• A76:1Allen, Frank C.A Critical Edition of Robert Browning's “Bishop Blougram's Apology”. (Salzburg Studies in English Literature, No. 60.) Salzburg: Institut für englische Sprache und Literatur, Universität Salzburg, 1976. pp. iii + 243. ¶ Lengthy critical and textual introductions, with annotations. Variant readings listed at the bottom of each page of text. ¶ Rev. by Alan C. Dooley, SIB, 5 (Fall, 1977), 86–90.Google Scholar

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• A76:3Collins, Thomas J., ed., assisted by Pickering, Walter J.. “Letters from Robert Browning to the Rev. J. D. Williams, 1874–1889.” BIS, 4 (1976), 1–56. ¶ 38 letters, of which 33 are previously unpublished.Google Scholar

• A76:4Harper, J. W., ed. Men and Women and Other Poems. [See A75:3.] ¶ Rev. by C. C. Barfoot, English Studies, 57 (October 1976), 436; J. C. Maxwell, Notes and Queries, NS 24 (January–February 1977), 66.Google Scholar

• A76:5Heydon, Peter N., and Kelley, Philip, eds. Elizabeth Barrett Browning's Letters to Mrs. David Ogilvy. [See A73:11.] ¶ Rev. by Laurel Brake, YWES, 55 (1974), 395–96; Richard Maxwell, Cresset, 39 (February 1976), 26–27.Google Scholar

• A76:6 St. John, Dwight L. “A Variorium Edition of Parleyings with Certain People of Importance in Their Day by Robert Browning.” DAI, 36 (1976), 7400A (Ohio Univ.). ¶ Major sections: introduction, text, emendations, notes, and bibliography.Google Scholar

• A76:7Stoenescu, Ştephan, ed. Versuri alese. [See A75:9.] ¶ Rev. by Constantin Pricopi, Convorbiri literare, 5 (15 Mar. 1973), 9.Google Scholar

• B76:1 “Additions to Collection 1975–1976 (March-February).” Armstrong Browning Library Newsletter, No. 14 (Spring, 1976), p. 2.Google Scholar

• B76:2Bredsdorff, Elias. “Hans Christian Andersen and the Brownings.” Scandinavica, 14 (11 1975), 135–39. ¶ Prints a facsimile of a MS of EBB's poem “The North and the South.”Google Scholar

• B76:3 “Bronson Collection.” Armstrong Browning Library Newsletter, No. 14 (Spring, 1976), p. 4. ¶ Recently acquired. “In addition to the 50 letters from RB, the collection includes photographs of Browning (one with his friend, J. A. Milsand), 3 poems on Browning's personal stationery and in his handwriting, a sample of lace from Flanders, and pressed flowers from the bier of RB.”Google Scholar

• B76:4Collins, Thomas J. “Robert Browning.” VP, 14 (Autumn, 1976), 212–19. ¶ Survey of recent scholarship.Google Scholar

• B76:5 “Desiderata for Browning Scholarship.” SIB, 4 (Spring, 1976), 92.Google Scholar

• B76:6 “Doctoral Dissertations in Progress.” SIB, 4 (Fall, 1976), 137–38.Google Scholar

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• B76:9Klemperer, Elizabeth G. von. “Victorian Literature: Materials for Teaching and Study (United States).” VS, 19 (06 1976), 485–515. ¶ For a brief survey of Browning editions available for use as textbooks, see pp. 500–01.Google Scholar

• B76:10Peterson, William S.Robert and Elizabeth Barrett Browning. [See B74:21.] ¶ Rev. by Laurel Brake, YWES, 55 (1974), 396; J. L. Bradley, Modern Language Review, 72 (April 1977), 412–13.Google Scholar

• B76:11Peterson, William S. “Robert and Elizabeth Barrett Browning: An Annotated Bibliography for 1974.” BIS, 4 (1976), 161–79.Google Scholar

• B76:12 “Research in Progress.” SIB, 4 (Fall, 1976), 136–37.Google Scholar

• B76:13 “A Special Appeal.” Washington Post, 8 02 1976, p. D17. ¶ RB's letters to Mrs. Bronson sold at Christie's for $11,000, “far above the presale forecast.” Cf. B76:3.Google Scholar

• B76:14Taplin, Gardner B. “Elizabeth Barrett Browning” VP, 14 (Autumn, 1976), 211–12. ¶ Survey of recent scholarship.Google Scholar

• B76:15Vann, J. Don. “Three Uncollected Reviews of ‘Pippa Passes.’” SIB, 4 (Spring, 1976), 88–90. ¶ The reviews appeared in the Sun, the United Service Gazette, and the Old England and Gardeners’ Journal.Google Scholar

• B76:16 “Work in Progress and Desideratum.” BSN, 6 (07 1976), 28.Google Scholar

• C76:1Adler, Dick. “The Greening of the Brownings.” Los Angeles Times, 15 03 1976, Pt. IV, p. 18. ¶ Review of TV version of Jerome Kilty's Dear Love (C70:37).Google Scholar

• C76:2 “Anne Armstrong to Present Wreath.” Armstrong Browning Library Newsletter, No. 15 (Fall, 1976), p. 3. ¶ The annual wreath-laying ceremony at RB's grave in Westminster Abbey.Google Scholar

