A86: 1.Ivanov, Anatoly, illus. The Pied Piper of Hamelin. By Browning, Robert. New York: Lothrop, Lee and Shephard, 1986. 32 pp.*Google Scholar

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A86: 3.Kelley, Philip, and Hudson, Ronald, eds. The Brownings' Correspondence. Volumes I and II. [See A84:2.]Google Scholar

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A86: 4.Kelley, Philip, and Hudson, Ronald, eds. The Brownings' Correspondence. Volume III. [See A85:5.]Google Scholar

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A86: 5.Kelley, Philip, and Hudson, Ronald, eds. The Brownings' Correspondence. Volume IV. Winfield, KS: Wedgestone Press, 1986. xiv + 451 pp.Google Scholar

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A86: 6.King, Roma A., ed. The Ring and the Book, Books I–IV. By Browning, Robert. 322 pp.Google Scholar

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A86: 7.Meredith, Michael, ed. More Than Friend: The Letters of Robert Browning to Katharine de Kay Bronson. [See A85:7.]Google Scholar

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A86: 8.Montaut, Mary, intro. and commentary. Robert Browning: Men and Women. By Browning, Robert. Harlow: Longman, York Notes Series. 104 pp.Google Scholar

¶ Rev. by Regan, Stephan, YWES 65 (1987): 426–27.Google Scholar

A86: 9.Pettigrew, John and Collins, Thomas J., eds. Robert Browning: The Poems. [See A81:6.]Google Scholar

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B86: 1.Anderson, Vincent B.Robert Browning as a Religious Poet: An Annotated Bibliography of the Criticism. [See B84:1.]Google Scholar

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B86: 2.Chaudhuri, Brahma, ed. and comp. “Brownings.” Annual Bibliography of Victorian Studies: 1984. Edmonton, Canada: Literary Information and Retrieval (LITIR) Database, 1986. 136–41.Google Scholar

B86: 3.Cohen, Edward H., ed. “Brownings.” “Victorian Bibliography for 1985.” VS 29 (1985/1986): 726–27.Google Scholar

B86: 4.Kelley, Philip, and Coley, Betty A., comps. The Browning Collections: A Reconstruction with Other Memorabilia. [See B83:3.]Google Scholar

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B86: 5.Maynard, John. “Guide to Year's Work in Victorian Poetry: 1985: Robert Browning.” VP 24 (1986): 298–312.Google Scholar

B86: 6.Meredith, Michael. Meeting the Brownings. Waco, TX: Armstrong Browning Library, Baylor University, 1986. 112 pp. ¶ An exhibition catalogue.Google Scholar

B86: 7.Mermin, Dorothy. “Guide to Year's Work in Victorian Poetry: 1985: Elizabeth Barrett Browning.” VP 24 (1986): 292–97.Google Scholar

B86: 8.Munich, Adrienne Auslander, and Railey, Kevin. “Robert and Elizabeth Barrett Browning: An Annotated Bibliography for 1984.” BIS 14 (1986): 157–70.Google Scholar

B86: 9. “Research in Progress.” SBHC 14 (1986): 135. ¶ One item.Google Scholar

B86: 10.Sharp, Phillip. “A Checklist of Publications: 1984–85.” SBHC 14 (1986): 138–47.Google Scholar

B86: 11.Walsh, Barbara. “The Friends of Casa Guidi.” BSN 16.1 (1986) 27–28.Google Scholar

C86: 1.Baker, Lee C.R. “The Diamond Necklace and the Golden Ring: Historical Imagination in Carlyle and Browning.” VP 24 (1986): 31–46. ¶ Unlike Carlyle RB affirms the veracity of his imaginative reconstruction of history; thus, attempts to make RB a romantic ironist are unconvincing.Google Scholar

C86: 2.Bann, Stephen. “Anti-history and the ante-hero: Thackeray, Reade, Browning, James.” The Clothing of Clio: A Study of the Representation of History in Nineteenth-Century Britain and France. Cambridge and New York: Cambridge UP, 1984. 138–63.Google Scholar

¶ RB's “poetic option” in The Ring and the Book – to make living, poetic truth from the dead truth of history – unites “a Romantic view of the sovereign power of the poet's imagination with a perspectivist approach to historical reality” (160); in this way, he side-steps the issue of historical reconstruction.Google Scholar

