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This is the final of the four volumes published from 1868-1869that make up Robert Browning'sThe Ring and the Book, a long blank-verse poem composed of 12 books and over 20,000 lines. This volume includes the booksThe Pope, GuidoandThe Book and the Ring.
Much has been written about Browning & how he came to write "The Ring & the Book." Miss Snitslaar analyzes the poem both in the light of what is known about Browning's background & against the social background of the period Browning was writing about.
This study is a reading of Robert Browning as an ironist in the tradition of the German Romanticist Friedrich Schlegel, who coined the term "Romantic irony." Specifically, Patricia Diane Rigg considers historicity or historical truth in Browning's The Ring and the Book by distinguishing between the processes of representation and re-presentation within the context of Romantic irony.
In June, 1860, Browning purchased an "old yellow book" from a bookstall in Florence. The book contained legal briefs, pamphlets, and letters relating to a case that had been tried in 1698 involving a child bride, a disguised priest, a triple murder, four hangings and the beheading of a nobleman. Browning resolved to use it as the source for a poem. The result, The Ring and the Book, is certainly one of the most important long poems of the Victorian era and is arguably Browning's greatest work. Basing their edition on the 1888-89 version of the poem, Altick and Collins include the last corrections Browning intended before his death. In addition to a substantial introduction, this Broadview Literary Texts edition also includes selections from Browning's correspondence, and contemporary reviews and reactions to the work.
'I am inclined to think that we want new forms . . . as well as thoughts', confessed Elizabeth Barrett to Robert Browning in 1845. The Oxford Handbook of Victorian Poetry provides a closely-read appreciation of the vibrancy and variety of Victorian poetic forms, and attends to poems as both shaped and shaping forces. The volume is divided into four main sections. The first section on 'Form' looks at a few central innovations and engagements--'Rhythm', 'Beat', 'Address', 'Rhyme', 'Diction', 'Syntax', and 'Story'. The second section, 'Literary Landscapes', examines the traditions and writers (from classical times to the present day) that influence and take their bearings from Victorian poets. The third section provides 'Readings' of twenty-three poets by concentrating on particular poems or collections of poems, offering focused, nuanced engagements with the pleasures and challenges offered by particular styles of thinking and writing. The final section, 'The Place of Poetry', conceives and explores 'place' in a range of ways in order to situate Victorian poetry within broader contexts and discussions: the places in which poems were encountered; the poetic representation and embodiment of various sites and spaces; the location of the 'Victorian' alongside other territories and nationalities; and debates about the place - and displacement - of poetry in Victorian society. This Handbook is designed to be not only an essential resource for those interested in Victorian poetry and poetics, but also a landmark publication--provocative, seminal volume that will offer a lasting contribution to future studies in the area.