• C76:3Armstrong, Isobel. Robert Browning. [See C74:2.] ¶ Rev. by Laurel Brake, YWES, 55 (1974), 396–98; J. C. Maxwell, Notes and Queries, NS 24 (January–February 1977), 65–66.Google Scholar

• C76:4Atherton, J. S. “Mytho, Monologues & Cotton Nightcaps.” TLS, 16 04 1976, pp. 463–64. ¶ Review-essay.Google Scholar

• C76:5Atkinson, F. G. “An Early Victorian Education.” Notes and, Queries, NS 23 (01 1976), 12–14. ¶ According to a letter written by Oscar Browning in 1917, “Browning used to tell me how he wrote [The Ring and the Book] morning after morning, beginning at 5 a.m. in the little back room at Warwick Crescent” (p. 13).Google Scholar

• C76:6Austen, Kay. “The Royal Casanatense Document: A Third Source for Browning's The Ring and the Book.” SIB, 4 (Fall, 1976), 26–44. ¶ Lists and discusses parallels between the document and the poem.Google Scholar

• C76:7Ball, Patricia M.The Heart's Events: The Victorian Poetry of Relationships. London: Athlone Press, 1976. ¶ Chap. 4 treats “James Lee's Wife.”Google Scholar

• C76:8Blake, Johnie C. F. “Characterization Through Imagery in Robert Browning's The Ring and the Book.” DAI, 36 (1976), 5311A (East Texas State Univ.). ¶ RB's use of monetary, nature, and religious imagery.Google Scholar

• C76:9Bloom, Harold. A Map of Misreading. New York: Oxford Univ. Press, 1975. ¶ Chap. 6, “Testing the Map: Browning's Childe Roland,” reprints C74:8.Google Scholar

• C76:10Bogert, Judith. “Metamorphosis of Symbol in The Ring and the Book.” SIB, 4 (Fall, 1976), 45–53. ¶ “… Browning is experimenting with the metamorphosis of symbol in an attempt to make the written word approximate the immediate sensation achieved by music” (p. 45).Google Scholar

• C76:11Bogert, Judith B. W. “Robert Browning's Influence upon the Aesthetes and Decadents of the 1890's.” DAI, 36 (1976), 7430–31A (Pennsylvania State Univ.). ¶ RB's influence was extensive.Google Scholar

• C76:12Bolton, Roy. “London Browning Society News.” BSN, 6 (03 1976), 32.Google Scholar

• C76:13Bolton, Roy, and Hamer-Jones, Rowena. “London Browning Society News.” BSN, 6 (12 1976), 28–30.Google Scholar

• C76:14Bosco, Ronald A. “The Brownings and Mrs. Kinney: A Record of Their Friendship.” BIS, 4 (1976), 57–124. ¶ Mrs. Kinney was a close friend in Florence. Bosco draws heavily upon her unpublished diary and prints all of the extant letters from the Brownings to Mrs. Kinney.Google Scholar

• C76:15Bright, Michael H. “Browning's Celebrated Pictor Ignotus.” English Language Notes, 13 (03 1976), 192–94. ¶ Reply to C72:9. For a further exchange between Bright and J. B. Bullen about the identity of the painter, see pp. 206–15.Google Scholar

• C76:16Bright, Michael H. “Browning's ‘Pictor Ignotus’: An Interpretation.” SIB, 4 (Spring, 1976), 53–60. ¶ A close reading.Google Scholar

• C76:17Bright, Michael H. “The Influence of Browning's ‘My Last Duchess’ on Rossetti's ‘The Portrait.’” American Notes and Queries, 13 (03 1975), 99–100.Google Scholar

• C76:18Bross, Addison C. “Easter Day: Browning's Changing Concept of Faith.” VP, 14 (Spring, 1976), 11–23. ¶ “… the poem is not foreign to Browning's religious thought or derived from feelings of guilt or bereavement,” and “it is more successful… than critics have acknowledged.”Google Scholar

• C76:19Brown, Stephen. “Browning and Music.” BSN, 6 (12 1976), 3–7. ¶ “I would like in this paper to proceed through an analysis of Browning's technical achievements in writing about music to an understanding of the particular values inherent in his way of approaching music” (p. 3).Google Scholar

• C76:20 “Browning Society News.” Through Casa Guidi Windows: The Bulletin of the Browning Institute, No. 2 (04 1976), p. 7.Google Scholar

• C76:21Bullen, J. B. “The Idea of the Italian Renaissance in English Culture: 1800–1900.” Ph.D. thesis, Cambridge Univ., 1975.*Google Scholar

• C76:22Bullough, Geoffrey. “In Defence of Browning.” Literary Half-Yearly, 16 (07 1975), 109–24. ¶ “…Browning is indeed the ‘modern’ precursor among the Victorians” (p. 123).Google Scholar

• C76:23Campbell, William R. “A Note on the Flowers in Pippa Passes.” VP, 14 (Spring, 1976), 59–63. ¶ Flower imagery is used to reveal character.Google Scholar

• C76:24Carrington, C. E. “Retrospect of The Light That Failed.” Kipling Journal, 42 (06 1975), 4–8. ¶ Kipling's novel is indebted to Aurora Leigh.Google Scholar

