copyright © Cambridge University Press 1974
References
A. Primary Works
A72:1]DeLaura, David J. “Ruskin and the Brownings: Twenty-five Unpublished Letters.” Bulletin of the John Rylands Library, 54 (1972), 314–56.Google Scholar
“Of the twenty-five letters presented here, sixteen are from Ruskin to Robert Browning and five to Mrs. Browning; there are two from Robert Browning, and two from Mrs. Browning, addressed to Ruskin.”Google Scholar
A72:2]Krynicky, Harry T. Jr., “Christmas-Eve and Easter-Day by Robert Browning: A Variorum Text.” Dissertation Abstracts International, 33 (1972), 1732A (Univ. of Pennsylvania).Google Scholar
“This variorum text… makes available a reading of the poems which includes all revisions made by Browning as they appeared in the editions printed during the poet's lifetime.”Google Scholar
A72:3]Maynard, John. “Robert Browning to Mr. Moxon: A New Letter.” Browning Newsletter, No. 9 (Fall, 1972), pp. 34–37.Google Scholar
Letter (reproduced on p. 32) to Edward Moxon, dated [February 1841].Google Scholar
A72:4]Pope, Willard B., ed. Invisible Friends: The Correspondence of Elizabeth Barrett Browning and Benjamin Robert Haydon 1842–1845. Cambridge: Harvard Univ. Press, 1972. pp. xviii + 200.Google Scholar
Haydon's letters are printed for the first time; most of EBB's were printed in M. H. Shackford's edition (1939), which is now superseded by this volume.Google Scholar
Rev. by Gladish, Robert W., Studies in Browning and His Circle, 1 (Spring, 1973), 47–51; Times Literary Supplement, 13 July 1973, p. 796.Google Scholar
A72:5]Turner, Paul, ed. Men and Women. London: Oxford Univ. Press, 1972. pp. xxxii + 394.Google Scholar
Preface: “This edition is intended for use in schools and colleges as well as in universities; the abbreviated references in the Notes are probably more relevant to students at the higher level, where they will assist further research. I have tried to incorporate the most useful findings of modern Browning scholarship. Apart from the addition of line-numbers in some poems, the text is that of 1855.”Google Scholar
A72:6]Wilson, Thomas F. Jr. “Robert Browning's A Blot in the 'Scutcheon: An Edition with Variant Readings and Annotations.” Dissertation Abstracts International, 32 (1972), 5208A (Ohio Univ.).Google Scholar
The major sections of the dissertation are “(1) introduction, (2) rationale for copy-text, (3) text, (4) annotations, (5) bibliography, and (6) appendix.” The text is that of the Poetical Works (1889).Google Scholar
B. Reference and Bibliographical Works and Exhibitions
B72:1]Abbott, Craig. “Revisions in the ‘Second Edition’ of A Blot in the 'Scutcheon.” Browning Newsletter, No. 8 (Spring, 1972), pp. 53–55.Google Scholar
Includes a list of the revisions.Google Scholar
B72:2]Agosta, Lucien L. “The Annotations in Fannie Barrett Browning's Copy of the May 1913 Sotheby Auction Catalogue.” Browning Newsletter, No. 9 (Fall, 1972), pp. 38–74.Google Scholar
A list of the purchaser and price of each lot as well as a few inscribed comments by Fannie Browning. Cf. B72:22.Google Scholar
B72:3]Crowell, Norton B.A Reader's Guide to Robert Browning. Albuquerque: Univ. of New Mexico Press, 1972. pp. 268.Google Scholar
Includes a short biography, alphabetical and chronological bibliographies of RB's works, close analyses of 23 poems (mostly the well-known dramatic monologues), and a bibliography of RB scholarship for the years 1945–69.Google Scholar
B72:4] “Doctoral Dissertations in Progress.” Browning Newsletter, No. 8 (Spring, 1972), p. 44.Google Scholar
B72:5] “Doctoral Dissertations in Progress.” Browning Newsletter, No. 9 (Fall, 1972), pp. 49–50.Google Scholar
B72:6]Freeman, Ronald E. “A Checklist of Publications (July 1971-December 1971).” Browning Newsletter, No. 8 (Spring, 1972), pp. 68–72.Google Scholar
B72:7]Freeman, Ronald E. “A Checklist of Publications.” Browning Newsletter, No. 9 (Fall, 1972), pp. 68–70.Google Scholar
B72:8]Hancher, Michael. “Robert Browning: A Review of the Year's Research.” Browning Newsletter, No. 8 (Spring, 1972), pp. 3–16.Google Scholar
