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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.
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.
Works by modern and Victorian critics are presented together with poems from each stage of Browning's literary career.
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.
Taking an original approach to Robert Browning's poetics, Britta Martens focuses on a corpus of relatively neglected poems in Browning's own voice in which he reflects on his poetry, his self-conceptualization and his place in the poetic tradition. She analyzes his work in relation to Romanticism, Victorian reactions to the Romantic legacy, and wider nineteenth-century changes in poetic taste, to argue that in these poems, as in his more frequently studied dramatic monologues, Browning deploys varied dramatic methods of self-representation, often critically and ironically exposing the biases and limitations of the seemingly authoritative speaker 'Browning'. The poems thus become devices for Browning's detached evaluation of his own and of others' poetics, an evaluation never fully explicit but presented with elusive economy for the astute reader to interpret. The confrontation between the personal authorial voice and the dramatic voice in these poems provides revealing insights into the poet's highly self-conscious, conflicted and sustained engagement with the Romantic tradition and the diversely challenging reader expectations that he faces in a post-Romantic age. As the Victorian most rigorous in his rejection of Romantic self-expression, Browning is a key transitional figure between the sharply antagonistic periods of Romanticism and Modernism. He is also, as Martens persuasively demonstrates, a poet of complex contradictions and an illuminating case study for addressing the perennial issues of voice, authorial authority and self-reference.
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.
Accessibly written throughout, this guidebook covers biographical details, information on the historical and social contexts of Browning's work, an overview of the full range of his work and a survey of the major critical debates surrounding him and his work.
The poetry of Robert Browning has been the subject of extensive literary criticism since his death in 1889. Two well-known Browning scholars here present the best of Browning criticism, bringing together from many sources representative evaluations of the poet and his poetry. The twenty-one essays here have been arranged chronologically so that the reader can follow the development of Browning studies and the fluctuations of his poetic reputation. They express varied points of view and are typical of the critical methods used by the Browning scholars. Included are essays by George Santayana, John J. Chapman, G. K. Chesterton, Paul Elmer More, William C. DeVane, Hoxie N. Fairchild, and Richard D. Altick. In the introduction Mr. Litzinger and Mr. Knickerbocker review the broad spectrum of Browning criticism. The editors also provide a bibliographic guide to the rapidly growing body of Browning criticism, which supplements and brings up to date previous Browning bibliographies.