A88: 1.Browning, Elizabeth Barrett. Aurora Leigh: A Poem. Intro. Gardner B. Taplin. Chicago: Cassandra Editions/Academy Chicago, 1988. 351 pp.Google Scholar

Rev. by Rubin, Merle, Christian Science Monitor 6 04 1988: 20.Google Scholar

A88: 2.Browning, Robert. “Introductory Essay [Essay on Shelley, 1852].” The Victorian Poet: Poetics and Persona. Ed. Bristow, Joseph. New York: Croom Helm/Methuen, 1987. 93–103. @An abridgement of the original.Google Scholar

A88: 3.Collins, Thomas J. and Shroyer, Richard J., eds. The Plays of Robert Browning (Garland Reference Library of the Humanities). NY: Garland, 1988. 552 pp.Google Scholar

Rev. by Tennyson, G. B., Nineteenth-Century Literature 43 (1988): 274–75;CrossRefGoogle Scholar

Reference and Research Book News 3 (06 1988): 22.Google Scholar

A88: 4.Forster, Margaret, ed. and introduction. Elizabeth Barrett Browning: Selected Poems. Baltimore, MD: Johns Hopkins UP, 1988.Google Scholar

@Rev. by Leighton, Angela, BSN 18 (1988–1989): 60–62;Google Scholar

Abel, Betty, Contemporary Review 253 (07 1988): 53;Google Scholar

Bayley, John, London Review of Books 4 08 1988: 20–21;Google Scholar

Lee, Hermione, Punch 8 07 1988: 51–52;Google Scholar

Berridge, Elizabeth, Spectator 23 07 1988: 26;Google Scholar

Miles, Rosalind, Times Educational Supplement 15 07 1988: 22;Google Scholar

Bernard Martin, Robert, TLS 19 08 1988: 899–900.Google Scholar

A88: 5.Jack, Ian and Fowler, Rowena, eds. The Poetical Works of Robert Browning, Volume 3. Bells and Pomegranates I–VI (including Pippa Passes and Dramatic Lyrics). Oxford: Clarendon P, 1988. xiv + 542 pp.Google Scholar

@Rev. by Bayley, John, London Review of Books 4 08 1988: 20–21;Google Scholar

Korg, Jacob, SBHC 16 (1988): 140–42.Google Scholar

A88: 6.Kelley, Philip and Hudson, Ronald, eds. The Brownings' Correspondence, Volume 4. [See A86.5.]Google Scholar

@Rev. by Drew, Philip, Modern Language Review 83 (1988): 692–93;CrossRefGoogle Scholar

Smith, Margaret, Review of English Studies 38 (1988): 314–15;CrossRefGoogle Scholar

Regan, Stephen, YWES 67 (1988): 377.Google Scholar

A88: 7.Kelley, Philip, and Hudson, Ronald, eds. The Brownings' Correspondence, Volume 5. [See A87: 4.]Google Scholar

Rev. by Bernard Martin, Robert, TLS 19 08 1988: 899–900;Google Scholar

Maynard, John, VP 26 (1988): 446–47.Google Scholar

A88: 8.Kelley, Philip and Hudson, Ronald, eds. The Brownings' Correspondence, Volume 6: June 1842–March 1843. Winfield, KS: Wedgestone P, 1988. illus. xiv + 425 pp.Google Scholar

A88: 9.King, Roma A., ed. The Complete Works of Robert Browning. [See A73: 15.]Google Scholar

Reiman, Donald H., “The Ohio Browning.” Romantic Texts and Contexts. Columbia: U of Missouri P, 1987. 55–68. Reprint of a review of the Ohio edition, Volumes 3 and 4.Google Scholar

A88: 10.King, Roma A., ed. The Ring and the Book, Books I–IV.Google Scholar

By Browning, Robert. Volume VII of The Complete Works of Robert Browning with Variant Readings and Annotations. Ed. Herring, Jack W. et al. [See A86.6.]Google Scholar

@Rev. by Regan, Stephen, YWES 67 (1986): 379.Google Scholar

A88: 11.Raymond, Meredith B. and Sullivan, Mary Rose, eds. Women of Letters: Selected letters of Elizabeth Barrett Browning and Mary Russell Mitford. [See A87: 8]Google Scholar

Rev. by Widershien, Marc, Library Journal 112 (12 1987): 113;Google Scholar

Drew, Philip, Modern Language Review 80 (1985): 133–34;CrossRefGoogle Scholar

MacKay, Carol H., SBHC 16 (1988): 151–155;Google Scholar

Bernard Martin, Robert, TLS 19 08 1988: 899–900.Google Scholar

A88: 12.Ricks, Christopher, ed. The New Oxford Book of Victorian Verse. Oxford, New York: Oxford UP, 1987. xxxiv + 654 pp.; index of authors; index of titles and first lines. @Contains five selections from EBB, pp. 101–17; 19 selections from RB, pp. 117–61.Google Scholar