Covers the period July 1970-July 1971.Google Scholar
B72:9]Johnson, Richard C., and Tanselle, G. Thomas. “Addenda to the Bibliographies of Sherwood Anderson, the Brownings, Carlyle, Stephen Crane, Epictetus, Irving, James, Kipling, Leacock, London, Machen, Markham, and Mencken: Haldeman-Julius Little Blue Books.” Papers of the Bibliographical Society of America, 66 (1972), 66.Google Scholar
Cf. article by Johnson and Tanselle (Papers of the Bibliographical Society of America, 1970).CrossRefGoogle Scholar
B72:10]Kincaid, A. N., and Blayney, Peter W. M.. “A Book of Browning's and His ‘Essay on Chatterton.’” Browning Society Notes, 2 (12 1972), 11–25.Google Scholar
A transcription and discussion of RB's marginalia in a copy of Walpoliana [1800?], which he read while preparing to write his Essay on Chatterton.Google Scholar
B72:11] [King, Roma A. Jr.,] “Corrections and New Emendations in The Ohio Browning Edition.” Browning Newsletter, No. 8 (Spring, 1972), pp. 77–78.Google Scholar
For Vols. 1–2.Google Scholar
B72:12]Knoepflmacher, U. C. “Recent Studies in the Nineteenth Century.” Studies in English Literature, 12 (1972), 801–24.CrossRefGoogle Scholar
For RB, see pp. 810–11.Google Scholar
B72:13]Munich, Adrienne. “The Yale Browning Collection: The Beinecke Library.” Browning Newsletter, No. 8 (Spring, 1972), pp. 21–25.Google Scholar
30 letters by EBB, 170 by RB, and other materials.Google Scholar
B72:14] “Performances, Symposiums, and Exhibits.” Browning Newsletter, No. 8 (Spring, 1972), p. 59.Google Scholar
B72:15] “Performances, Symposiums and Exhibits.” Browning Newsletter, No. 9 (Fall, 1972), p. 50.Google Scholar
✓ B72:16]Peterson, William S., and Standley, Fred L.. “The J. S. Mill Marginalia in Robert Browning's Pauline: A History and Transcription.” Papers of the Bibliographical Society of America, 66 (1972), 135–70.CrossRefGoogle Scholar
The marginalia by both Mill and RB are printed for the first time in their entirety.Google Scholar
B72:19]Tennison, James E. “Elizabeth Barrett Browning: An Index to the NCBEL.” Browning Newsletter, No. 8 (Spring, 1972), pp. 42–43.Google Scholar
Author index for entries under EBB in the New Cambridge Bibliography of English Literature.Google Scholar
B72:20]Tobias, R. C. “The Year's Work in Victorian Poetry: 1971.” Victorian Poetry, 10 (1972), 195–233.Google Scholar
For RB, see pp. 204–08.Google Scholar
B72:21]Williams, Marvin L. Jr. “The Fannie Barrett Browning Collection at the University of Texas.” Browning Newsletter, No. 9 (Fall, 1972), pp. 3–8.Google Scholar
Collection includes 48 books, approx. 550 letters, and 30–35 photographs.Google Scholar
B72.22]Woolford, John, ed. Sale Catalogues of Libraries of Eminent Persons, Vol. 6: Poets and Men of Letters. London: Mansell, 1972.Google Scholar
The 1913 Sotheby catalogue, The Browning Collections, with an Introd. by Woolford, is reproduced on pp. 1–192. Prices and purchasers of the lots are indicated.Google Scholar
C. Biography, Criticism, and Miscellaneous
C72:1]Armstrong, Isobel. “Directions in Browning Criticism.” Browning Society Notes, 2 (07 1972), 41–43.Google Scholar
Describes two recent developments: (1) various attempts to see RB “in terms of his relevance to the twentieth century,” and (2) attempts “to create genre categories which are typical of Victorian poetry, and to locate Browning within them.”Google Scholar
C72:2]Armstrong, Isobel. Victorian Scrutinies: Reviews of Poetry 1830–1870. London: Athlone Press, 1972.Google Scholar
Reprints reviews of The Ring and the Book by John Morley and Richard Simpson (pp. 245–87). Occasional references to the Brownings in the Introd.Google Scholar
C72:3]Baly, Elaine. “Browning and Paddington.” Browning Society Notes, 2 (12 1972), 4–11.Google Scholar
“Excerpts from notes for a talk given to the Paddington Society, Friday 30th June 1972.”Google Scholar
C72:4]Barnes, Warner. [Review of Poets and Their Poetry: Robert Browning by Meredith, M. C. (London: Common Ground Publishers, 1964), a filmstrip.] Browning Newsletter, No. 9 (Fall, 1972), pp. 66–67.Google Scholar
