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Robert and Elizabeth Barrett Browning: An Annotated Bibliography for 1981
Published online by Cambridge University Press: 24 October 2008
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- Browning Bibliography
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- Copyright © Cambridge University Press 1983
References
A. Primary Works
A81:1.Altick, Richard D., ed. Robert Browning: The Ring and the Book. New Haven: Yale University Press, 1981. pp. 707. [See A71: 3.] ¶ Published first in 1971 as part of the Penguin English Poets series.Google Scholar
A81:2. Excerpt from Elizabeth Barratt [sic] Browning poem. The Christian Science Monitor, 3 11 1976, p. 21. ¶ Six lines quoted, asking if “a larger metaphysics might not help / Our physics –”.Google Scholar
A81:3.King, Roma A. Jr., ed. The Complete Works of Robert Browning. Vol. 5. Athens: Ohio University Press, 1981. pp. xxiv + 395. ¶ A Soul's Tragedy, ed. Allan C. Dooley; Christmas-Eve and Easter-Day, ed. Harry Krynicky; Essay on Shelley, ed. Donald Smalley; Men and Women, volume 1, ed. Allan C. Dooley. With notes and variant readings.Google Scholar
A81:5.Pettigrew, John, and Collins, Thomas J., eds. Robert Browning: The Poems. New Haven: Yale Univ. Press, 1981. Vol. 1. pp. xxxii + 1191; Vol. 11: pp. xxxvii + 1167. ¶ With the exception of the plays, the Agamemnon, and some unpublished verses for which permission was not secured, the edition aims at completeness. Includes Essay on Shelley. ¶ Rev. by British Book News, December 1981, p. 709*; David Wright, Times Educational Supplement, 4 Dec. 1981, p. 21; Douglas Dunn, The Sunday Times (London), 3 Jan. 1982, p. 34;Google Scholar
A81:7.Thompson, N. S., “A New Browning Letter.” Notes and Queries, 28 (10 1981), 415. ¶ Dated 17 Dec. 1874, the letter thanks Giuseppe Chiarini (1833–1908) for a presentation copy of Poesie (1868–74).Google Scholar
B. Reference and Bibliographical Works and Exhibitions
B81:1. “Casa Guidi Exhibits Browningiana.” Through Casa Guidi Windows: The Bulletin of the Browning Institute, No. 5 (Summer 1981), p. 4. ¶ Family memorabilia and documentary photographs displayed at Casa Guidi.Google Scholar
B81:2.Coley, , Betty, , and Kelley, Philip, compilers. Lot 931: A Reconstruction. Baylor Browning Interests, No. 27. Waco: Armstrong Library, 1981. pp. 47. ¶ Bought by Wilfred Meynell from the 1913 Sotheby sale of the poets' effects, this lot was described in the catalogue simply as a large quantity of miscellaneous books and periodicals. Full bibliographical data for this lot, containing 433 items.Google Scholar
B81:3.Collins, Thomas J. “Robert Browning.” VP, 19 (Autumn 1981), 257– 62. ¶ Survey of recent scholarship and criticism.Google Scholar
B81:4.Freeman, Ronald E. “A Checklist of Publications [July 1980–December 1980].” SBHC, 9 (Spring 1981), 87–90.Google Scholar
B81:5.Freeman, Ronald E. and Keyes, Janet. “A Checklist of Publications [January 1981 – July 1981].” SBHC, 9 (Fall 1981), 92–95.Google Scholar
B81:6.Kelley, Philip, and Hudson, Ronald. “The Brownings' Correspondence: Supplement No. 4 to the Checklist.” BIS, 9 (1981), 161–71.Google Scholar
B81:7.Kelley, Philip, and Hudson, Ronald. “Editing the Brownings' Correspondence: An Editorial Manual.” BIS, 9 (1981), 141–60. ¶ Somewhat abbreviated version of manual for the projected fortyvolume edition of The Brownings' Carrespondence.Google Scholar
B81:8.Kelley, Philip, and Hudson, Ronald. The Brownings' Correspondence: A Checklist. [See B77:11.] ¶ Rev. by Ian Jack, TLS, 3 Nov. 1978, p. 1285.Google Scholar