Rev. by Rubin, Merle, Christian Science Monitor 29 12 1987: 20;Google Scholar

Dunlap, Barbara J., Library Journal 1 09 1987: 186;Google Scholar

Jenkyns, Richard, TLS 26 06, 1987: 679;Google Scholar

Robert Strange, G., VP 26 (1988): 487.Google Scholar

A88: 13.Stack, V. E., ed. The Love Letters of Robert Browning and Elizabeth Barrett. [See A69.10, A87.9.]Google Scholar

Rev. by Knights, Liz, Times Educational Supplement 8 04 1988: 22.Google Scholar

B88: 1.Cohen, Edward H., ed. “E. Browning” and “R. Browning” in “Victorian Bibliography for 1987.” VS 31 (1988): 687–89.Google Scholar

B88: 2.Coley, Betty. “A Checklist of Publications 1987.” SBHC 16 (1988): 131–134.Google Scholar

B88: 3.Garrison, Virginia, and Railey, Kevin. “Robert and Elizabeth Barrett Browning: An Annotated Bibliography for 1986.” BIS 16 (1988): 181–193.Google Scholar

B88: 4.Maynard, John. “Guide to the Year's Work in Victorian Poetry: 1987: Robert Browning.” VP 26 (1988): 445–54.Google Scholar

B88: 5.Meredith, Michael. Meeting the Brownings. [See B86.6.]Google Scholar

Rev. by Regan, Stephen, YWES 67 (1986): 377.Google Scholar

B88: 6.Mermin, Dorothy. “Guide to the Year's Work in Victorian Poetry: 1987: Elizabeth Barrett Browning.” VP 26 (1988): 442–45.Google Scholar

C88: 1.Armstrong, Isobel. “The Brownings.” New History of Literature, VI: The Victorians. Ed. Pollard, Arthur. New York: Bedrick, 1987. 387–412.Google Scholar

Bibliography: No. 13, “The Brownings.” p. 534.Google Scholar

[See C70: 3; Peterson, William S. “Robert and Elizabeth Barrett Browning: An Annotated Bibliography.” New York: The Browning Institute, 1974.]Google Scholar

Rev. by Library Journal 15 06 1988: 52.Google Scholar

C88: 2.Austin, Alfred. “Mr. Browning.” The Poetry of the Period, Volume One of The Victorian Muse. Ed. Fredeman, William E. et al. New York: Garland, 1986. Facsimile reprint. 38–76. @“Though unquestionably a poet, [RB] has no marks of greatness about him” (76). RB has a philosophical, rather than poetical, organization (45). Originally published: London: Bentley, 1870.Google Scholar

C88: 3.Barnie, John. “The Long Poem.” Planet: The Welsh Internationalist 52 (1985): 48–51. @W. Wordsworth's Prelude and RB's The Ring and the Book are the last genuine long poems in the tradition. Later long poems such as Tennyson's In Memoriam and Williams' Paterson seem more like collections of lyrics.Google Scholar

C88: 4.Beauchamp, John Steven. “The Quest for the Hero in Browning's Early Long Poems, His Plays, and The Ring and the Book.” DAI 49 (1988): 824A. University of Tennessee. @In contrast to the anti-heroism of much Victorian literature, RB continued to try to define heroism and villainy throughout much of his writing. Traces RB's interest in heroism through his early poems and his plays to The Ring and the Book, in which RB succeeded in depicting his vision of heroism.Google Scholar

C88: 5.Bennett, James R. “Inconscience: Henry James and the Unreliable Speaker of the Dramatic Monologue.” Ball State University Forum 28 (Winter 1987): 74–84. @A look at dramatic monologue “through the perspective of Henry James” (74) shows that dramatic monologue's characteristics of irony and relativism are especially suited to the presentation of a modern, fragmented world. Criticism of RB's dramatic monologues has changed; many readers no longer directly identify RB's speakers with their author's ideas.Google Scholar

C88: 6.Bornstein, George. Poetic Remaking: The Art of Browning, Yeats and Pound. University Park, PA: Pennsylvania State UP, 1988. ix + 164 pp. @A study of poetic influence(s), both direct, such as RB's influence on Eliot, Pound, and Yeats, and the more general influence of Romanticism on RB and on the modern poets. Also examines the influence of national identity. Poets' arrangement of their individual volumes of poetry offers a new way to define “text.”Google Scholar

