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A85:4.Kelley, Philip, and Hudson, Ronald, eds. The Brownings' Correspondence, Volumes 1 and 2. Winfield, Kansas: Wedgestone Press, 1984. 772 pp. [See A84:2.] Rev. byGoogle Scholar

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A85:6.Machin, Patricia, comp. and illustrator. Browning. Exeter: Webb and Bower, 1985. 52 pp.Google Scholar

A85:7.Meredith, Michael, ed. More Than Friend: The Letters of Robert Browning to Katharine de Kay Bronson. Waco, Texas: Armstrong Browning Library, Baylor University;Google Scholar

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A85:8.Raymond, Meredith B. and Sullivan, Mary Rose, eds. The Letters of Elizabeth Barrett Browning to Mary Russell Mitford 1836–1854. [See A83:8.] Rev. byGoogle Scholar

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B85:2. “Desiderata for Browning Scholarship.” SBHC 13 (1985): 108. ¶ Five items.Google Scholar

B85:3. “Doctoral Dissertations in Progress.” SBHC 13 (1985): 108. ¶ Two items.Google Scholar

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B85:5.Maynard, John. “Guide to Year's Work in Victorian Poetry: 1984: Robert Browning.” VP 23 (1985): 313–24.Google Scholar

B85:6.Mermin, Dorothy. “Guide to Year's Work in Victorian Poetry: 1984: Elizabeth Barrett Browning.” VP 23 (1985): 308–12.Google Scholar

B85:7.Munich, Adrienne Auslander, Garrison, Virginia and Railey, Kevin. “Robert and Elizabeth Barrett Browning: An Annotated Bibliography for 1983.” BIS 13 (1985): 201–12.Google Scholar

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C85:1.Agajanian, Shakeeh S., ed. and commentary. Sonnets From the Portuguese and the Love Sonnet Tradition. By Elizabeth Barrett Browning. New York: Philosophical Library, 1985. 136 pp. ¶ A new metaphysics of love emerges in EBB's sonnet sequence, “synthesizing and transcending two basically dissimilar traditions of love poetry: the medieval romances and the love sonnet of the Renaissance” (117).Google Scholar

C85:2.Armistead, Myra. “‘Childe Roland’ and Two Other Poems by Browning.” Victorian Newsletter 66 (1984): 22–24. ¶ A Jungian analysis asserting that for RB “‘Childe Roland’ may represent a healthy, rebellious impulse, an awareness of the need to achieve independence” (24) from the influence of his mother and wife. Reference to “Women and Roses” and “Love Among the Ruins.”Google Scholar

C85:3.Isobel, Armstrong. “Mr. Sludge, ‘The Medium’.” Robert Browning. Ed. Bloom, Harold. New York: Chelsea, 1985. 45–53. [See C:64:1.]Google Scholar

C85:4.Auerbach, Nina. “Robert Browning's Last Word.” Romantic Imprisonment: Women and Other Glorified Outcasts. New York: Columbia UP, 1985. 92–106. [See 084:1.]Google Scholar

C85:5.Bloom, Harold, ed. Robert Browning. New York: Chelsea, 1985. [See C85:3, C85:6, C85:12, C85:28, C85:36, C85:49, C85:56, C85:62, C85:67.]Google Scholar

C85:6.Bloom, Harold, ed. “‘Childe Roland’.” Robert Browning. New York: Chelsea, 1985. 103–15. [See C74:8 and C76:9.]Google Scholar

C85:7.Bornstein, George. “Pound's Parleyings with Robert Browning.” Ezra Pound Among the Poets. Ed. Bornstein, George. Chicago: U of Chicago p, 1985. 106–27. ¶ When examined with attention to unpublished manuscripts and to Pound's direct addresses to RB, Pound's relation to RB does not follow the model of literary influence. Pound's “allegiance wobbled at the time when he needed to cast off Sordello from the Cantos; the rejection never had that violence of obsessive distortion symptomatic of anxiety” (123).Google Scholar