“Though obviously intended for use in British public schools, it well serves the need of anyone teaching Browning to undergraduates in American universities.”Google Scholar
C72:5]Berman, R. J.Browning's Duke. New York: Richards Rosen Press, 1972. pp. xiv + 135.Google Scholar
A detailed examination of “My Last Duchess” from several perspectives.Google Scholar
C72:6]Bolton, Roy. “London Browning Society News.” Browning Society Notes, 2 (12 1972), 37–38.Google Scholar
C72:7] “Browning Home Open in Florence.” Birmingham [England] News, 4 June 1972, p. E5.Google Scholar
The official opening of Casa Guidi under the auspices of the Browning Institute.Google Scholar
C72:8] “Browning's Watch Stolen from the British Museum.” Browning Society Notes, 2 (March 1972), 29.Google Scholar
C72:9]Bullen, J. B. “Browning's ‘Pictor Ignotus’ and Vasari's ‘Life of Fra Bartolommeo di San Marco.’” Review of English Studies, NS 23 (1972), 313–19.CrossRefGoogle Scholar
Suggest that the Pictor Ignotus was Fra Bartolommeo.Google Scholar
C72:10]Butler, J. L., Kincaid, A. N., Ward, Maisie, and Bolton, Roy. “Reviews of Performances and Readings.” Browning Society Notes, 2 (03 1972), 22–27.Google Scholar
On the purchase of Casa Guidi by the Browning Institute. Reprinted from the Waco [Tex.] Tribune-Herald, 9 Jan. 1972.Google Scholar
C72:12]Conroy, Marilyn A. “Browning's Use of Art Objects.” Dissertation Abstracts International, 32 (1972), 4605A (Indiana Univ.).
“Art objects are consistently used to focus dramatic action and lyrical feeling, and to submit both action and feeling to the reader's judgment. Further, the poet is able to control the reader's judgment by his manipulation—choice of subject and detail, and composition—of the art objects.”Google Scholar
C72:13]Cundiff, PaulA. Browning's Ring Metaphor and Truth. Metuchen, N.J.: Scarecrow Press, 1972. pp. vi + 221.
First 3 chapters—“The Dating of Browning's Conception of the Plan of The Ring and the Book” (C4326), “The Clarity of Browning's Ring Metaphor” (C4475), and “Robert Browning: ‘Our Human Speech’” (Victorian Newsletter, 1959)—are reprinted. Remaining chapters— “Interpretation of Browning's Ring Metaphor,” “Interpretation of Browning's Use of Truth,” “Interpretation of Browning's Ring Metaphor and Truth,” and “Pope Innocent and God's Truth”—are new. There is also an appendix recording “Browning's Complete Use of the Word Truth in The Ring and the Book.”Google Scholar
Rev. by Barton R. Friedman, Browning Newsletter, No. 9 (Fall, 1972), pp. 53–59; Knoepflmacher, U. C., Studies in English Literature, 12 (Autumn, 1972), 811;CrossRefGoogle Scholar
C72:13:5]Daniels, Elizabeth A.Jessie White Mario: Risorgimento Revolutionary. Athens: Ohio Univ. Press, 1972. See index.Google Scholar
C72:14]Davis, Mary A. K. “The Satire of Sympathy: Satiric Elements in the Poetry of Robert Browning.” Dissertation Abstracts International, 33 (1972), 2321A (Univ. of Rochester).Google Scholar
“A study of the satiric elements in the poetry of Robert Browning accomplishes two related objects. First, it shows that Browning wrote much more satire than is generally recognized and suggests some of the facets of Browning's art as a satirist. Second, it modifies the dominant description of Browning as a relativistic poet.”Google Scholar
C72:15]Ewbank, David R. “Bishop Blougram's Argument.” Victorian Poetry, 10 (1972), 257–63.Google Scholar
The Bishop's apology is filled with logical fallacies.Google Scholar
C72:16]Felgar, Robert. “Several Misconceptions about Browning's Sources for the ‘Parleying with Daniel Bartoli.’” Browning Newsletter, No. 8 (Spring, 1972), pp. 49–52.Google Scholar
C72:17]Fontana, Ernest L. “Browning's St. Praxed's Bishop: A Naturalistic View.” Victorian Poetry, 10 (1972), 278–82.Google Scholar
Reply to article by Phipps (Victorian Poetry, 1970).Google Scholar
Essay (first published in 1927) quotes a comment by Ezra Pound on RB.Google Scholar
C72:19]Fox, Steven J. “Art and Personality: Browning, Rossetti, Pater, Wilde and Yeats.” Dissertation Abstracts International, 33 (1972), 751A (Yale Univ.).