B81:9.Munich, Adrienne. “Robert and Elizabeth Barrett Browning: An Annotated Bibliography for 1979.” BIS, 9 (1981), 173–83.Google Scholar
B81:10.Tobias, Richard C. et al. , “Brownings” in “Victorian Bibliography for 1980,” VS, 24 (Summer 1981), 583–85.Google Scholar
C. Biography, Criticism, and Miscellaneous
C81:1.Bergman, David L. “Word Magic in Browning's ‘Flight of the Duchess.’” Arnoldian, 9 (Winter 1981), 40–52. ¶ In this poem Rb uses “mystical language and esoteric structures not to characterize his figures, but to strip them of character and to make them figures of some larger drama” (p. 40).Google Scholar
C81:2.Bloom, Harold, and Munich, Adrienne, eds. Robert Browning: A Collection of Critical Essays. [See C79:6.]Google Scholar
C81:3.Blythe, Hal, and Sweet, Charlie. “Browning's Bishop: The Man Who Would be Dionysius.” SBHC, 9 (Fall 1981), 79–81. ¶ Rb's bishop's ideas of an afterlife of sexual gratification identify him not with a Christian God but with Dionysius.Google Scholar
C81:4.Bornstein, George. “The Structure of Browning's ‘Pictor Ignotus.’” VP, 19 (Spring 1981), 65–72. ¶ The poem's “intricacies of structure make it one of the most finely crafted of the dramatic monologues and reveal Browning's creative transformation of Romantic norms in the ongoing development of nineteenthcentury poetry” (p. 65).Google Scholar
C81:5.Chaffee, Alan J. “Dialogue and Dialectic in Browning's Sordello.” Texas Studies in Language and Literature, 23 (Spring 1981), 52–77. ¶ Sordello embraces a variety of dialogic modes, but the predominant formal principle governing the dialogic relation between the speaker and Sordello is a psychoanalytic one.Google Scholar
C81:6.Chell, Samuel L. “Robert Browning's Evolving God.” Christianity and Literature, 28 (Spring 1979), 51–62. ¶ Rb conceived of the Incarnation in dynamic and evolutionary terms as a reaction against the rational approaches of his contemporaries” (p. 51). With attention to Christmas-Eve and Easter-Day, “Saul,” “Karshish,” and “Cleon.”Google Scholar
C81:7.Cheskin, Arnold Ford. “Robert Browning and the Hebraic Tradition.” DAI, 42 (1981), 1643–44A (Rutgers). ¶ A comprehensive study of Hebraic materials. A chapter devoted to “Jochanan Hakkadosh”; poetry placed in a broad biographical framework, considering Rb's study of Rabbinic writings and his personal friendships with Jews.Google Scholar
C81:8.Churchill, Kenneth. Italy and English Literature: 1764–1930. London: Macmillan Press, 1980. pp. viii + 230. ¶ “Browning” (pp. 89–97) discusses the influence of Italy on Rb's work, beginning with Sordello, ending with The Ring and the Book, and concluding that the shorter poems in between use Italy more importantly. Ebb in “The Other Victorian Poets” (pp. 99–109) characterizes Italy in her early poems in a conventional Romantic way as a ruin but changes in her political poems and in Aurora Leigh to portraying it as a model for England to emulate.Google Scholar
C81:9. “Collection Items Added During 1979–1980.” The Armstrong Browning Library Newsletter, No. 24 (Spring 1981), pp. 2–3. ¶ Letters, books, and memorabilia acquired for the collection.Google Scholar
C81:10.Crowell, Norton B. “‘In a Balcony,’ a Tale of Courtly Love.” SBHC, 9 (Fall 1981), 7–17. ¶ The work must be viewed as a commentary upon the values of courtly love; Christian love triumphs in the end.Google Scholar