• C76:25Chaudhuri, Brahma. “Browning, Benjamin Jowett and English Higher Criticism.” SIB, 4 (Fall, 1976), 119–32. ¶ Though RBB opposed Strauss and Renan, his views were similar to those of the English Higher Critics.Google Scholar

• C76:26Christ, Carol T.The Finer Optic: The Aesthetic of Particularity in Victorian Poetry. New Haven: Yale Univ. Press, 1976. ¶ RB is treated extensively; see index.Google Scholar

• C76:27Coley, Betty A. “Painting by Pen Browning Acquired.” SIB, 4 (Spring, 1976), 90–91. ¶ A photograph of the seascape appears on p. 49. See also C76:90.Google Scholar

• C76:28Colombus, Claudette K. “Non-discrete Figuration in J. M. W. Turner's Petworth Series and in Robert Browning's Poetry.” SIB, 4 (Fall, 1976), 9–25. ¶ Similarities between Turner's technique and RB's. Illustrated.Google Scholar

• C76:29 “Comments and Queries.” SIB, 4 (Fall, 1976), 133–36.Google Scholar

• C76:30Cook, Eleanor. Browning's Lyrics. [See C74:19.] ¶ Rev. by Diderik Roll-Hansen, English Studies, 57 (April 1976), 175–77; Harvey Kerpneck, Canadian Forum, 56 (May 1976), 38–39; J. B. Bullen, Notes and Queries, NS 23 (September 1976), 431–32.Google Scholar

• C76:31Cramer, Maurice B. “‘A Woman's Last Word’: Paradise Lost or Paradise Retained?” BSN, 6 (07 1976), 3–17. ¶ A detailed analysis of the poem, with emphasis upon Miltonic echoes.Google Scholar

• C76:32Crowder, Ashby Bland. “But Ah, the Form, Ye Gods, the Unneglected Form.” Concerning Poetry (Western Washington State College), 9 (Spring, 1976), 65–72. ¶ Syntax, rhythm, etc. of The Inn Album.Google Scholar

• C76:33Crowder, A. B. “Browning's Use of Kennel.” American Speech, 47 (Spring–Summer, 1972), 159–60. ¶ The word appears in The Inn Album, VI.21–23 and I.380.Google Scholar

• C76:34 “Desiderata for Browning Scholarship.” SIB, 54 (Fall, 1976), 138.Google Scholar

• C76:35Delisle, Harold F. “Browning's Word-Mesh: A Study of Parleyings with Certain People of Importance in Their Day.” DAI, 37 (1976), 3640A (Tufts Univ.). ¶ “A close reading of the Parleyings reveals that they possess a structural and thematic complexity aimed at discussing and demonstrating the implications of his life-long interest in poetic genre.”Google Scholar

• C76:36Dina, Iginia. “Sordello di Robert Browning: Un inedito parallel-ismo con Sartor Resartus di Thomas Carlyle.” Rivista di Letterature Moderne e Comporate, 27 (12 1974), 267–80.Google Scholar

• C76:37Eisenberg, Marvin. “‘The Penitent St Jerome’ by Giovanni Toscani.” Burlington Magazine, 118 (05 1976), 275–83. ¶ The painting, once owned by the Brownings and mentioned by RB in “Old Pictures in Florence,” is now in the Art Museum at Princeton University.Google Scholar

• C76:38Fallis, Richard. “Yeats and the Reinterpretation of Victorian Poetry.” VP, 14 (Summer, 1976), 89–100. ¶ For a summary of Yeats' comments on RB, see pp. 95–96.Google Scholar

• C76:39Flowers, Betty S.Browning and the Modern Tradition. London: Macmillan, 1976. pp. 208. ¶ RB's influence on modern poetry. ¶ Rev. by Economist, 260 (28 Aug. 1976), 77–78; Valerie G. Myer, Times Educational Supplement (London), 3 Dec. 1976, p. 41; Choice, 13 (February 1977), 1595; Thomas J. Collins, SIB, 5 (Spring, 1977), 60–64.Google Scholar

• C76:40Fowler, Rowena. “Music and Metre: Browning's ‘Pietro of Abano.’” Music and Letters, 57 (01 1976), 47–54. ¶ Discusses “the eight bars of music printed at the end and written by Browning himself in an attempt, unique in English poetry, to indicate the metre of a poem by appending an equivalent musical rhythm” (p. 47).CrossRefGoogle Scholar

• C76:41Fricke, Donna G. and Douglas, C.Aeolian Harps: Essays in Honor of Maurice Browning Cramer. Bowling Green, Ohio: Bowling Green State Univ. Press, 1976. ¶ Robert J. Cornet, “Irony Without Positive Norms: Robert Browning's ‘In a Year,’” pp. 149–66; Donna G. Fricke, “‘A Death in the Desert’: The Gospel According to Robert Browning,” pp. 167–78.Google Scholar

• C76:42 “Furnishing a Fitting Habitation.” Through Casa Guidi Windows: The Bulletin of the Browning Institute, No. 2 (04 1976), pp. 2–4. ¶ How the Brownings furnished Casa Guidi.Google Scholar

• C76:43Gayen, N. S. “Browning—the Poet of Love.” Modern Review, 132 (03 1973), 191–94.Google Scholar