“Chapter I, on Robert Browning, offers a reading of his early works—Pauline, Paracelsus and Sordello—and An Essay on Shelley to demonstrate his divergence from the Romantic tradition and study his development of an art for comparing, contrasting and multiplying images of the self.”Google Scholar
C72:20]Going, William T. “Browning and the Sonnet.” Tennessee Studies in Literature, 17 (1972), 81–97.Google Scholar
“The purpose of this essay is to examine Browning's sonnets and especially his attitude toward this verse form as expressed both directly and indirectly by the poet in his own persona and by the men and women he wrote about.”Google Scholar
C72:21]Gridley, Roy E.Browning. (Routledge Author Guides.) London: Routledge and Kegan Paul, 1972. pp. viii + 192.Google Scholar
A survey of RB's literary career, with emphasis on the social and historical context. RB's life is divided into decades, and a final chapter is entitled “Browning among the Modern Poets.”Google Scholar
Rev. by Times Literary Supplement, 24 Nov. 1972, p. 1420; Armstrong, Isobel, Browning Society Notes, 2 (12 1972), 28–31;Google Scholar
C72:22]Grylls, Rosalie G. “Rossetti and Browning.” Princeton University Library Chronicle, 33 (1972), 232–50.CrossRefGoogle Scholar
Includes 11 new letters from Rossetti to RB. Cf. article by Adrian (Publications of the Modern Language Association, 1958).Google Scholar
C72:23]Hair, Donald S.Browning's Experiments with Genre. (Univ. of Toronto Department of English Studies and Texts, No. 19.) Toronto: Univ. of Toronto Press, 1972. pp. xiv + 204.CrossRefGoogle Scholar
A study of RB's use and modifications of popular nineteenth-century literary forms, treating most of the poems from Pauline through The Ring and the Book.Google Scholar
C72:24]Hancher, Michael. “The Beerbohm Caricature of Browning and the Browning Society.” Browning Newsletter, No. 9 (Fall, 1972), pp. 23–33.Google Scholar
The figures in the drawing are identified.Google Scholar
C72:25]Hart, Nathaniel I., and Turner, W. Craig. “Pen's Portrait of the Abbé.” Browning Newsletter, No. 8 (Spring, 1972), pp. 26–30.Google Scholar
The circumstances surrounding Pen Browning's painting (reproduced on p. 17).Google Scholar
C72:26]Herring, Jack. Browning's ‘Old Schoolfellow’: The Artistic Relationship of Two Robert Brownings. (Beta Phi Mu Chapbook No. 9.) Pittsburgh: Beta Phi Mu, 1972. pp. vi + 78.Google Scholar
An introductory essay by Herring on RB's literary and artistic indebtedness to his father, followed by a reproduction of a set of satirical sketches by RB Sr. entitled The Old Schoolfellow (with the artist's accompanying narrative transcribed on facing pages).Google Scholar
C72:27]Heydon, Peter N. “Robert Browning's Early View of the Figure of the Poet.” Dissertation Abstracts International, 33 (1972), 2328A (Univ. of Michigan).Google Scholar
Emphasis on Pauline, Paracelsus, Sordello, the Essay on Shelley, and the Essay on Chatterton.Google Scholar
C72:28]Hunt, Martha C. “Elizabeth's Writing Table.” Browning Newsletter, No. 8 (Spring, 1972), p. 53.Google Scholar
The table (photograph on p. 19) is now in the Armstrong Browning Library.Google Scholar
C72:29]Kaplan, Fred. Miracles of Rare Device: The Poet's Sense of Self in Nineteenth-Century Poetry. Detroit: Wayne State Univ. Press, 1972.Google Scholar
Includes close analyses of “Andrea del Sarto,” “Pictor Ignotus,” “Dîs aliter Visum,” and “Saul.” Kaplan's premise is that “a major key to Romantic poetry is an understanding of how the artist reveals in his poetry his concern with himself as artist and with his art.”Google Scholar
C72:30]Kelley, Philip. “Browning” (letter). Times Literary Supplement, 16 06 1972, p. 689.Google Scholar
Report on Casa Guidi Campaign.Google Scholar
C72:31]Kimball, Jim C. “A Ruskin Letter to Mrs. Browning.” Browning Newsletter, No. 8 (Spring, 1972), pp. 47–49.Google Scholar
Undated letter. Corrections of Kimball's transcription and notes by DeLaura, David J., Studies in Browning and His Circle, 1 (Spring, 1973), 33–34.Google Scholar