C85:8.Brady, Ann P. “The Metaphysics of Pornography in The Ring and the Book.” BIS 13 (1985): 137–64. ¶ Guido's speeches in The Ring and the Book use both secular and ecclesiastical sources to support his treatment of Pompilia, both in his marriage to her and his murder of her. His speeches trace a “pornographic” treatment of women, which has continually been endorsed by church and state. Pompilia's decisions are contrary to every form of authority, but her experiences change her from a docile child to a determined woman whose moral integrity rises above all forms of authority.Google Scholar

C85:9.Buckler, William E.Poetry and Truth in Robert Browning's The Ring and the Book. New York: New York UP, 1985. x + 293 pp. ¶ The poet's story in The Ring and the Book is more important than the poem's story; the truth it created for its creator is re-enacted for the reader.Google Scholar

C85:10.Butts, William. “The World According to Caliban: A Satire of the Mind.” SBHC 13 (1985): 24–36. ¶ A perspective of Caliban as both “a primitive struggling toward the spiritual and as an unsuspecting innocent aping many modern beliefs” (24) can reconcile conflicting interpretations which read “Caliban Upon Setebos” as either serious or satirical.Google Scholar

C85:11.Chell, Samuel. The Dynamic Self: Browning's Poetry of Duration. [SeeC84:12.] Rev. byGoogle Scholar

Donahoo, Robert, SBHC 13 (1985):115–16.Google Scholar

C85:12.Cook, Eleanor. “‘Love Among the Ruins’.” Robert Browning. Ed. Bloom, Harold. New York: Chelsea, 1985. 87–101. [See C74:19.]Google Scholar

C85:13.Coulter, John. “The Browning House at New Cross.” BSN 15 (1985–1986): 3–19. ¶ RB's home at New Cross had begun to be transformed even during his own lifetime. Sets out to solve the difficult historical task caused by this transformation.Google Scholar

C85:14.Culler, A. Dwight. “Browning and the Victorian Renaissance.” The Victorian Mirror of History. New Haven: Yale UP, 1985. 185–217. ¶ RB develops a mythology based on the early Renaissance, a period that best represents his values: the doctrine of the imperfect; the intense value of the living reality of the Incarnation; the sense that it is better to fail gloriously than to succeed lowly. Reference to Ruskin, Goethe and Shelley.Google Scholar

C85:15.David, Deirdre. “‘Art's a Service’: Social Wound, Sexual Politics, and Aurora Leigh.” BIS 13 (1985): 113–36. ¶ Aurora Leigh reveals EBB's desire to liberate men and women from materialistic values. As Aurora is wedded to Romney and female art is wedded to male socialist politics, “the novel-poem Aurora Leigh becomes a form-giving epithalamium for Barrett Browning's essentialist sexual politics” (134).Google Scholar

C85:16.Erickson, Lee. Robert Browning: His Poetry and His Audiences. [See 084:19.] Rev. byGoogle Scholar

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C85:17.Everett, Glenn. “Typological Structures in Browning's ‘Saul’.” VP 23 (1985) 267–79. ¶ “Saul” has a consistent structure which readers of the time would have seen. It is patterned upon the typology of David and Saul, “who represent the divine and human sides of the prefigured Christ” (279), the poet aligning himself not with David but with Saul.Google Scholar

C85:18.Feinberg, Harvey. “The Four-Cornered Circle: Truth and Illusion in Browning's The Ring and the Book.” SBHC 13 (1985): 70–96. ¶ The ring metaphor explains RB's artistic mission: the poet attempts through self-sacrificing intuition to mirror God-created truth, which secular self-interest, nationality and mechanized institutions – criticized via the arguments of the two lawyers, Caponsacchi, the Pope and Fra Celestine – obscure and pervert.Google Scholar

C85:19.Fish, Thomas E. “‘Action in Character’: The Epiphanies of Pippa Passes.” Studies in English Literature 1500–1900 25 (1985): 845–64. ¶ RB's success in Pippa Passes lies in the method by which he ironically dramatizes his characters' egotism yet sympathetically reveals their re-discovery of a moral sense. “By focusing the dialogues … on crucial moments of choice” (840), RB demonstrates his theory of ‘Action in Character.’CrossRefGoogle Scholar