• C76:44Geraths, Armin. Epigonale Romantik: Untersuchungen zu Keats, Rossetti, Mrs. Browning und Rupert Brooke. (Studien zur Anglistik.) Frankfurt: Akademische Verlagsgesellschaft, 1975. ¶ Discusses “The Cry of the Children.”Google Scholar

• C76:45 “The Gigadibs of Television.” The Times (London), 15 09 1976, p. 17. ¶ Editorial comparing a recent television interview with a Roman Catholic ecclesiastic and the encounter between Gigadibs and Bishop Blougram.Google Scholar

• C76:46Going, William T.Scanty Plot of Ground: Studies in the Victorian Sonnet. The Hague: Mouton, 1976. ¶ See Chap. 3, “Browning and the Sonnet.” ¶ Rev. by Patricia Ball, BSN, 7 (July 1977), 65–66.CrossRefGoogle Scholar

• C76:47Gribben, Alan. “‘It is Unsatisfactory to Read to One's Self’: Mark Twain's Informal Readings.” Quarterly Journal of Speech, 62 (02 1976), 49–56. ¶ Emphasizes Twain's preoccupation with reading RB's poetry aloud.CrossRefGoogle Scholar

• C76:48Gridley, Roy E. “‘Ned Bratts’: A Commentary.” BSN, 6 (03 1976), 10–16. ¶ “.… the effectiveness of Bunyan's moral authority … is seriously questioned and possibly denied” (p. 11).Google Scholar

• C76:49Guiliano, Edward, and Keenan, Richard C.. Browning Without Words: D. W. Griffith and the Filming of Pippa Passes.” BIS, 14 (1976), 125–59. ¶ A detailed account of Griffith's Pippa Passes and an analysis of the cinematic qualities of RB's poetry. Illustrated.Google Scholar

• C76:50Hackett, Susan, and Ferns, John. “A Portrait of the Artist as a Young Monk: The Degree of Irony in Browning's ‘Fra Lippo Lippi.’” SIB, 4 (Fall, 1976), 105–18. ¶ Lippo's ideas should not be too closely identified with RB's.Google Scholar

• C76:51Hair, DonaldS. Browning's Experiments with Genre. [See C72: 23.] ¶ Rev. by Margaret A. Lourie, Modern Philology, 73 (February 1976), 319–21.Google Scholar

• C76:52Halliday, F. E.Robert Browning. [See C75:37.] ¶ Rev. by J. S. Atherton, TLS, 16 Apr. 1976, p. 464; Robert Chapman, Books and Bookmen, 21 (June 1976), 32–33.Google Scholar

• C76:53 “Happenings in Browning.” Armstrong Browning Library Newsletter, No. 15 (Fall, 1976), p. 4. ¶ Reports from various Browning Societies.Google Scholar

• C76:54Hawthorne, Mark D. “The Imagery of Browning's Pauline.” BSN, 6 (12 1976), 12–18. ¶ “What makes Pauline unique is not the theme but the particular way Browning used imagery and motif to develop the character and unify the poem. He created a poem in which ideology and imagery are ultimately inseparable” (p. 17).Google Scholar

• C76:55Heslinger, Elizabeth K. “Ruskin and the Poets: Alterations in Autobiography.” Modern Philology, 74 (11 1976), 142–70. ¶ Discusses “Childe Roland” (pp. 56–57).Google Scholar

• C76:56Heydon, Peter N. “Annual Report of the President of the Browning Institute, Inc.” BIS, 4 (1976), 183–88.Google Scholar

• C76:57Hobsbaum, Philip. “The Rise of the Dramatic Monologue.” Hudson Review, 28 (Summer, 1975), 227–45.Google Scholar

• C76:58Holgate, John. “Drama Reviews—‘In a Balcony’, by Robert Browning. Presented by A Group of Oxford Players at Great Comp, Borough Green, Kent, Saturday 18th September, 1976.” BSN, 6 (12 1976), 27–28.Google Scholar

• C76:59Honan, Park. “Factuality, Self-Consciousness, and Biography.” BSN, 6 (03 1976), 23–28. ¶ Some reflections on writing a biography of RB(see C74:44).Google Scholar

• C76:60 “International Browning Society To Be Chartered May 7.” Armstrong Browning Library Newsletter, No. 14 (Spring, 1976), p. 1. ¶ “Membership is open to any institution or organization manifesting a distinct interest in the life and works of Robert Browning, and to individuals with such interests.”Google Scholar

• C76:61Iremonger, Lucille. How Do I Love Thee. New York: William Morrow, 1976. pp. 359. ¶ A novel based on the Brownings' courtship and marriage. ¶ Rev. by Martha Miller, TLS, 19 Nov. 1976, p. 1445 (reply by T. L. Iremonger, TLS, 24 Dec. 1976, p. 1613).Google Scholar

• C76:62Irvine, William, and Honan, Park. The Book, the Ring, and the Poet. [See C74:44.]Google Scholar

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• C76:63Johnson, Charles W. “Lost ‘Chord,’ Wrong ‘-Chord,’ and Other Musical Anomalies in ‘A Toccata of Galuppi's.’” SIB, 4 (Spring, 1976), 30–40. ¶ Musical errors in the poem.Google Scholar