Rev. by Korg, Jacob, SBHC 16 (1988): 143–145.Google Scholar

C88: 7.Boyd, Zelda. “‘The Grammarian's Funeral’ and the Erotics of Grammar.” BIS 16 (1988): 1–14. @Nineteenth-century philology developed along two lines: “one erotic, one vehemently antierotic” (2). “The grammarian's substitution of knowledge for life” (9) permitted RB “to flirt with erotically charged material without recognizing it as such” (10).Google Scholar

C88: 8.Brady, Ann P.Pompilia: A Feminist Reading of Robert Browning's “The Ring and the Book”. Athens, OH: Ohio UP, 1988. @Despite some of the contradictions in RB's personal life, “the poet of The Ring and the Book is a feminist” (9). Through the mutuality of the relationship between Pompilia and Caponsacchi, RB redefines love. By revealing Count Guido's misogyny at his trial, RB demonstrates the ways secular and religious institutions support the patriarchal system.Google Scholar

C88: 9.Brewer, William D. “‘In Heaven We Have The Real and True and Sure’: The influence of Dante's the Vita Nuova on Browning's The Ring and the Book.” SBHC 16 (1988): 7–17. @RB identified the priest Caponsacchi with the Dantean lover of the Vita Nuova; both function as religious pilgrims. RB “contrasts the spiritual purity of the Vita Nuova with the spiritual poverty of the late Renaissance” (17).Google Scholar

C88: 10.Burt, Forrest D. “Browning's “Pied Piper of Hamelin: A Child's Story” and “The Cardinal and the Dog”: Considering the Poet's Early Interest in Drama and Art.” SBHC 16 (1988): 30–41. @Using sources from the Armstrong Browning Library at Baylor University, ”we can view [RB] at an important formative period in his career, a time when his interests in art and drama were developing“ (30). Includes ten illustrations: A page from RB's copy of Nathaniel Wanley's Wonders of the Little World, with the ms. of ”The Cardinal and the Dog" written by RB in the margin; two signed letters from William Macready, Jr. to RB; and seven of young Macready's drawings for RB's poems.Google Scholar

C88: 11.Cahn, Michael. “Magnetische Metaphern: Mesmer in England.” Franz Anton Mesmer und der Mesmerismus: Wissenschaft, Scharletanerie, Poesie. Ed. Wolters, Gereon. Konstanz: Universitatsverlag Konstanz, 1988. 87–106. @Includes a discussion of RB's “Mesmerism;” text of article in German.Google Scholar

C88: 12.Caporizzo, Mary J. “John Donne and Robert Browning: ‘Finite Hearts that Yearn’.” Masters Abstracts International 26 (1988): 36. Duquesne University. @Using Jung's and Nietzsche's theories that “the artist exploits a mask to reach beyond his personal experience,” traces the development of dramatic monologue in RB's “Two in Campagna.”Google Scholar

C88: 13.Cooper, Helen. Elizabeth Barrett Browning, Woman and Artist. Chapel Hill, U of North Carolina P, 1988. xii + 219 pp. @While reading EBB “on her own liberal humanist terms” (187), feminist and psychoanalytic theories reveal that EBB “finds a poetic authority in a maternal muse” (188). Contemporary reviews of EBB's poetry indicate “the gender and canonial terms” (188) within which EBB “renegotiate[d] her authority as poet” (188).Google Scholar

Rev. by MacKay, Carol H., SBHC 16 (1988): 151–155.Google Scholar

C88: 14.Cunningham, Valentine. “Tradition as Debris and the Debris of Tradition in the Poetry of Robert Browning.” Poetry and Epistomology: Turning Points in the History of Poetic Knowledge. Ed. Hagenbuche, Roland and Skandera, Laura. Regensburg: Pustet, 1986. 168–181. @“Worry over the recoverability of the past” (172) “… stands at the heart of [RB's] claim to be a main pivot into the modernist sensibility” (173). Response to Harold Bloom's view of the poetic tradition.Google Scholar

C88: 15.Daubs, James D. “Self-referential Anxiety in the Romantic and Modern Long Poems.” DAI 49 (1988): 1416–A. University of Illinois at Urbana-Champaign. @In many nineteenth- and twentieth-century long poems, especially those of Wordsworth, Rich, and Williams, the author's insecurities about form, subject matter, and the role of the poet are conveyed through the narrator. RB's poems reveal a similar anxiety.Google Scholar

C88: 16.David, Deirdre. Intellectual Women and Victorian Patriarchy: Harriet Martineau, Elizabeth Barrett Browning, George Eliot. [See C87: 11.]Google Scholar

Rev. by Alaya, F., Choice 25 (1988): 1553;Google Scholar

Mermin, Dorothy, VP 26 (1988): 442–43.Google Scholar

C88: 17.Dick, Roger L. “Songs of Experience: Chesterton's Anticipation of ‘Modern’ Literary Criticism.” Chesterton Review 14 (05 1988): 259–271.CrossRefGoogle Scholar