C85:20.Friewald, Bina. “Elizabeth Barrett Browning's Aurora Leigh: Transcendentalism and the Female Subject.” Eds. Balakian, Anna, et al. Proceedings of the Xth Congress of the International Comparative Literature Association, New York 1982. Vol. 2: Comparative Poetics. New York: Garland, 1985. 414–20. ¶ The aesthetic and ideological work of Aurora Leigh is the reconstitution of a fragmentary, paradoxical subjectivity inhabiting the collapsed center of a gender-marked transcendentalist metaphysics which remains intact throughout the poem.Google Scholar

C85:21.Froula, Christine. “Brownings's Sordello and the Parables of Modernist Poetics.” ELH 52 (1985): 965–92. ¶ “Sordello's account of itself makes its linguistic obscurity contingent upon the problem of grounding poetic authority, of conceiving a foundation for language and ethics once the Christian and Romantic myths of poetic authority have failed” (966). RB makes imaginative demands upon readers of Sordello because he is striving for an untraditional, collaborative audience-poet authority.CrossRefGoogle Scholar

C85:22.Gemmette, Elizabeth Villiers. “The Short Love Poems of Robert Browning: Love's Unfulfilled Quest for Truth.” DAI 45 (06 1985), 3644A. (State University of New York at Albany) ¶ Investigates RB's ultimately impotent male narrators by means of a psychoanalytical reading of the shorter love poems.Google Scholar

C85:23.Gibson, Mary Ellis. “The Manuscripts of Robert Browning, Sr.: A Source for The Ring and the Book.” SBHC 13 (1985): 11–19. ¶ RB's father's letters and notes were a source for the Pope's meditation on tenth-century Italian history in The Ring and the Book.Google Scholar

C85:24.Goldfarb, Russell M. “Fra Lippo Lippi's Confession.” SBHC 13 (1985): 599–69. ¶ Because Lippi “compromises himself both as a man and an artist, he is not a celebrated exemplar but merely a charismatic survivor” (67).Google Scholar

C85:25.Hassett, Constance W.The Elusive Self in the Poetry of Robert Browning. [See C83:28.] Rev. byGoogle Scholar

Woolford, John, Notes and Queries 32 (1985): 281.CrossRefGoogle Scholar

C85:26.Heath, Apryl Lea Denny. “Phelps, Browning, Schopenhauer and Music.” Comparative Literature Studies 22 (1985): 211–17. ¶ Agrees with William Lyon Phelps that RB and Schopenhauer both value music as the best art to reveal truth; however, claims that whereas Schopenhauer sees music as the will objectified, RB see music as the subjective presentation of the passions and emotions.Google Scholar

C85:27.Hiemstra, Anne. “Browning and History: Synecdoche and Symbolism in The Ring and the Book.” SBHC 13 (1985): 47–58. ¶ RB's biblical-symbolical treatment of character and his discerning in the Old Yellow Book all “the essence of human history within the Scriptures” combine to suggest an ontological-metaphysical perspective in which “each man aspires to a fuller, albeit perpetually incomplete, knowledge and experience of divine love during his earthly existence” (58).Google Scholar

C85:28.Hollander, John. “Browning: The Music of Music.” Robert Browning. Ed. Bloom, Harold. New York: Chelsea 1985. 69–86. [See C79:6.]Google Scholar

C85:29.Hyde, Virginia. “Robert Browning's Inverted Optic Glass in A Death in the Desert.” VP 23 (1985): 93–96. ¶ Pointing to the earthly as a means of understanding the transcendental, RB's glass imagery affirms a belief in Christ as more than a “necessary fiction.”Google Scholar

C85:30.Joseph, Gerhard. “The Echo and the Mirror en abime in Victorian Poetry.” VP 23 (1985): 403–12. ¶Browning's monologues anticipate modern reflexiveness in their use of voices-within-voices.Google Scholar