• C76:64Johnson, Charles W. “‘McAndrew's Hymn’: From Parody to Poem.” Kipling Journal, 42 (03 1975), 8–13. ¶ Kipling's poem is a parody of “Abt Vogler.”Google Scholar

• C76:65Keenum, John M. “Browning and Rossetti: The Two Voices of Victorian Poetry.” DAI, 37 (1976), 333A (Univ. of Texas at Austin). ¶ Their personal and literary relationship.Google Scholar

• C76:66Kendrick, Walter M. “The Vanishing Word: Anthony Trollope, Robert Browning, and the Sensation Novel of the 1860's.” DAI, 37 (1976), 333–34A (Yale Univ.). ¶ Considers The Ring and the Book as a “sensation novel.”Google Scholar

• C76:67Kincaid, Arthur. “Drama Reviews—Wendy Hiller and Tony Britton: a reading of the letters and poems of Elizabeth Barrett Browning and Robert Browning, devised by Ronald Gow.” BSN, 6 (12 1976), 25–27. ¶ Performed in the Bishop's Palace, Hereford Cathedral, 1 Aug. 1976.Google Scholar

• C76:68Kincaid, James R. “Antithetical Criticism, Harold Bloom, and Victorian Poetry.” VP, 14 (Winter, 1976), 365–82. ¶ Discusses, in passing (pp. 379–80), Bloom's readings (and misreadings) of RB.Google Scholar

• C76:69Kincaid, Margaret, Baly, Elaine, and Bolton, Roy. “London Browning Society News.” BSN, 6 (07 1976), 33–36.Google Scholar

• C76:70Kozoil, Herbert. “Robert Browning: Pippa Passes,” in Das englisch Drama im 18. und 19. Jahrhundert: Interpretationen, ed. Heinz, Kosok. Berling: Schmidt, 1976. (pp. 199–210).Google Scholar

• C76:71Laird, Robert G. “‘He Did Not Sit Five Minutes’: The Conversion of Gigadibs.” University of Toronto Quarterly, 45 (Summer, 1976), 295–313. ¶ R. H. Horne may have been the model for Gigadibs.CrossRefGoogle Scholar

• C76:72Lanier, Kay A. “The Psychomachia in The Ring and the Book.” DAI, 37 (1976), 1566A (Univ. of California, Santa Barbara). ¶ RB dramatizes the man's relationship with God through “the traditional allegory of the psychomachia—the conflict of God and the devil, of virtue and vice for the possession of man's soul.”Google Scholar

• C76:73Lawson, E. LeRoy. Very Sure of God. [See C74:53.]Google Scholar

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• C76:74 “List of Members of the Browning Institute, Inc.” BIS, 4 (1976), 189–200.CrossRefGoogle Scholar

• C76:75Loucks, James F. “The Dating of Browning's ‘Here's To Nelson's Memory.’” SIB, 4 (Fall, 1976), 71–72. ¶ The poem may have been written as late as August 1845.Google Scholar

• C76:76Loucks, James F. “A Second Browning Allusion in Eliot's ‘Burbank’ Poem.” Notes and Queries, NS 23 (01 1976), 18–19. ¶ The allusion is to “How It Strikes a Contemporary.”CrossRefGoogle Scholar

• C76:77Lucas, John. “Apparent Failure.” BSN, 6 (03 1976), 17–23. ¶ “Monumental tastelessness” collides with sensitivity within the poem.Google Scholar

• C76:78McClatchey, J. H. “Browning's ‘Saul’ as a Davidic Psalm of the Praise of God: The Poetics of Prophecy.” SIB, 4 (Spring, 1976), 62–83. Discusses “the structure, informing metaphor, irony, relationship to Hebrew poetry, and… the climax of the poem” (pp. 62–63).Google Scholar

• C76:79McComb, John K. “Beyond the Dark Tower: Childe Roland's Painful Memories.” English Literary History, 42 (Fall, 1975), 460–70. ¶ “I will argue two points. First, that an important theme in ‘Childe Roland to the Dark Tower Came’ is the horror and pain of inescapable memory.… Second, that Roland as narrator of his own painful past is Browning's most powerful presentation of the horror of memory” (pp. 460–61).CrossRefGoogle Scholar

• C76:80McCune, Marjorie W. “The Tomb as Image: The Stones of Browning and Ruskin.” Susquehanna University Studies, 10 (06 1975), 17–27. ¶ A comparison of “The Bishop Orders His Tomb” and The Stones of Venice.Google Scholar

• C76:81McQuade, Raymond F. “‘How It Strikes a Contemporary’: Browning's Split-Level View.” SIB, 4 (Fall, 1976), 72–76. ¶ RB “has constructed a sort of split-level poetic edifice, each level adorned with picturesque windows through which the passerby can view the interior” (p. 72).Google Scholar

• C76:82Mákurath, Paul A. Jr., “Fra Lippo's Theory of Art.” SIB, 4 (Fall, 1976), 95–104. ¶ “A ‘lecturer’ on art, Fra Lippo concerns himself with three main issues: the end or purpose of art; the means of achieving that end; and the kind of background that prepares an artist to recognize the true end and that develops in him the perceptiveness needed to employ the requisite means” (p. 96).Google Scholar