C72:32]Kincaid, A. N. “Browning Society Notes.” Browning Newsletter, No. 8 (Spring, 1972), p. 52.Google Scholar
On the new journal of the Browning Society of London.Google Scholar
C72:33]Kincaid, A. N. “Browning's ‘Venice in London’: Two Paintings by Margaret E. Wilson.” Browning Society Notes, 2 (12 1972), 33–34.Google Scholar
Kincaid has acquired the companion oil paintings of 19 Warwick Crescent and the view from it.Google Scholar
C72:34]Kincaid, A. N. “The Dramatic Monologue: Eliot's Debt to Browning.” Browning Society Notes, 2 (07 1972), 4–11.Google Scholar
Kincaid believes the debt was very great. Paper originally delivered at the first Annual General Meeting of the reconstituted Browning Society of London, March 1970.Google Scholar
C72:35]Kincaid, Arthur. “‘In a Balcony,’ Reflections by the Director.” Browning Society Notes, 2 (03 1972), 17–20.Google Scholar
Describes the London Browning Society production, 16 June 1971.Google Scholar
C72:36]Kincaid, A. N. “Reports on Casa Guidi and the Browning Institute.” Browning Society Notes, 2 (07 1972), 44–48.Google Scholar
C72:37]Kincaid, Margaret. “‘In a Balcony’ Design.” Browning Society Notes, 2 (03 1972), 15–17.Google Scholar
Costume and set problems associated with the first production of “In a Balcony” staged in England since 1912. Performed 16 June 1971.Google Scholar
C72:38]Kirk, Carey H. “Checkmating Bishop Blougram.” Victorian Poetry, 10 (1972), 265–71.Google Scholar
The poem is like an elaborate game of chess.Google Scholar
C72:39]Korg, Jacob. “The Music of Lost Dynasties: Browning, Pound and History.” English Literary History, 39 (1972), 420–40.CrossRefGoogle Scholar
“… Browning's historical poems, especially Sordello, and, to a lesser extent, The Ring and the Book, seem to have shown [Pound] how historical materials could contribute to the renovation of poetry.”Google Scholar
C72:40]Lane, Anthony J. “Browningin Pentridge” (letter). Times Literary Supplement, 5 05 1972, p. 522.Google Scholar
Corrects statement in Maisie Ward's biography about RB's ancestors.Google Scholar
C72:41]Lane, Anthony J. “The Brownings at Woodyates and Pentridge.” Dorset, No. 28 (Winter, 1972), pp. 50–53, 55, 57, 59.Google Scholar
A detailed investigation of RB's ancestors.Google Scholar
C72:42]Langbaum, Robert. “Is Guido Saved? The Meaning of Browning's Conclusion to The Ring and the Book.” Victorian Poetry, 10 (1972), 289–305.Google Scholar
Guido undergoes spiritual regeneration just before death.Google Scholar
C72:43]Lindroth, J. Colette. “The Poetic Apprenticeship of Robert Browning, 1833–46.” Dissertation Abstracts International, 33 (1972), 2897A (New York Univ.).Google Scholar
“… considers in detail the work produced between 1833 and 1846 in an effort to reveal the processes which shaped Browning's mature voice.”Google Scholar
C72:44]Lupton, Mary Jane. Elizabeth Barrett Browning. Old Westbury, N.Y.: Feminist Press, 1972. pp. 103.Google Scholar
EBB's life and works seen from a feminist viewpoint.Google Scholar
C72:45]McClatchey, Joe H. “Browning and Eschatology: A Reading of the Poems from Pauline to The Ring and the Book.” Dissertation Abstracts International, 32 (1972), 5797–98A (Arizona State Univ.).Google Scholar
“By tracing his usage of this poetic detail through his poems … one is enabled to see a development in his handling of it; he moves from a weak application that is little more than literary garnishment to a controlled ordering that informs the characters in several of the major monologues.”Google Scholar
C72:46]Mahlmann, Lewis. “The Pied Piper of Hamelin: From the Poem by Robert Browning.” Plays, 32 (1972), 44, 67–70.Google Scholar
Two-scene play.Google Scholar
C72:47]Meredith, Michael. “The Two B's: Browning and Bennett.” Browning Newsletter, No. 9 (Fall, 1972), pp. 9–16.Google Scholar
The relationship of RB and the poet William C. Bennett.Google Scholar
C72:48]Moulton-Barrett, Edward. “Talking of the Barretts.” Browning Society Notes, 2 (03 1972), 4–5; 2 (July 1972), 3–4; 2 (December 1972), 3–4.Google Scholar
An informal account of EBB's family, based on published works, letters, and family traditions.Google Scholar