C86: 3.Barent, Rae M. “Some Existential Aspects in the Poetry of Robert Browning.” DAI 47 (1986): 1330A. Duquesne University, ¶ The application of “Kierkegaardian Christian existential principles” to RB's dramatic monologues shows that the morality of his characters “can be judged by their perception of the object.”Google Scholar

C86: 4.Blackburn, William. “‘A New Kind of Rule’: The Subversive Narrator in Alice's Adventures in Wonderland and The Pied Piper of Hamelin.” Children's Literature in Education 17 (1986): 181–190. ¶ “Both works challenge the smug didacticism” of children's literature; “ both undercut… the omniscient moralizers who presume to illuminate for us the meaning of our own experience” (188–89).CrossRefGoogle Scholar

C86: 5.Blake, Kathleen. “Elizabeth Barrett Browning and Wordsworth: The Romantic Poet as a Woman.” VP 24 (1986): 387–98. ¶ A new element emerges in both The Prelude and Aurora Leigh – the grounding of art in love, with different consequences for the stories of the male and female artists.Google Scholar

C86: 6.Bornstein, George. “The Arrangement of Browning's Dramatic Lyrics (1842).” Poems in Their Place: The Intertextuality and Order of Poetic Collections. Ed. Fraistat, Neil. Chapel Hill: U of North Carolina P, 1986. 273–88. ¶ “Dramatic Lyrics … displays considerable architectonic skill in its deployment of paired poems punctuated by individual, free-standing ones. The pairs … contrast … love and its relation to moral or social law, while the independent poems reinforce the implicit contention of the pairs for a vital rather than an antiquarian use of history by tying the collection to political events affecting the England of 1842” (273).Google Scholar

C86: 7.Buckler, William E.Poetry and Truth in Robert Browning's The Ring and the Book, [see C85:9.]Google Scholar

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C86: 8.Burduck, Michael L. “Browning's Use of Vampirism in ‘Porphyria's Lover’.” SBHC 14 (1986): 63–65. ¶ The speaker attempts to justify his murder of Porphyria by suggesting that she was a vampire.Google Scholar

C86: 9.Calcraft, Mairi B.M. “‘A Place to Stand and Love In’: By the Refubbri Chapel With the Brownings.” BSN 16.1 (1986): 12–22. ¶ The central episode of “By the Fireside” does not occur in the Italian Alps above Lake Orta but near a mountain gorge near Bagni di Lucca.Google Scholar

C86: 10.Cervo, Nathan. “Chiarini's Retort to Zanella: Browning's Italian Critics.” BIS 14 (1986): 119: 124. ¶ Giuseppe Chiarini valued and admired RB's “speculative empathy – the Protean genius plausibly to become other people” (123) – while Giacomo Zanella criticized and condemned it.Google Scholar

C86: 11.Chell, Samuel. The Dynamic Self: Browning's Poetry of Duration. [See C84:12.]Google Scholar

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C86: 12.Coggins, Paul E.Egoism versus Altruism in Browning's Dramas. Troy, MI: International Book Publishers, 1985. xii + 130 pp.*Google Scholar

C86: 13.Coulling, Sidney. “The Duchess of Ferrara and the Countess Gismond: Two Sides of Andromeda Myth.” SBHC 14 (1986): 66–84. ¶ The Duchess of Ferrara and the Countess Gismond are completely innocent women whom RB depicts as anguished victims crying out to be saved; they reveal two sides of the Andromeda myth for one woman is saved, one is not.Google Scholar

C86: 14.Crowder, Ashby Bland. “Browning and Women.” SBHC 14 (1986): 91–134. ¶ RB admired female beauty, valued intelligence and honesty, praised truthfulness and kindness. In his acclamation of woman's purity, his objection to women in Parliament and his prejudice against “the feminine form of the novel,” he was a man of his time, but he transcended his time in his insistence that women be treated with respect and in his encouragement of women in their professions (134).Google Scholar

C86: 15.Culler, A. Dwight. The Victorian Mirror of History. [See C85:14.]Google Scholar

¶ Review article by Stone, Marjorie, Dalhousie Review 66 (1986): 354–62.Google Scholar