• C76:83Maynard, John. “‘Can't One Even Die in Peace?’ Browning's ‘A Seranade at the Villa.’” BSN, 6 (03 1976), 3–10. ¶ An exploration of the poem's surprising complexity.Google Scholar

• C76:84Maynard, John. “The Dating of Browning's ‘Lines to the Memory of James Dow’: A Mythling and Some Small Facts.” VP, 14 (Spring, 1976), 67–69. ¶ The poem was written in 1836 or 1837; the circumstances are described.Google Scholar

• C76:85Mermin, Dorothy M. “Speaker and Auditor in Browning's Dramatic Monologues.” University of Toronto Quarterly, 45 (Winter, 1976), 139–57. ¶ The significance of the auditors.CrossRefGoogle Scholar

• C76:86Mishler, Mary K. “God versus God: The Tension in ‘Karshish.’” English Language Notes, 13 (12 1975), 132–37. ¶ Karshish's Egyptian religion—rather than his scientific training—produces the tension in the poem.Google Scholar

• C76:87Mitani, Tadashi. Browning Kansho. Kyota, Japan: Hyakkaen, 1976.*Google Scholar

• C76:88Munich, Adrienne. “Browning's Hieroglyphic: The Emblem Tradition and Poetic Vision in the Poetry of Robert Browning.” DAI, 37 (1976), 1568A (City Univ. of New York). ¶ Emphasizes the influence of Francis Quarles.Google Scholar

• C76:89 “Notes and Comments.” BSN, 6 (12 1976), 18–20. ¶ Includes the following items: (1) abstract of a Ph.D. thesis, “A Study of Elizabeth Barrett Browning's Poetic and Feminist Philosophies in Aurora Leigh and Other Poems,” by Sandra M. Donaldson; (2) summary of an article by J. Orelbar in Northamptonshire and Bedfordshire Life, October 1975, about RB's relationship with Margaret Keep; (3) announcement that Stephen Brown is composing an opera with “In a Balcony” as the libretto; (4) announcement that self-catering holiday accomodations are available at Hope End; and (5) an address on RB by Lord Wolfenden, delivered 13 Dec. 1976 at Westminster Abbey.Google Scholar

• C76:90 “Original Pen Browning Seascape Acquired.” Armstrong Browning Library Newsletter, No. 14 (Spring, 1976), pp. 3–4. ¶ The ABL has acquired its fifth painting by Pen, entitled Moonlight Seascape. See also C76:27.Google Scholar

• C76:91Ormond, Leonée and Richard, . Lord Leighton. New Haven: Yale Univ. Press, 1975. ¶ See Chap. 9, “Leighton and Browning.”Google Scholar

• C76:92Ower, John. “The Abuse of the Hand: A Thematic Motif in Browning's ‘Fra Lippo Lippi.’” VP, 14 (Summer, 1976), 935–41. ¶ Hand-imagery in the poem suggests the confused and debased values of Lippo's society.Google Scholar

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• C76:94Peterson, Linda H. “Browning's Chapel Attendance: Two Corrections.” SIB, 4 (Fall, 1976), 76–85. ¶ RB's acquaintance with the sermons of the Rev. Thomas Jones.Google Scholar

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• C76:96Peterson, William S., ed. Browning Institute Studies. Vol. 4. New York: Browning Institute, 1976. pp. ix + 209. ¶ Articles are listed separately in this bibliography.Google Scholar

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• C76:97Phipps, Charles Thomas, Browning, S. J.'s Clerical Characters. (Salzburg Studies in English Literature, No. 62.) Salzburg: Institut für englische Sprache und Literatur, Universität Salzburg, 1976. pp. 336. ¶ “This dissertation… will attempt to arrive at an explanation for and an evaluation of the rather striking phenomenon of Browning's frequent preoccupation with clerical characters, themes, and situations” (p. 4). Discusses in detail “The Bishop Orders His Tomb,” “Fra Lippo Lippi,” “Bishop Blougram's Apology,” and Caponsacchi and the Pope in The Ring and the Book. (This monograph reprints the following articles: C68:62, C69:57, C69:58, C69:59, and C70:53.)Google Scholar

¶ Rev. by Crowell, Norton B., SIB, 5 (Fall, 1977), 82–86.Google Scholar

• C76:98Pinsker, Sanford. “‘As If She Were Alive’: Rhetorical Anguish in ‘My Last Duchess.’” Concerning Poetry (Western Washington State College), 9 (Fall, 1976), 71–73. ¶ “…let me suggest a reading of the poem which internalizes the Duke's desperate attempt at rhetorical control” (p. 71).Google Scholar

• C76:99Poston, Lawrence III., Loss and Gain. “See C74:76.”Google Scholar

¶ Rev. by Hicks, Malcolm, BSN, 7 (07 1977), 66–67.Google Scholar

• C76:100Rainwater, Mary J. “Emily Dickinson and Six Contemporary Writers: Her Poetry in Relation to Her Reading.” DAI, 36 (1976), 4479A (Northwestern Univ.). ¶ Chap. 2 discusses the influence of Aurora Leigh.Google Scholar

• C76:101Raisor, Philip. “‘Palmyra's Ruined Palaces!’: The Influence of Shelley's Queen Mab on Browning's ‘Love Among the Ruins.’” VP, 14 (Summer, 1976), 142–49. ¶ Seven pairs of parallel passages are quoted.Google Scholar