C72:49]Napravnik, Charles J. “Conventional and Created Imagery in the Love Poems of Robert Browning.” Dissertation Abstracts International, 33 (1972), 282–83A (Univ. of Oklahoma). “…Google Scholar
it is the purpose of this dissertation to demonstrate how Robert Browning … used a clearly defined sub-stratum of controlling imagery to convey a level of sexuality in his poetry.”Google Scholar
C72:50]Odenwald, Sylvia. “Two Children, Our Saviour and St. John, with a Lamb.” Browning Newsletter, No. 8 (Spring, 1972), p. 56.Google Scholar
The painting by Murillo (reproduced on p. 18), once owned by the Brownings, is in the Armstrong Browning Library.Google Scholar
C72:51]O'Laughlin, Miles. [Review of Browning Society Notes, ed. A. N. Kincaid, Vol. 2, No. 2 (1972).] Browning Newsletter, No. 9 (Fall, 1972), pp. 62–66.Google Scholar
An unfavorable estimate.Google Scholar
C72:52]Otten, Terry. The Deserted Stage: The Search for Dramatic Form in Nineteenth-Century England. Athens: Ohio Univ. Press, 1972.Google Scholar
Chap. 4 is entitled “Browning's A Blot in the 'Scutcheon and Pippa Passes.” Otten claims that “no nineteenth-century poet came closer to writing a modern drama.”Google Scholar
C72:53]Paulin, T. N. “Quotations in Thomas Hardy.” Notes and Queries, NS 19 (1972), 386.CrossRefGoogle Scholar
A quotation in Tess is from Paracelsus.Google Scholar
C72:54]Pettigrew, John S. “Date Correction of Browning Letter to Charles D. Browning.” Browning Newsletter, No. 9 (Fall, 1972), p. 51.Google Scholar
Letter dated 22 Mar. 1883 in Hood's Letters of Robert Browning, p. 215, should be 21 Mar.Google Scholar
Success of Casa Guidi Campaign.Google Scholar
C72:56] “A Profile: Morse Peckham.” Browning Newsletter, No. 9 (Fall, 1972), pp. 71–72.Google Scholar
On the author of several important critical studies and an editor of the Ohio variorum edition of RB's works.Google Scholar
C72:57] “A Profile: Roma A. King, Jr.” Browning Newsletter, No. 8 (Spring, 1972), pp. 73–76.Google Scholar
On the author of The Bow and the Lyre (1957) and The Focusing Artifice (1968) and general editor of the Ohio variorum edition of RB's works.Google Scholar
C72:58]Radley, Virginia L.Elizabeth Barrett Browning. (Twayne's English Authors Series, No. 136.) New York: Twayne, 1972. pp. 156.Google Scholar
Preface: “The purpose of this present study is … to introduce the general reader to Elizabeth Barrett Browning's poetry and prose. Because so few readers today are familiar with any of her works …, time and space have been devoted to summarizing the poetry itself before attempting to explicate or interpret. The study proceeds chronologically in the main, taking up the juvenilia and early poems: the Poems of 1844; the Sonnets from the Portuguese; and finally those poems with political or social implications.…” Introductory chapter is biographical.Google Scholar
C72:59]Raisor, Philip. “The Failure of Browning's Childe Roland.” Tennessee Studies in Literature, 17 (1972), 99–110.Google Scholar
“… Childe Roland's battle-cry [at the end of the poem] is a blind rebellion in defense of a negative perception.”Google Scholar
C72:60]Ramsey, Roger. “Reddening and Browning.” Educational Forum, 37(1972), 43.CrossRefGoogle Scholar
Poem about “Soliloquy of the Spanish Cloister.”Google Scholar
C72:61] “Reports on Casa Guidi and the Browning Institute.” Browning Society Notes, 2 (December 1972), 35–37.Google Scholar
C72:62]Roberts, John J. “The Companion Poems of Robert Browning.” Dissertation Abstracts International, 33 (1972), 1148–49A (Tulane Univ.).Google Scholar
“Browning's companion method is based upon complementary antithesis, the juxtaposition of elements within a poem or among several poems so as to point up the limitations and inadequacies of any one element or perspective while implying a higher synthesis or unity.”Google Scholar
C72:63]Shaffer, Elinor. “Browning's St. John: The Casuistry of the Higher Criticism.” Victorian Studies, 16 (1972), 205–21.Google Scholar