C81:12.Dellamora, Richard J. “Browning's ‘Essay on Shelley’ and ‘Childe Roland to the Dark Tower Came’: Mythopoeia and the Whole Poet.” Journal of Pre-Raphaelite Studies, 2 (11 1981), 36–52. ¶ Precisely how Roland figures Shelley can be understood by considering “Julian and Maddallo” and Browning's Essay on Shelley.Google Scholar
C81:13.DeSilva, D. M. “Browning's King Victor and King Charles.” BSN, 11 (04 1981), 8–21. ¶ By analyzing Charles's character, one discovers the play to affirm the character's dignity, stature, and growth. The triumph of human values demonstrates that our historical record is a lie, “concocted for a world of moral coarseness: the truth is a general and hidden action” (p. 21).Google Scholar
C81:14.Dougherty, Charles T. “A Browning Protégé” Papers of the Bibliographical Society of America, 75 (1981), 346–47. ¶ Rb's efforts on behalf of Hiram Powers in regard to some notes on colored statuary.CrossRefGoogle Scholar
C81:15.Dupras, Joseph A. “An Epistle … of Karshish and Froment's Lazarus Triptypch: The Uffizi Connection.” SBHC, 9 (Fall 1981), 51–56. ¶ Rb heightens, transmutes, and reforms his visual source, a measure of his resourcefulness and invention and an expression of his belief in the affinities of the arts.Google Scholar
C81:16.Fish, Thomas Edward. “Between the Man and the Masks: The Developing Epiphanic Mode of Browning's Casuistic Monologues.” DAI, 42 (1982), 3164A (University of Kansas). ¶ Through use of a Joycean “epiphanic mode” Rb's monologues allow authorial consciousness to alternate with the speaker's “casuistic ego.”Google Scholar
C81:7.Fletcher, Pauline Charlotte. “Gardens and Grim Ravines: A Study of the Use of Landscape in Victorian Poetry.” DAI, 42 (1981), 224A (University of Rochester). ¶ In the context of the Victorian poets' use of landscape. Rb prefers the human to the sublime scene, the social to the anti-social.Google Scholar
C81:18.Freibert, Lucy M. “The Influence of Elizabeth Barrett Browning on the Poetry of Herman Melville.” SBHC, 9 (Fall 1981), 69–78. ¶ An accumulation of evidence indicates not only Melville's strong admiration for Ebb's poetry but his emulation of her poetic practice.Google Scholar
C81:19.Gelpi, Barbara Charlesworth. “Aurora Leigh: The Vocation of the Woman Poet.” VP, 19 (Spring 1981), 35–48. ¶ While telling Aurora's story, Ebb is also describing the process by which she threw off internalized antifeminine biases in order to accept her role as woman poet, “an underplot which unfolds primarily through the metaphorical language of the poem” (p. 36).Google Scholar
C81:20.Gibson, Mary Ellis. “Approaches to Character in Browning and Tennyson: Two Examples of Metrical Style.” Language and Style, 14 (Winter 1981), 34–51. ¶ Uses a generative theory of meter to explore the differences between Tennyson's “mellifluous” and Rb's “dissonant” verse. Rb, unlike Tennyson, often approaches extremes of metrical complexity, juncture, and synalepha, and occasionally he passes beyond the limits of metricality” (p. 50).Google Scholar
C81:21.Gibson, Mary Ellis. “The Poetry of Struggle: Browning's Style and ‘The Parleying with Gerard De Lairesse.’” VP, 19 (Autumn 1981), 225–42. ¶ “In the ‘Parleying with Gerard de Lairesse,’ we find Browning juxtaposing at least three styles: the style of deliberate poeticizing, the colloquial style, and the simpler music of the final lyric.… [W]e can characterize the speaking style as in some sense normative for Browning” (p. 241).Google Scholar