• C76:102 “Report on Casa Guidi.” Through Casa Guidi Windows: The Bulletin of the Browning Institute, No. 2 (04 1976), pp. 1–3. ¶ “…the Institute's plans for Casa Guidi have, in broad outline, matured.”Google Scholar

• C76:103Rivers, Charles L.Robert Browning's Theory of the Poet, 1833–1941. (Salzburg Studies in English Literature, No. 58.) Salzburg: Institut für englische Sprache und Literatur, Universität Salzburg, 1976. pp. 186. ¶ “In his early poetry… Browning evolved, I believe, a theory of the poet, a theory based on the idea of equilibrium between subjective and objective tendencies in personality, a theory correlated with and forming a synthesis of his ideas on philosophy, religion, and psychology. In this study I shall be concerned primarily with showing how Browning progressively clarified his ideas on the function of the poet… in Pauline, Paracelsus, Sordello, and Pippa Passes” (p. 1). Essay on Shelley is also discussed. (A reprint of C61:46, C64:43, C65:46, C70:56, and C73:109.)Google Scholar

¶ Rev. by Assad, Thomas J., SIB, 5 (Spring, 1977), 75–79;Google Scholar

Collins, Thomas J., VP, 15 (Autumn, 1977), 249–50.Google Scholar

• C76:104Roberts, John J. “The Rebirth Archetype in ‘Count Gismond.’” BSN, 6 (07 1976), 17–18. ¶ “… I wish to point out how profoundly and appropriately the poem draws upon the rebirth archetype, particularly as it relates to the seasonal cycle.”Google Scholar

• C76:105Ryals, Clyde de L. “‘Analyzing Humanity Back into Its Elements’: Browning's Aristophanes' Apology and Carlyle,” in Carlyle and His Contemporaries: Essays in Honor of Charles Richard Sanders, ed. John, Clubbe. Durham, N.C.: Duke Univ. Press, 1976. (pp. 280–97). ¶ The thought and structure of RB's poem owe a debt to Carlyle.Google Scholar

• C76:106Ryals, Clyde de L.Browning's Later Poetry. [See C75:98.] ¶ Rev. by Choice, 13 (April 1976), 227;Google Scholar

Willingham, John R., CEA Critic, 38 (03 1976), 45;Google Scholar

Gridley, Roy E., Journal of English and Germanic Philology, 75 (07 1976), 453–55;Google Scholar

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Preyer, Robert O., Clio, 6 (Winter, 1977), 220–22;Google Scholar

McSweeney, Kerry, Modern Language Review, 73 (01 1978), 172–74.CrossRefGoogle Scholar

• C76:107Ryals, Clyde de L. “Browning's Pauline: The Question of Genre.” Genre, 9 (Fall, 1976), 231–45. ¶ “it is the purpose of this essay to reopen the question of literary kinds with regard to Pauline and show how Browning arrived at a genre more complex than critics have been customarily wont to allow” (p. 232).Google Scholar

• C76:108Saradhi, K. P. “The Theatre of the Mind: Browning's Dramatic Monologues.” Genre, 8 (12 1975), 322–35. ¶ Offers a system of classifying RB's dramatic monologues.Google Scholar

• C76:109Scheer, Thomas F. “Mythopoeia and the Renaissance Mind: A Reading of ‘A Grammarian's Funeral.’” Literatur in Wissenschaft und Unterricht, 9 (1976), 156–66. ¶ In their rejection of the narrow values of the Grammarian, his students represent the beginning of the Renaissance.Google Scholar

• C76:110Siegchrist, Mark. “Type Needs Antitype: The Structure of Browning's Parleyings.” Victorian Newsletter, No. 50 (Fall, 1976), pp. 1–10. ¶ Attempts “to show that although the tangled parleyings are deliberately presented with an improvisatory air, their formal organization is in fact significantly related to the epistemology that determines their central themes” (p. 1).Google Scholar

• C76:111Sirugo, Marilyn S. “The Site of ‘Love Among the Ruins’ Revisited.” SIB, 4 (Spring, 1976), 41–48. ¶ The site may be Syracuse in Sicily.Google Scholar

• C76:112Slinn, Warwick. “Experience as Pageant: Subjectivism in Fifine at the Fair.” English Literary History, 42 (Winter, 1975), 651–68. ¶ “Sensory experience is fundamental to Juan's life, and his interest in Fifine reveals its basic insistence; nevertheless, his debate is a serious effort to locate his most significant and valuable experience in the realm of subjective vision” (p. 651).CrossRefGoogle Scholar

• C76:113Slinn, E. Warwick. “‘God a Tame Conferate’: The Reader's Dual Vision in Pippa Passes.” University of Toronto Quarterly, 45 (Winter, 1976), 158–73. ¶ “… the structure of Pippa Passes emphasizes the multitudinousness of life, which is more the raw material for irony than for theological optimism” (p. 158).CrossRefGoogle Scholar

• C76:114Smith, Charles W. “The Brownings and Sir John Bowring: A Truncated Relationship.”SIB, 4 (Fall, 1976), 85–88.Google Scholar