C86: 16.Dupras, Joseph A. “The Tempest of Intertext in ‘Caliban upon Setebos’.” Concerning Poetry 19 (1986): 75–82. ¶ “The process of reading ‘Caliban upon Setebos’ involves boldly resisting dominance and anxiously daring authority to assert itself in order to compose a text that is never fully composed” (75); RB “credits poetic and interpretive make-believes as a mirthful intertext for imaginations capable enough to hear, if not master, what the thunder says” (82).Google Scholar

C86: 17.Edwards, Suzanne. “Robert Browning's ‘Saul’: Pre-Raphaelite Painting in Verse.” The Journal of Pre-Raphaelite Studies 6 (05 1986): 53–59. ¶ “Saul” seems particularly Pre-Raphaelite because it has a biblical subject revealing an intimate psychological conflict and because its natural detail fits the character's mood which is revealed through pose and setting.Google Scholar

C86: 18.Erickson, Lee. Robert Browning: His Poetry and His Audiences. [See C84:19.]Google Scholar

¶ Rev. by Schweik, Robert C., Journal of English and Germanic Philology 85 (1986): 142–44;Google Scholar

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C86: 19.Everett, Barbara. “Browning Versions.” Poets in Their Time: Essays on English Poetry from Donne to Larkin. London, Oxford: Faber and Faber, 1986. 159–81. ¶ “Both temperament and principle urged Browning to resolve the enclosing pressures of Victorian philistinism and of the ‘magic’ it made of literature.… The result is a potent and idiosyncratic pseudo-realism, which is at once a hatred of Art and a creation of art-works” (173).Google Scholar

C86: 20.Fontana, Ernest. “Browning's ‘Protus’ and Cavafy.” SBHC 14 (1986): 14–21. ¶ RB's “Protus,” originally published in Men and Women and later placed in Dramatic Romances, “anticipates, even imitates” (14) two poems by the modern Greek poet, Constantine Cavafy — “Orophernis” (1916) and “Kaisarion” (1918).Google Scholar

C86: 21.Ford, Stephen H. “The Musical Form of Robert Browning's ‘A Toccata of Galuppi's’.” SBHC 14 (1986): 22–24. ¶ The “analogies of music and human mortality in ‘A Toccata of Galuppi's’ are supported by a form that is a musical analogy: the double octave in which there are fifteen steps” (22).Google Scholar

C86: 22.Friedman, Susan Stanford. “Gender and Genre Anxiety: Elizabeth Barrett Browning and H.D. as Epic Poets.” Tulsa Studies in Women's Literature 5 (1986): 203–28. ¶ EBB and H.D. “deconstruct the male epic tradition and reconstitute the genre to serve their perspectives as women.… Aurora Leigh and Helen in Egypt are most fully ‘intelligible’ within two main contexts – the male epic tradition and a female literary heritage upon which their authors relied in the effort to feminize the epic” (206).CrossRefGoogle Scholar

C86: 23.Friewald, Bina. “‘The world of books is still the world’: Elizabeth Barrett Browning's Critical Prose 1842–1844.” Victorian Studies Association of Western Canada Newsletter 12.2 (1986): 1–24. ¶ EBB's early prose contains the informing principles of her aesthetic theory: “the conviction that a poet's work is inseparable from his or her life, and the equally strong conviction that a certain mode of artistic and philosophical perception … is the ultimate model for knowledge of the Truth” (1). In this prose, EBB prepares the ground for Aurora Leigh, and only through an understanding of EBB's commitment to the transcendentalist discourse – stemming for her from Carlyle – “can we fully appreciate the radical revisions which this philosophy undergoes in Aurora Leigh … as the poem strives to reconcile the antagonistic poetic and feminine poles” (21).Google Scholar

C86: 24.Friewald, Bina. “‘the praise which men give women’: Elizabeth Barrett Browning's Aurora Leigh and the Critics.” Dalhousie Review 66 (1986): 311–36. ¶ Nineteenth-century male reviewers “sought to trace the woman beneath the attainment” (332) of Aurora Leigh and remained silent on the poem's central theme – the dilemma of the woman poet – and the “ideologically subversive” force of its engagement with aesthetic and political issues.Google Scholar