“A Death in the Desert,” far from being an attack upon the higher criticism, agrees with the more advanced nineteenth-century Biblical scholars in its emphasis upon the spiritual truth, rather than the historicity, of New Testament narratives.Google Scholar
C72:64]Shapiro, Arnold. “Browning's Psalm of Hate: ‘Caliban upon Setebos,’ Psalm 50, and The Tempest.” Papers on Language and Literature, 8 (1972), 53–62.Google Scholar
C72:65]Shapiro, Arnold. “A New (Old) Reading of ‘Bishop Blougram's Apology’: The Problem of the Dramatic Monologue.” Victorian Poetry, 10 (1972), 243–56.Google Scholar
RB expects us to reject Blougram's values.Google Scholar
C72:66]Siegchrist, Mark. “Correspondence.” Browning Newsletter, No. 8 (Spring, 1972), pp. 57–58.Google Scholar
Letter humorously suggesting that The Ring and the Book influenced the Beatles.Google Scholar
C72:67]Slinn, Errol W. “Deception and Artifice in Four Late Browning Poems: Prince Hohenstiel-Schwangau, Fifine at the Fair, Red Cotton Night-Cap Country, and The Inn Album.” Dissertation Abstracts International, 32 (1972), 6944A (Univ. of British Columbia).Google Scholar
C72:67.3]Standley, Fred L.Stopford Brooke. (Twayne's English Authors Series, No. 135.) New York: Twayne, 1972.Google Scholar
See index.Google Scholar
C72:67.7]Stevenson, Lionel. The Pre-Raphaelite Poets. Chapel Hill: Univ. of North Carolina Press, 1972.Google Scholar
See index.Google Scholar
C72:68]Thompson, Leslie M. “‘Childe Roland to the Dark Tower Came’ and the Gothic Tradition in Literature.” Browning Newsletter, No. 9 (Fall, 1972), pp. 17–22.Google Scholar
“Perhaps the most salient characteristics of the poem are its gothic trappings, and they might possibly have been occasioned by the latent influence of gothic literature on Browning.”Google Scholar
C72:69]Thomson, Patricia. “Elizabeth Barrett and George Sand.” Durham University Journal, NS 33 (1972), 205–19.Google Scholar
EBB's relationship with George Sand, and Sand's influence upon Aurora Leigh.Google Scholar
C72:70]Thurman, William R. “Carlyle, Browning, and Ruskin on One Purpose of Art.” South Atlantic Bulletin, 37 (May 1972), 52–57.CrossRefGoogle Scholar
The artistic theories of “Fra Lippo Lippi” compared with the ideas of Carlyle and Ruskin.Google Scholar
C72:71]Ward, Maisie. “The Tragi-Comedy of Pen Browning.” Browning Society Notes, 2 (March 1972), 5–9.Google Scholar
A condensed version of next entry.Google Scholar
C72:72]Ward, Maisie. The Tragi-Comedy of Pen Browning (1849–1912). With an Introd. by Coles, Robert. New York: Sheed and Ward and the Browning Institute, 1972. pp. xxii + 166.Google Scholar
A brief biography of the Brownings' only child, whose full name was Robert Wiedeman Barrett Browning. With numerous illustrations and appendices.Google Scholar
Rev. by Wimsatt, Margaret, Library Journal, 98 (1 01 1973), 65; New Yorker, 49 (13 Jan. 1973), 92; New York Times Book Review, 11 Mar. 1973, p. 46; [Rosalie G. Grylls], Times Literary Supplement, 11 May 1973, p. 530;Google Scholar
C72:73]Whitla, William, “Browning and the Ashburton Affair.” Browning Society Notes, 2 (07 1972), 12–41.Google Scholar
Argues that the proposal of marriage was made by Lady Ashburton rather than RB.Google Scholar
C72:74]Withers, Sara and Samuel, . “The Palazzo in ‘The Statue and the Bust.’” Browning Newsletter, No. 8 (Spring, 1972), pp. 45–46.Google Scholar
Errors in De Vane's Handbook.Google Scholar
C72:75]Yetman, Michael G. “‘Count Guido Franceschini’: The Villain as Artist in The Ring and the Book.” Publications of the Modern Language Association, 87 (1972), 1093–1102.CrossRefGoogle Scholar
Guido creates an impressive fictional world in Book V.Google Scholar
Late Entries
A71:1]Pied Piper of Hamelin.Google Scholar
A71:12.5]Tennyson, Charles and Hallam, , eds. Victorian Poetry 1830–1890. London: Ginn, 1971.Google Scholar
Includes selected poems of RB and EBB, with a few notes.Google Scholar
B71:1.5]Dyson, A. E., ed. English Poetry: Select Bibliographical Guides. London: Oxford Univ. Press, 1971.Google Scholar
Chap, on RB (pp. 284–315) is by Ian Jack.Google Scholar
Also issued separately as a pamphlet.Google Scholar