C85:31.Karlin, Daniel. The Courtship of Robert Browning and Elizabeth Barrett. Oxford; Clarendon, NY: Oxford UP. 281 pp. ¶ When read as determined and authoritative structures, that is, as a fiction, the correspondence of RB and EBB reveals the poets shaping their courtship into a form that illuminates their lives and their works. Rev. byGoogle Scholar

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C85:32.Karr, Jeff. “Caliban and Paley: Two Natural Theologians.” SBHC 13 (1985): 37–46. “Caliban Upon Setebos” “contrasts the worldviews of Paley and Darwin in order to focus on the fundamentally flawed process of natural theology” (38–39), whose “scientific, objective nature makes it incapable of participating in the interplay … between the knowable and the unknowable” (45).Google Scholar

C85:33.Ketley, Stefanie. “Sordello, St. John and Poetics: ‘What seems a friend perchance may prove a saint’.” BSN 15 (1985–1986): 48–52. ¶ The narrator's allusions to St. John and the Book of Revelation reveal his sensitivity to historical and human connections which RB desires to emphasize more than Sordello's visions of apocalypses and resurrections.Google Scholar

C85:34.Khatlab, E. A. “Assimilation and Transformation: Browning's ‘Muleykeh’.” Journal of Arabaic Literature 15 (1984): 45–57.*CrossRefGoogle Scholar

C85:35.Korg, Jacob. Browning and Italy. [See C83:38.] Rev. byGoogle Scholar

Maynard, John, Review 7 (1985) 297–304;Google Scholar

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C85:36.Langbaum, Robert. “The Dramatic Monologue: Sympathy versus Judgment.” Robert Browning. Ed. Bloom, Harold. New York: Chelsea, 1985. 23–44. [See C57:14.].Google Scholar

C85:37.Martin, Loy D.Browning's Dramatic Monologues and the Post-Romantic Subject. Baltimore: Johns Hopkins UP, 1985. x + 292 pp. ¶ A Marxist interpretation of how and why the dramatic monologue was produced by RB and others at a certain period in literary history. With a psychoanalytic interpretation of “Childe Roland” and a consideration of Sonnets From the Portuguese as dramatic monologue.Google Scholar

C85:38.Mason, Michael. “A New Browning Poem.” TLS 27 04 1984: 453. ¶ The RB poem,Google Scholar

“Duty,” appeared in The Present Day, a magazine edited by Holyoake, George Jacob, in April 1886. So far, it has escaped the notice of RB's editors.Google Scholar

C85:39.Meredith, Michael. “Learning's Crabbed Text: A Reconsideration of the 1886 Edition of Browning's Poetical Works.” SBHC 13 (1985): 97–107. ¶Google Scholar

RB's two versions of Poetical Works, in 1870 and 1875, account for significant discrepancies between the 1868 and 1887 texts.Google Scholar

C85:40.Mermin, Dorothy. “Barrett Browning's Stories.” BIS 13 (1985): 99–112. ¶ EBB's ballads reveal a complete reassessment of the Victorian ideas about womanliness and explore “what was to become her central subject: the psychological oppression of women and the myths and fantasies of nineteenth-century womanhood” (101).Google Scholar

C85:41.Miller, J. Hillis. “Browning.” The Linguistic Moment: from Wordsworth to Stevens. Princeton: Princeton UP, 1985. 180–228. ¶ The triumph of “The Englishman in Italy” repeats in its own way the triumph of Shelley's “The Triumph of Life.” “This triumph is to enact so brilliantly in words both the urge to symbolic appropriation and the inhibition of this by the medium itself, its memorial inscription in words” (228).Google Scholar

C85:42.Miller, L. M. “‘My Last Duchess’: A Studiolo Setting?” VP 23 (1985): 188–93. ¶ The poem is set in the Duke's studiolo because it is the most appropriate location for the Duchess's portrait.Google Scholar

C85:43.Monteiro, George. “‘I Said ‘Fra Pandolf by Design’: A Note on Robert Browning's ‘My Last Duchess’;.” VP 23 (1985): 194–95. ¶ Alessandro Pandolfo, in Richard Henry Wilde's Conjectures and Researches Concerning the Love, Madness and Imprisonment of Torquato Tasso, is the source of Fra Pandolf's character and name.Google Scholar