C81:22.Hancher, Michael. “Browning, Furnivall, Leighton, Not to Mention Paralipsis (Occupatio).” SBHC, 9 (Spring 1981), 53–64. ¶ Reviews Browning's Trumpeter, ed. William S. Peterson [see A79:5] but also discusses how Rb's characteristic of rhetorical figures allows him to express more than he explicitly writes and to allow ironic distance from his correspondent.Google Scholar
C81:23. “Happenings in Browning.” The Armstrong Browning Library Newsletter, No. 25 (Fall 1981), p. 4. ¶ Six Browning Societies report activities.Google Scholar
C81:24. “Happenings in Browning.” The Armstrong Browning Library Newsletter, No. 24 (Spring 1981), p. 4. ¶ Five Browning Societies report activities.Google Scholar
C81:25.Harrison, Antony H. “Cleon's Joy-Hunger and the Empedoclean Context.” SBHC, 9 (Fall 1981), 57–68. ¶ By analyzing Cleon's materialistic understanding of “joy” in the context of Romantic poetry and of Arnold's Empedocles on Etna, one finds that Rb is a relativist poet whose poems are “self-expanding artifacts.”Google Scholar
C81:26.Hassett, Constance W. “Browning's Caponsacchi: Convert and Apocalyptist.” Philological Quarterly, 60 (Fall 1981), 487–500. ¶ By internalizing apocalypse, it becomes an emblem of religious conversion and “susceptible to the purposes of the dramatic monologue” (p. 492); Caponsacchi testifies to the judges of his conversion made possible by Pompilia's transforming power.Google Scholar
C81:27.Herron, Jerry. “The Later ‘Private Life’ of Robert Browning.” SBHC, 9 (Spring 1981), 7–26. ¶ It is useful to subscribe neither to the view that there are two RB's nor to a formalistic view of RB's late works; in order to evaluate his whole contribution one must consider the poet's ongoing process of mediation between work, life, and audience.Google Scholar
C81:28.Holloway, Anna Rebecca. “Henry James and The Intellectuals: Relativism and Form in George Eliot, Robert Browning, Walter Pater, and Henry James.” DAI, 42 (1981), 1646A (Kent State). ¶ The Ring and the Book: conflict between relativism and intellectual absolutism.Google Scholar
C81:29.Holloway, Julia Belton. “Aurora Leigh and Jane Eyre.” Brontë Society Transactions, 17 (1977), 126–32. ¶ Although Ebb braved Rb's disapproval of her love for novel-reading, that disrespectability of novels colored her harsh evaluation of Jane Eyre; nonetheless the poem resembles the novel in significant respects.Google Scholar
C81:30.Hughes, Linda K. “Malory's ‘Balin, or The Knight with the Two Swords’ and Browning's ‘Childe Roland to the Dark Tower Came.’” SBHC, 9 (Fall 1981), 42–50. ¶ A sense of impending doom and a horn blast suggest Malory's romance as another source of the poem, but a closer examination illuminates die psychological effects of the dramatic monologue, altering the medieval source.Google Scholar
C81:31.Imholtz, August A. Jr. “Schliemann's Troy: A Curious Omission in Browning's Poem ‘Development.’” BSN, 11 (08 1981), 12–14. ¶ Although RB certainly knew about Schliemann's discovery of Troy, he ignored the fact in his poem to emphasize the transcendent truth of Homer's poetry.Google Scholar
C81:32.Jack, Ian. “‘Commented It Must Be’: Browning Annotating Browning.” BIS, 9 (1981), 59–77. ¶ Rb's comments on his own poems indicate that he was willing to provide guidance when he was aware it was needed and that he respected scholars and their aims.Google Scholar
C81:33.Karlin, Daniel. “Absence and Distance in ‘De Gustibus.’” BSN, 11 (12 1981), 9–12. ¶ Challenging the implications of the unfinished title, the poem is as much about ghosts as tastes; Rb reevaluates memory as a source of creative strength and finds possible distortion in recall and possible estrangement in the speaker “who both is and is not present in the landscape of his own past” (p. 12).Google Scholar