C86: 25.Gilbert, Sandra M. “From Patria to Matria: Elizabeth Barrett Browning's Risorgimento.” Textual Analysis: Some Readers Reading. Ed. Caws, Mary Ann. New York: Modern Language Association of America, 1986. 207–31. [See C84:23.]Google Scholar

C86: 26.Gilead, Sarah. “‘Read the Text Right’: Textual Strategies in ‘Bishop Blougram's Apology’.” VP 24 (1986): 47–67. ¶ “Bishop Blougram's Apology” is an elaborate game of reading whose paradoxical strategies deny or defer meanings even as they formulate them.Google Scholar

C86: 27.Haigwood, Laura E. “Gender-to-Gender Anxiety and Influence in Robert Browning's Men and Women.” BIS 14 (1986): 97–118. ¶ The Brownings' relationship reveals that creative self-repression can be the experience of a male writer as well as of a female writer. RB voluntarily assumed the position of the “female” writer, repressing his voice in relation to EBB's while at the same time making a critique of her more Romantic style.Google Scholar

C86: 28.Jacobs, Geraldine. “Parent-Child Relationships in The Ring and the Book.” DAI 46 (1986): 3359A. University of Detroit. ¶ In The Ring and the Book each of four family structures collapses as a result of “the selfish use of the heirs by the household head” – a comment upon the family unit Victorians held so important.Google Scholar

C86: 29.Jones, Julie. “Borges and Browning: A Dramatic Dialogue.” Borges, the Poet. Ed. Cortinez, Carlos. Fayetteville: U of Arkansas P, 1986. 207–18. ¶ Delineates, with “An Epistle … of Karshish,” Borges' use of the dramatic monologue as developed by RB, as well as Borges' interest in “what Browning calls that ‘moment, one and infinite,’ when a man recognizes his destiny” (211).Google Scholar

C86: 30.Karlin, Daniel. The Courtship of Robert Browning and Elizabeth Barrett. [See C85:31.]Google Scholar

¶ Rev. by Bristow, Joseph, British Book News (02 1986): 113;Google Scholar

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C86: 31.Kerr, Teresa Wood. “Robert Browning's Love Poems: Success in Love Shown Through its Failure.” Masters Abstracts 24 (1986): 19. Northern Missouri State University. ¶ Although he was successful in love himself, RB focused on failure in love in order to “teach lovers what not to do.”Google Scholar

C86: 32.Korg, Jacob. Browning and Italy. [See C83:38.]Google Scholar

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C86: 33.Latane, David E. Jr., “The Diorama ‘Showman’ in Sordello.” SBHC 14 (1986): 25–27. ¶ The now common critical comparison between the speaker in Sordello and the diorama showman is erroneous.Google Scholar

C86: 34.Leighton, Angela. Elizabeth Barrett Browning. Brighton: The Harvester Press, 1986. 179 pp.Google Scholar

¶ EBB's insistence that her voice be heard as a woman poet places her in an essentially different relation to poetic tradition than the male poet; those aesthetic politics – particularly as they are affected by EBB's own family dynamics – ask for a different account. ¶ Rev. by Eastwood, D.R., Choice 24 (1986): 477;Google Scholar

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C86: 35.Lewis, Catherine R. “Browning's Guido: The Self-Fictionalizing Imagination in Crisis.” Third Force Psychology and the Study of Literature. Ed. and introd. Paris, Bernard J.. Rutherford, NJ: Fairleigh Dickinson UP, 1986. 156–78. ¶ “Guido is intelligible as a suffering human being whose need for triumph twists and thwarts his need for love; whose despicable behavior issues from his sense of failure, of unattractiveness, and of ineffectiveness at controlling his own life; and whose deepest deceits are the self-deceits to avoid being devastated by his own self-hate…” (176).Google Scholar

C86: 36.McGowan, John P. “Of Truth and Lies in Browning's Poetry.” Representation and Revelation: Victorian Realism from Carlyle to Yeats. Columbia: U of Missouri P, 1986. 158–74. [See C8:49.]Google Scholar

C86: 37.McNally, James. “Touches of Aurora Leigh in The Ring and the Book.” SBHC 14 (1986): 85–90. ¶ Aurora Leigh's greatest influence on The Ring and the Book lies in characterization and chiaroscuro.Google Scholar