C85:44.Moser, Kay. “The Victorian Critics'Dilemma: What to do with a Talented Poetess?” Victorians Institute Journal 13 (1985): 59–66. ¶ EBB exploded the received myths that Victorian critics had perpetuated about the poetical abilities of women and enlarged the accepted spheres of poetry – not without a struggle, however. An account of some reviews.CrossRefGoogle Scholar

C85:45.Myerson, George. “Paracelsus: The Science of the Text.” BSN 15 (1985–1986): 20–47. ¶ Attempts to demonstrate the relevance of RB's use of Paracelsus – the father of modern chemistry. Science is a closed system whose origin lies outside its own making: the quality of the infinite universe, an open system, is reproduced by the structure of poetry.Google Scholar

C85:46.Parker, Patricia. “Dante and the Dramatic Monologue.” Stanford Literature Review 2 (1985): 165–83. ¶ By the Victorian era, the Commedia had become the supreme example of a poetry whose primary concern is with human nature and characters. “It should hardly be surprising, then, if the example of Dante's ‘folk’ –…– should stand as a powerful model for the very generation … of the dramatic monologue as the self-consciously prismatic, or ‘dramatic,’ post-Romantic poetic genre it became” (183). Reference to Men and Women, specifically “One Word More,” “The Bishop Orders His Tomb at St. Praxed's Church,” and T. S. Eliot.Google Scholar

C85:47.Posnock, Ross. Henry James and the Problem of Robert Browning. Athens: U of Georgia p, 1985. xii + 231 pp. ¶ RB created a problem for James both because of his baffling behavior in society and because he could create great art without succumbing to the complete asceticism that James thought necessary to the artist. Rev. byGoogle Scholar

Gridley, Roy E., SBHC 13 (1985): 117–18;Google Scholar

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C85:48.Primeau, Ronald. “Robinson and Browning Revisited: ‘Man Against the Sky’ and ‘Childe Roland’.” College Literature 12 (1985): 222–32. ¶ Although both poems exemplify the internalization of the quest motif, “Man Against the Sky” is closer to the moderns because it possesses “tough and equivocal” optimism as opposed to the “easy” optimism of “Childe Roland.”Google Scholar

C85:49.Ridenour, George M. “Four Modes in the Poetry of Robert Browning.” Robert Browning. Ed. Bloom, Harold. New York: Chelsea, 1985. 55–67. [See A:66:9.]Google Scholar

C85:50.Ridenour, George M. “Robert Browning and Aurora Leigh.” Victorian Newsletter 67 (1985): 26–31. ¶ The same program informs both The Ring and the Book and Aurora Leigh: “the ultimate is not merely to be perceived behind the contingent, but in and through it, appearance is necessary to the manifestation of being and is the necessary means of approach to it” (27).Google Scholar

C85:51.Righetti, Angelo. Ilritratto, I'epitaffio, il clavicordo: Analisi de tre monologhi drammatici di Robert Browning. Verona, Libreria Universitaria Editrice, 1981. 189 pp.* ¶ Rev. byGoogle Scholar

del Sapio, Maria, Modern Language Review 80 (1985): 913–14.CrossRefGoogle Scholar

C85:52.Rosenblum, Dolores. “Casa Guidi Windows and Aurora Leigh: The Genesis of Elizabeth Barrett Browning's Visionary Aesthetic.” Tulsa Studies in Women's Literature 4 (1985): 61–68. ¶ “As a critique of the deadliness, of patriarchal rhetoric as well as patriarchal politics, Casa Guidi Windows paves the way for Aurora Leigh's attempt to create a new mythos and a living language out of a deadening literary inheritance” (61). Both poems reveal that ways of seeing can transform the world of action.CrossRefGoogle Scholar