B71:11.5]Tobias, R. C. “The Year's Work in Victorian Poetry: 1970.” Victorian Poetry, 9 (1971), 301–30.Google Scholar
For RB, see pp. 313–18.Google Scholar
C71:10.5]Cramer, Maurice B. “Maisie Ward and Browning Biography: A New Era.” Modem Philology, 68 (1971), 294–300.CrossRefGoogle Scholar
Review-essay.Google Scholar
C71:12.5]Damascene, Sister Mary. “An Interpretation of Robert Browning's ‘The Bishop Orders His Tomb at St. Praxed's Church.’” Mark Twain Journal, 16 (Winter, 1971–1972), 17–19.Google Scholar
Mostly about RB's use of irony.Google Scholar
C71:15.5]Elledge, W. Paul, and Hoffman, Richard L., eds. Romantic and Victorian: Studies in Memory of William H. Marshall. Rutherford, N.J.: Far-leigh Dickinson Univ. Press, 1971.Google Scholar
“Death and Browning's Dying Bishop” by G. Malcolm Laws, Jr. (pp. 318–28) examines Bishop Blougram's “statements about death and [shows] that his views are presented in a precise and meaningful sequence which must be closely followed if the monologue is to be fully understood.” “Browning's Red Cotton Night-Cap Country” by Clyde de L. Ryals (pp. 329–45) argues that the poem “is both a carefully planned poem and an affirmation of the poet's most priced beliefs.” “The Necessary Surmise: The Shaping Spirit of Robert Browning's Poetry” by Roma A. King, Jr. (pp. 346–61) searches for “the ground in which Browning's poetry is rooted” by studying “his unstructured, pre-rational disposition toward a way of feeling and acting.”Google Scholar
C71:16.5]Fleet, Kenneth. “Elliott, Son & Boyton: The Surveyors of Harley Street.” Daily Telegraph (London), 27 07 1971, p. 18.Google Scholar
Includes an interior photograph of 44 Wimpole Street, which was used in the first film version of The Barretts of Wimpole Street by Besier.Google Scholar
C71:17.5]Golden, Arline H. “Victorian Renascence: The Amatory Sonnet Sequence in the Late Nineteenth Century.” Dissertation Abstracts, 31 (1971), 6605–06A (Indiana Univ.).Google Scholar
Treats Sonnets from the Portuguese.Google Scholar
C71:24:5]Kay, Carol M. “An Analysis of Sonnet 6 in Sonnets from the Portuguese.” Concerning Poetry, 4 (Spring, 1971), 17–21.Google Scholar
C71:38.5]Patterson, Rebecca. “Emily Dickinson's Jewel Imagery.” American Literature, 42 (1971), 495–520.CrossRefGoogle Scholar
Table (p. 497) lists frequency of jewel imagery in poetry of RB and EBB.Google Scholar
C71:39.5]Peckham, Morse. “An Answer to Robert Felgar's Inquiry.…” Browning Newsletter, No. 7 (Fall, 1971), p. 45.Google Scholar
On an allusion in “Beatrice Signorini,” ll. 186–213.Google Scholar
C71:41.3] “A Profile: Kenneth L. Knickerbocker.” Browning Newsletter, No. 7 (Fall, 1971), pp. 72–74.Google Scholar
On the co-editor of RB's New Letters (1950) and The Browning Critics (1965).Google Scholar
C71:41.5]Saradhi, K. P. “Browning's The Return of the Druses: ‘Action in Character’ versus ‘Character in Action.’” Osmania Journal of English Studies, 8 (1971), 53–65.Google Scholar
A defense of the play's dramatic qualities.Google Scholar
C71:41.7]Shaw, W. David. “Victorian Poetics: An Approach Through Genre.” Victorian Newsletter, No. 39 (Spring, 1971), pp. 1–4.Google Scholar
Frequent references to RB.Google Scholar
C71:44.3]Sundell, Michael G. “Spiritual Confusion and Artistic Form in Victorian Poetry.” Victorian Newsletter, No. 39 (Spring, 1971), pp. 4–7.Google Scholar
Treats The Ring and the Book and “Childe Roland.”Google Scholar
C71:44.5]Takiyama, Tokuzo. “An Approach to Count Guido in The Ring and the Book.” Annual Reports of Studies (Doshisha Women's College, Kyoto, Japan), 22 (1971), 164–82.Google Scholar
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C71:45.5]Toth, Susan A. “Henderson the Rain King, Eliot, and Browning.” Notes on Contemporary Literature, 1 (11 1971), 6–8.Google Scholar
The Waste Land and “Childe Roland” “reverberate through the background of Bellow's novel.”Google Scholar
C71:46.5]Vondersmith, Bernard J. “My Last Duchess and The Love Song of J. Alfred Prufrock: A Method of Counterbalance.” Contemporary Education, 43(1971), 106–10.Google Scholar
How to discuss the two poems in the classroom.Google Scholar