C86: 38.Meredith, Michael. “Browning Among the Mountains.” BSN 16.2 (1986): 3–16. ¶ RB faced the ideas and beliefs that had motivated his poetry for five decades amid the mountains of Gressoney; their liberating air helped generate Parleyings – the autobiography of a mind.Google Scholar

C86: 39.Mermin, Dorothy. “The Damsel, the Knight, and the Victorian Woman Poet.” Critical Inquiry 13 (1986): 64–80. ¶ EBB and Christina Rossetti “tried to use the problematic nature of woman as speaking subject in an attempt to explore and to protest against women's roles both in poems and in society” (79). Both wanted to transcend the subject-object split characteristic of the damsel-knight story, but neither ever fully solved the problem in her poetry.CrossRefGoogle Scholar

C86: 40Mermin, Dorothy. “Elizabeth Barrett Browning Through 1844: Becoming a Woman Poet.” Studies in English Literature, 1500–1900 26 (1986): 713–36. ¶ Follows the traces of EBB's family relationships from her childhood through Poems (1844) to uncover the successful struggle “to make a source of power, not weakness, for her poetry out of her experience of constriction, exclusion, renunciation and rebellion” (714).CrossRefGoogle Scholar

C86: 41.Mermin, Dorothy. “Genre and Gender in Aurora Leigh.” VN 69 (Spring 1986): 7–11. ¶ The fictional element of plot allows Aurora to avoid the “passive position of erotic object to which women in poems had been relegated” (11); “the poetry establishes a context in which freedom and heroic triumph” (11) are possible for a Victorian poet, notably a woman poet.Google Scholar

C86: 42.Mermin, Dorothy. The Audience in the Poem: Five Victorian Poets. [See C83:51.]Google Scholar

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C86: 43.Miller, Bruce E. “Helping Students Attend to Literature.” English Record 36.2 (1985): 2–6. ¶ Uses “Meeting at Night” to demonstrate an exercise in which students create their own variorum edition of the poem.Google Scholar

C86: 44.O'Neill, Patricia. “Pedigree of Self-Making: Shelley's Influence on Browning and Hardy.” DAI 47 (1986): 2170A. Northwestern University. ¶ In his “Essay on Shelley” RB “justifies his relationship to Shelley in ways that confirm his own place in literary history”; in turn, his “critical use of Shelley” informs Hardy as poet.Google Scholar

C86: 45.Parkinson, David. “‘A Toccata of Galuppi's’: Even the Title's an Octave.” BSN 16.1 (1986): 3–11. ¶ For a poem by RB, “A Toccata of Galuppi's” is poetically thin, “not rich, dense and overlapping” (11); the poem is actually about “the Music itself, its living genealogy” (11).Google Scholar

C86: 46.Perkins, Don. “‘Master Hugues of Saxe-Gotha’: Robert Browning's Other ‘Avison’ Poem.” Victorian Studies Association of Western Canada Newsletter 12.2 (1986): 25–38.Google Scholar

¶ A largely unrecognized ancestry of “Master Hugues, the Imitator,” and of the unhappy church organist who tries to find meaning in his fugues, exists in Avison, Charles's Essay on Musical Expression (1752) and connects to RB's poem.Google Scholar

C86: 47.Plender, Martha Holman. “Virginia Woolf and the Woman Artist: A Study of a Tradition in Transformation.” DAI 45 (01 1985): 2115A. University of California at San Diego. ¶ Aurora Leigh, along with five other works, is considered in light of the female artist's conflict between “her womanhood and her art.”Google Scholar

C86: 48.Posnock, Ross. Henry James and the Problem of Robert Browning. [See C85:47.]Google Scholar

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C86: 49.Quintus, John Allen. “A Note on Browning's ‘Master Hugues’.” Concerning Poetry 19 (1986): 83–86. ¶ “Master Hugue's fugue … is an obfuscation of metaphysical verities” (86); herein lies RB's point: “elaboration taxes the human mind and spirit and is essentially self-defeating” (86). Refutes Langbaum's reading in The Poetry of Experience.Google Scholar

C86: 50.Ryals, Clyde de L.Becoming Browning: The Poems and Plays of Robert Browning, 1833–1846. [See C83:58.]Google Scholar