C85:53.Ryals, Clyde de L. “Irony in Browning's Strafford.” Romanticism and Culture: A Tribute to Morse Peckham and a Bibliography of His Works. Ed. Matalen, H. W.. Columbia, S. C.: Camden House, 1984. 147–57. ¶ As RB's earliest dramatization of self-reflexive irony inherent in literature, Strafford evidences his early distance from Shelley and other Romantic poets.Google Scholar

C85:54.Ryals, Clyde de L.Becoming Browning: The Poems and the Plays of Robert Browning, 1833–1846. [See C83:58.] Rev. byGoogle Scholar

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C85:55.Sharp, Phillip. “A Note on Some Recently Discovered Page Proofs.” SBHC 13 (1985): 20–23.Google Scholar

¶ Page proofs acquired by the Armstrong Browning Library show EBB's extensive revisions of sonnets in Poems (1850), including, “To Mary Russell Mitford.”Google Scholar

C85:56.Shaviro, Steven. “Browning upon Caliban upon Setebos …” Robert Browning. Ed. Bloom, Harold. New York: Chelsea, 1985. 139–50. [See C82:41.]Google Scholar

C85:57.Siemsen, Jack Edward. “The Imagined Self: The Figure of the Poet in Robert Browning's Early Poetry.” DAI 46 (08 1985), 433A. (Washington University). ¶ Through a close reading of Pauline, Paracelsus and Sordello, traces RB's attempt to discover and to clarify a poetic identity of his own. Reference to Shelley.Google Scholar

C85:58.Slinn, Warwick. “Some Notes on Monologues as Speech Acts.” BSN 15 (1985): 1–9.¶ Post-structuralist theory does not preclude reading RB's monologues “as a presentation of experience-not experience as the repository of character or as the telos of a desire for psychic satisfaction, but experience as the constitution in language of a subject-in-process” (1).Google Scholar

C85:59.Speck, Gordon. “The Noble Bachelor and Browning's Duchess.” The Baker Street Journal: An Irregular Journal of Sherlockiana 35 (1985) 35–37. ¶ Draws connections between Lord St. Simon in Holmes' The Noble Bachelor and the Duke in “My Last Duchess.”Google Scholar

C85:60.Steven, Laurence. “Jack Hodgins' The Invention of the World and Robert Browning's ‘Abt Vogler’.” Canadian Literature 99 (1983): 21–30. ¶ For Hodgins, as for RB, our world is not the world, but art can be a means of revelation.Google Scholar

C85:61.Tucker, Herbert F. Jr. “Dramatic Monologue and the Overhearing of Lyric.” Lyric Poetry: Beyond New Criticism. Ed. Hosek, Chavra et al. Ithaca: Cornell UP, 1985. 226–43. ¶ The dramatic monologue arises at the nexus of lyric voice and history dramatically replayed. With consideration of “Fra Lippo Lippi” and “My Last Duchess.”Google Scholar

C85:62.Tucker, Herbert F. Jr. “Cleon Orders His Urn.” Robert Browning. Ed. Bloom, Harold. New York: Chelsea, 1985. 127–37. [See C80:81.]Google Scholar

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C85:64.Ward, Jonathan. “Pound's Browning and the Issue of ‘Historical Sense’.” BSN 15 (1985): 10–27. ¶ Pound's use of literary allusion in the Cantos “enabled him to shape a subtle critique of Browning's treatment of history in Sordello” (10).Google Scholar

C85:65.White, Leslie Thomas. “Uproar in the Echo: Robert Browning's Poetry of Vitalism.” DAI 46 (07 1985), 160A. (University of Tennessee). ¶ Examines RB's concept of individual will, which, “with intuitive insight, is the sole means of cultural transcendence in a world of ever-changing reality” (160–A).Google Scholar

C85:66.Williams, Loretta Ann. “The Brownings' Florentine Circle.” Masters Abstracts 23 (1985): 427. 1325245 (Lamar University). ¶ A biographical dictionary.Google Scholar

C85:67.Wordsworth, Ann. “Browning's Anxious Gaze.” Robert Browning. Ed. Bloom, Harold. New York: Chelsea, 1985. 117–25. [See C79:66.]Google Scholar