• C76:115Solimine, Joseph Jr., “The Integral Landscape of Browning's The Ring and the Book.” SIB, 4 (Fall, 1976), 91–93. ¶ Relationship of the poem's landscape to its theme and structure.Google Scholar

• C76:116Solimine, Joseph Jr., “A Note on Browning's ‘Cleon’: The Limits of Hellenism.” SIB, 4 (Fall, 1976), 88–90. ¶ RB Attacks “nineteenth-century Enlightenment traditions.”Google Scholar

• C76:117Solimine, Joseph Jr. “A Note on Browning's ‘Fra Lippo Lippi.’” SIB, 4 (Fall, 1976), 90–91. ¶ The meaning of “blot” and “blank” in ll. 313–14.Google Scholar

• C76:118Solimine, Joseph Jr., “A Note on Browning's ‘Pippa Passes.’” SIB, 4 (Spring, 1976), 85–87. ¶ RB “works out the theme that love = domination or power over another person or persons.”Google Scholar

• C76:119Spånberg, Sven-Johan. “The Don Juan Figure in Browning's Fifine at the Fair.” Comparative Literature, 28 (Winter, 1976), 19–33. ¶ Fifine is a dramatic monologue, and any study of the poem must begin with an examination of the narrator.CrossRefGoogle Scholar

• C76:120Spenceley, R. J. M. “The Role of the Artist: A Study of Browning's Early Narratives in Relation to Contemporary Criticism.” M.Litt. thesis, Cambridge Univ., 1975.*Google Scholar

• C76:121Spenceley, R. J. M. “The Times Diary.” The Times (London), 16 07 1976, p. 14. ¶ RB's “Pied Piper”—“the only good poem ever written about local government”—may have been mistaken about the date of the event it describes.Google Scholar

• C76:122Tosi, Maria José, ed. “Storia di un inedito di Charles Du Bos.” Annali della Scuola Normale Superiore di Pisa, 3rd Ser., 6 (1976), 607–78. ¶ Prints an unpublished work by Du Bos entitled Robert et Elisabeth Browning ou la plenitude de l'amour humain.Google Scholar

• C76:123Tucker, Herbert F. Jr., “Browning, Eglamor, and Closure in Sordello.” SIB, 4 (Fall, 1976), 54–10. ¶ “Endings” in Book VI.Google Scholar

• C76:124Turner, W. Craig. “A Note on the Cover.” SIB, 4 (Spring, 1976), 84–85. ¶ The cover illustration is allegedly a portrait of RB by his father.Google Scholar

• C76:125Vann, J. Don. “Browning and the Metropolitan Conservative Journal.” SIB, 4 (Fall, 1976), 94. ¶ A newly-discovered review of Sordello.Google Scholar

• C76:126Vogel, C. S. “Browning's Salomé: An Allusion in ‘Fra Lippo Lippi.’” VP, 14 (Winter, 1976), 346–48. ¶ “Robert Browning in his allusions to the legend [of Salomé] is not only the first Victorian author to use the figure of Salomé in an aesthetic discussion, but he is the only author, as far as I can ascertain, English or Continental, who has, with complete historical accuracy, combined the Renaissance iconographic tradition with the nineteenth-century literary.”Google Scholar

• C76:127Walker, Steven C. “The Dynamic Imagery of The Ring and the Book.” SIB, 4 (Spring, 1976), 7–29. ¶ “The Ring and the Book is inlaid with an array of rings and ring images …” (p. 9). A study of the vitality and liveliness of the poem's imagery.Google Scholar

• C76:128Watanabe, Nancy A. “Creative Destruction: The Irony of Self-Betrayal in the Psychosymbolic Monologue: Browning, Poe, Eliot, Kafka, and Camus.” DAI, 36 (1976), 5289–90A (Indiana Univ.). ¶ Treats “My Last Duchess” and “The Bishop Orders His Tomb.”Google Scholar

• C76:129Watson, J. R., ed. Browning: ‘Men and Women’ and Other Poems. [See C74:101.]Google Scholar

¶ Rev. by Brake, Laurel, YWES, 55 (1974), 398;Google Scholar

Bullen, J. B., Notes and Queries, NS 23 (09 1976), 432.CrossRefGoogle Scholar

• C76:130Whitla, William J. “Browning's Lyrics and the Language of Periodical Criticism.” English Studies in Canada (Toronto), 1 (1975), 188–202.*CrossRefGoogle Scholar

• C76:131Wolfe, Edward L. “Rationalization: Method and Theme in ‘Pietro of Abano.’” BSN, 6 (12 1976), 7–12. ¶ “The central critical problem of ‘Pietro of Abano’ is … the relationship of the narrative method to the theme” (p. 7).Google Scholar

• C76:132Woolford, John. “Dramatic Idyls: The Case-Law of Extremity.” BSN, 6 (07 1976), 18–28. ¶ The thematic structure of Dramatic Idyls as a whole.Google Scholar

• C76:133Žekulin, Nicholas G. “Turgenev in Scotland, 1871.” Slavonic and East European Review, 54 (07 1976), 355–70. ¶ Brief references to RB.Google Scholar

• C76:134Zimmerman, J. E. “Jack W. Herring: A Profile.” SIB, 4 (Spring, 1976), 105–07. ¶ On the Director of the Armstrong Browning Library.Google Scholar