¶ Rev. by Turner, W. Craig, Arnoldian 13.1 (1986): 47–49*;Google Scholar

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C86: 51.Ryals, Clyde de L. “Browning's Christimas-Eve and Schleiermacher's Die Weihnachtsfeier: A German Source for the English Poem.” SBHC 14 (1986): 28–31.Google Scholar

¶ Schleiermacher, 's Die Weihnachtsfeier (1806) (in translation Christmas Eve) is the source for RB's Christmas-Eve.Google Scholar

C86: 52.Scutts, Julian. “The Pied Piper of Hamelin (Der Rattenfanger Von Hamelin) As a Motif in European Poetry.” Wascana Review 20.1 (1985): 61: 9. ¶ Examines the legend's symbolic valences in history through the changes it underwent in the Romantic movement and considers RB's version against this tradition, against “the general historical background of the Victorian era,” and in “relationship to Browning's other works, to his philosophies and religious attitudes” (58).Google Scholar

C86: 53.Sharp, Phillip David. “Poetry in Process: Elizabeth Barrett Browning and the Sonnets Notebook.” DAI 47 (1986): 916A. The Louisiana State University and Agricultural and Mechanical College. ¶ Unpublished manuscripts from the “Sonnets” notebook at the Armstrong Browning Library at Baylor University shed light on EBB's artistic growth from 1842 to 1844 and on her subsequent work on Sonnets from the Portuguese, Aurora Leigh, and Poems Before Congress.Google Scholar

C86: 54.Shaw, W. David. “Philosophy and Genre in Victorian Poetics: The Idealist Legacy.” English Literary History 52 (1985): 471–501. ¶ A scrutiny of the philosophical structures in Victorian poetry, including Sordello and “Childe Roland,” suggests a different way of formulating poetic genres, one based on a “common grammar” of logic and poetry.CrossRefGoogle Scholar

C86: 55.Starzyk, Lawrence J. “‘The Worthies Began a Revolution’: Browning, Mill, Arnold and the Poetics of Self-Acquaintance.” Arnoldian 13.2 (1986): 10–27.*Google Scholar

C86: 56.Stone, Marjorie. “Taste, Totems, and Taboos: The Female Breast in Victorian Poetry.” Dalhousie Review 64 (1984–1985): 748–70. ¶ Mention and/or discussion of breasts generally became taboo during the Victorian period. EBB dramatically breaks this taboo in Aurora Leigh, in which she revisions this powerful female image and “writes in white ink” (Cixous). Reference to RB, Matthew Arnold, Emily and Charlotte Bronte, George Eliot, and Tennyson.Google Scholar

C86: 57.Stone, Marjorie. “Cursing as One of the Fine Arts: Elizabeth Barrett Browning's Political Poems.” Dalhousie Review 66 (1986): 155–73. ¶ EBB expresses her increasingly interconnected political and feminist views with more radical directness in her later poems; for her, as for Adrienne Rich, the personal becomes the political. It is just this EBB persona which the “critical Board of Trade” has chosen to suppress and neglect.Google Scholar

C86: 58.Stone, Mary J. “The Last Letters of Robert Browning and Julia Wedgwood.” BSN 16.2 (1986): 17–23. ¶ Explores the reasons for the end of the friendship between RB and Julia Wedgewood.Google Scholar

C86: 59.Sutton, Denys. “The Age of Robert Browning.” Apollo 122.282 (1985): 96–110. ¶ Surveys Victorian “Italianophiles,” beginning with the Brownings, who contributed to the British taste for and knowledge of Italian art.Google Scholar

C86: 60.Thomas, Donald. Robert Browning: A Life Within a Life. [See C82:47.]Google Scholar

¶ Rev. by Rubel, L. A., Modern Literary Studies 16 (1986): 318–20.*Google Scholar

C86: 61.Townsend, Martha A. “Amadeus as Dramatic Monologue.” Literature/Film Quarterly 14 (1986): 214–19. ¶ Salieri's confession resembles “Fra Lippo Lippi,” “Andrea del Sarto,” and “My Last Duchess” both formally, as dramatic monologue, and thematically, in its concern with art versus religion, mediocrity versus genius, and with envy as a motive for murder.Google Scholar