C81:34.Karlin, Daniel. “Browning's Paired Poems.” Essays in Criticism, 31 (07 1981), 210–27. ¶ Rb's lifelong practice of pairing poems follows two main types: the debate, a rare practice for him, and the dialectical argument, expressed in Rb as a dialectic of conception and execution.Google Scholar
C81:35.Lorsh, Susan E. “Browning's ‘Pan and Luna’: A Victorian Approach to Nature.” SBHC, 9 (Spring 1981), 32–38. ¶ The poem exemplifies the poet's treatment of a Victorian attempt to interpret and depict nature in a problematic time: whether to use classical myth or to find in it mere beauty with no meaning.Google Scholar
¶ Rev. by Murrah, Charles C., The University of Windsor Review, 16 (Fall-Winter 1981).*Google Scholar
C81:37.McGhee, Richard D.Marriage, Duty, and Desire in Victorian Poetry and Drama. Lawrence, Kansas: The Regents Press of Kansas, 1980. pp. x + 318. ¶ “Browning” (pp. 67–98): spiritual struggle from early to later Browning, with most attention to The Ring and the Book and Fifine at the Fair; “Elizabeth Barrett Browning and Oscar Wilde” (pp. 233–97) exemplify “two great love affairs” of Victoria's reign. Ebb from The Seraphim to Aurora Leigh (including the love letters) develops an idea of marriage, not only as a rescue from loneliness but as a unification of duty and desire.Google Scholar
C81:38.Mermin, Dorothy. “The Female Poet and the Embarrassed Reader: Elizabeth Barrett Browning's Sonnets from the Portuguese.” ELH, 48 (Summer 1981), 351–67. ¶ The female speaker's voice upsets the decorum of the sonnet sequence; when she is apologetic in comparison to traditional love poetry, she embarrasses, but “when she expresses desire, she finds strong new images and a new poetic voice” (p. 356).Google Scholar
C81:39.Mermin, Dorothy. “Some Sources for Browning's ‘Bad Dreams.’” SBHC, 9 (Fall 1981), 81–86. ¶ The poet drew upon a frequent theme in Victorian literature – the chilly or withdrawn scholar and his young wife. The poem suggests at least four sources: two from literature and two from life.Google Scholar
C81:40.Miller, Louise Moira. “The Use of History and the Sense of the Past in the Poetry of Robert Browning.” DAI, 41 (1981), 4404A (University of New South Wales, Australia). ¶ Traces the development of RB's use of history and its relation to aesthetic form; recreation of the past is congruent with historicist position but his search for unchanging universal values is ultimately anti-historicist.Google Scholar
C81:42.Monteiro, George. “Henry James and the Lessons of Sordello.” Western Humanities Review, 31 (Winter, 1977), 69–78. ¶ James used “A Light Woman” in “A Light Man” and in one of his favorite stories, “The Lesson of the Master.”Google Scholar
C81:43.Monteiro, George. “‘'Tis no Sin to Cheat the Devil’: Justice to Robert Browning's ‘Doctor –.’” SBHC, 9 (Spring 1981), 39–47. ¶ Rb's alteration of his sources emphasizes man's break with Satan, an “act of individuation and an assertion of humanistic independence” (p. 46).Google Scholar
C81:44.Montesperelli, Francesca. “Browning e Montole: Love in a Life e Gli orecchini,” in Agostino, Lombardo, ed., Studi inglesi: Raccotta di saggi e ricerche. Bari: Adriatica, 1978 (pp. 475–97).*Google Scholar
C81:45.Nabb, Magdalen. “Finishing Touches.” Through Casa Guidi Windows: The Bulletin of the Browning Institute, No. 5 (Summer 1981), pp. 1–2. ¶ Reports on discovery of frescoes in sitting room, used as Rb's study, during the restoration of Casa Guidi.Google Scholar
C81:46.Oba, Chihiro. Browning Ron: Sono Shi to Gekiteki Dokuhaku. Tokyo: Kokubunsha, 1981. pp. 334.*Google Scholar
¶ Rev by Flowers, Betty S., Arnoldian, 9 (Winter 1981), 61–67; American Book Collector, 2 (November 1981), 48.*Google Scholar
C81:49.Pollak, Vivian R. “Dickinson, Poe, and Barrett Browning: A Clarification. New England Quarterly, 54 (03 1981), 121–24. ¶ Henry Emmons probably gave Dickinson a volume of EBB's poems rather than one of Poe's.CrossRefGoogle Scholar
C81:50.Poston, Lawrence. “Shelley the Almost-Christian: An Early Victorian Commonplace.” SBHC, 9 (Spring 1981), 81–84. ¶ Rb's Christianized Shelley gave to a current interpretation of the Romantic poet an autobiographical content.Google Scholar
C81:51.Raymond, Meredith B. “Elizabeth Barrett Browning's Poetics 1845–1846: ‘The Ascending Gyre.’” BSN, 11 (08 1981), 1–11. ¶ Despite its title, discussion of EBB's poetics extends to 1856, the completion of Aurora Leigh. Ebb's poetics emphasizes the process and effective presentation of inspiration. Aurora Leigh evolves a theory of poetics which unifies two forces – objective and subjective – expressing this unification in the metaphor of the ascending gyres.Google Scholar
C81:52.Reed, John R. “Tennyson, Browning, and the Victorian Idyll.” SBHC, 9 (Spring 1981), 27–31. ¶ Focuses upon Tennyson's definition and use of the form but points out that Rb's changed the idyll's emphasis upon pastoral matters, not at all dramatic, to tense psychological dilemmas of ordinary existence.Google Scholar
C81:53.Righetti, Angelo. Ill ritratto, l'epitaffio, il clavicordo: Analisi di tre monologhi drammatici di R. Browning. Verona: Libreria Universitaria Editrice, 1981. pp. 187.*Google Scholar
C81:54.Ross, Michael. “Browning's Art of Perspective: ‘The Englishman in Italy.’” English Studies in Canada, 7 (Spring 1981), 54–67. ¶ Within a quasi-musical structure, the poem presents a consecrating yet secular vision; the poem is concerned with the nature and importance of different modes of perception – “‘seeing’ from a variety of contrasted perspectives” (p. 54).Google Scholar
C81:55.Rubel, Linda Ann. “‘Let All I Have Done Be a Prelude!’: Robert Browning's Apprenticeship in Drama.” DAI, 42 (1981), 2689A (University of North Carolina). ¶ Drama gave RB techniques he perfected in his monologues.Google Scholar
C81:56.Ryals, Clyde De L. “Irony in the Dramatic Idyls.” SBHC, 9 (Spring 1981), 48–52. ¶ As a return to an earlier but more innovative irony, the best of the Dramatic Idyls present a complex relativity of the moral problems of everyday life.Google Scholar
C81:57.Savory, Jerold J.“Other Likenesses” of Robert Browning: The Poet in Caricature, Cartoon, and Comic Commentary. Baylor Browning Interests, No. 26. Waco: Armstrong Browning Library, 1981. pp. 44. ¶ Chronological study of affectionate and satiric depictions for a popular audience.Google Scholar
C81:58.Scharnhorst, Gary. “An Uncollected Letter from Robert Browning to Edward Chapman.” SBHC, 9 (Spring 1981), 85–86. ¶ An excerpt, preserved in an auction catalogue, makes observations about Italian politics.Google Scholar
C81:59.Sengupta, Ashok. “Pippa Passes Reconsidered,” in [James, Hogg, ed.], Studies in Nineteenth Century Literature. Salzburg: Inst. für Anglistik & Amerikanistik, Univ. Salzburg, 1981.*Google Scholar
C81:60.Sharma, Virendia. “Studies in Victorian Verse Drama.” Salzburg Studies: Poetic Drama and Poetic Theory, No. 14, pp. x + 203.*Google Scholar
C81:61.Sharp, Phillip D. “‘The Poet's Age is Sad’: Browning's Late Reference to Wordsworth.” SBHC, 9 (Fall 1981), 86–91. ¶ In the “Prologue” to Asolando, the first two stanzas in quotation marks suggests a poet such as Wordsworth to whom Rb gives an answer, an eloquent defense of realism.Google Scholar
C81:62.Siegchrist, Mark. Rough in Brutal Print: The Legal Sources of Browning's Red Cotton Night-Cap Country, Columbus: Ohio State University Press, 1981. pp. ix + 187. ¶ Source documents, many of which Rb used, provide insight into the process whereby the poet altered “pure crude fact” to produce his poem.Google Scholar
C81:63.Sinho, V. N. “A Study of Thought in Some Poems of Robert Browning” Journal of English, 2 (1976), 19–30.*Google Scholar
C81:64.Sousa, Raymond J. “Robert Browning and the Tragic Sense of Life.” Publications of the Arkansas Philological Association, 4 (Winter 1978), 52–57.*Google Scholar
C81:65.Southwell, Samuel B.Quest for Eros: Browning and “Fifine”. [See C80:75.] ¶ Rev. by Eleanor Cook, VS, 24 (Summer 1981), 523–24;Google Scholar
C81:66.Steinmetz, Virginia. “Beyond the Sun: Patriarchal Images in Aurora Leigh.” SBHC, 9 (Fall 1981), 18–41. ¶ Ebb's perception of the father–daughter relationship was represented in two images of paternal power in Aurora Leigh: hand and sun. She struggled to find an image of androgeny disassociated from patriarchal values, knowing that the “female imagination must find light beyond the sun” (p. 18).Google Scholar
C81:67.Strickland, Edward. “The Conclusion of Browning's ‘Childe Roland to the Dark Tower Came.’” VP, 19 (11 1981), 299–301. ¶ The final utterance signals a success: the initiation rite of Childe Roland has been completed, and the poem is evidence that Browning has qualified to join his precursors.Google Scholar
C81:68. “The Tempestuous Victorians – Victorian Conference.” The Armstrong Browning Newsletter, No. 25 (Fall 1981), p. 1. ¶ Reports on an international symposium held at Baylor University.Google Scholar
¶ Rev by Flowers, Betty S., Arnoldian, 9 (Winter 1981), 73–76; Choice, 18 (May 1981), 1267;Google Scholar
C81:70.Turner, W. Craig. “Dominus Hyacinthus De Archangelis: Paternity at Smiling Strife with Law.” SBHC, 9 (Spring 1981), 65–79. ¶ By allowing the lawyer in an internal monologue to develop a distinctive personality, as a frustrated poet, brutalized by the legal system, Rb created a realistic, complex character who is both sympathetic and contemptible.Google Scholar
C81:71. “Victorian Classicism.” Through Casa Guidi Windows: The Bulletin of the Browning Institute, No. 5 (Summer 1981), p. 4. ¶ Reports on a conference, sponsored by the Browning Institute and the Victorian Committee of the Doctoral Program in English at the City University of New York.Google Scholar
C81:72.Wedgwood, Barbara. “The Mysterious Disappearance of the Browning–Wedgwood Letters.” BSN, 11 (04 1981), 1–7. ¶ Documents the Parke-Bernet sale on 22 Nov. 1938 of the correspondence between Julia Wedgwood and Rb to an unknown buyer.Google Scholar
C81:73.Woolford, John. “Divine and Human Time in Browning's ‘The Boy and the Angel.’” BSN, 11 (12 1981), 3–8. ¶ The poem reflects the relation between the human and the divine “through an elaborate system of narrative doubling and cyclic recurrence; it is therefore a key poem in Rb's intellectual development and also a major poem in its own right” (p. 3).Google Scholar