@“Although [Robert Langbaum] employs a vastly different vocabulary” (262) in The Poetry of Experience: The Dramatic Monologue in Modern Literary Tradition (1957), many of Langbaum's insights into RB's dramatic monologue form are “very similar to those made by Chesterton, G. K. in his Robert Browning [1905]” (259).Google Scholar

C88: 18.Edmond, Rod. “‘A printing woman who has lost her place’: Elizabeth Barrett Browning's Aurora Leigh.” Affairs of the Hearth: Victorian Narrative Poetry and the Ideology of the Domestic. New York: Routledge, 1988. 130–169. @Uses Foucault's theory of the “discourse of sexuality,” and contemporary sources: book reviews, periodical articles. EBB was “intensely conscious of herself as a woman writer, [which] impelled her search for new forms” in Aurora Leigh (133). Aurora Leigh's “status as a Victorian classic” accounts for its “disappearance in the early years of this century” (166). Current critical attention has in effect rewritten the poem's text, thus leading to its present republication.Google Scholar

C88: 19.Etchells, Ruth, ed. Browning (Poets and Prophets Series), illus. + 48 pp. Batavia, IL: Lion USA, 1988.*Google Scholar

C88: 20.Falk, Alice. “Elizabeth Barrett Browning and Her Prometheuses: Self-will and a Woman Poet. Tulsa Studies in Women's Literature 7 (Spring 1988): 69–85. @A comparison of EBB's two translations of Aeschylus' Prometheus Bound ”can provide an entry into her poetic consciousness“ (69). ”Prometheus became one focus of [EBB's] broader struggle to ‘master’ the classics without denying her female identity” (82).CrossRefGoogle Scholar

C88: 21.Forster, Margaret. Elizabeth Barrett Browning: A Biography. London: Chatto & Windus, 1988. @“Modern feminism has inspired a new interest in [EBB's] poetry … New material discovered in the last three decades includes hundreds of letters covering [EBB's] childhood, adolescence and her adult life before she married … These inevitably change perceptions of her” (xiii).Google Scholar

Rev. by Reynolds, Margaret, BSN 18 (1988–1989): 54–60;Google Scholar

Lee, Hermione, Punch 8 07 1988: 51–52;Google Scholar

Bayley, John, London Review of Books 4 08 1988: 20–21;Google Scholar

Berridge, Elizabeth, Spectator 23 07 1988: 23;Google Scholar

Miles, Rosalind, Times Educational Supplement 15 07 1988: 22;Google Scholar

Bernard Martin, Robert, TLS 19 08 1988: 899–900.Google Scholar

C88: 22.Gibson, Mary Ellis. History and the Prism of Art: Browning's Poetic Experiments. [See C87: 20.]Google Scholar

Rev. by Walsh, Thomas, BSN 18 (1988–1989): 62–65;Google Scholar

Bicknell, J. W., Choice 25 (1987): 620;Google Scholar

Maynard, John, VP 26 (1988): 447–49;Google Scholar

Tucker, Herbert F., VS 32 (1988): 151–52.Google Scholar

C88: 23.Goslee, David. “Paying Browning's Piper.” SBHC 16 (1988): 42–51. @Using U. C. Knoepflmacher's paradigm of the mediating figure in Victorian fantasies for children, Goslee argues that “the Piper, otherwise unknowable, reveals himself only as he subverts the desires and self-definitions of character, author, and audience” (43).Google Scholar

C88: 24.Hughes, Brian. Luis Cernuda and the Modern English Poets: A Study of the Influence of Browning, Yeats and Eliot on his Poetry. Alicante, Spain: Universidad de Alicante, 1988. 211 pp. @Browning, Yeats, and Eliot were “the key poets in the osmotic process which effected the change in Cernuda from a post-Romantic of the Becquerian school into a consciously Modernist poet” (10). Cernuda learned “the technique of projecting his experience upon a persona” from RB (202). His discovery of RB's dramatic monologue gave Cernuda “a new technique and a new style” (203).Google Scholar

C88: 25.Ingersoll, Earl G. “Perversions of Artistic Sensibility in the Dramatic Monologues of Robert Browning.” SBHC 16 (1988): 72–84. @“[Ezra] Pound and other Modernists … may have been drawn to the master of the dramatic monologue [RB] for his genius as a psychologist, particularly in [RB's] often dark visions of human motives” (72). In poems ranging from “Porphyria's Lover” to “Andrea del Sarto,” RB demonstrates that artists' desire to order experience “frequently conceals a ravenous appetite for the power to control their worlds and to manipulate others” (72).Google Scholar

C88: 26.Kleitz, Katharine A. “The Italian World of Art in Nineteenth-century English and American Literature.” DAI 49 (1988): 1450A. Tufts University. @“The Italian world of art offered a useful background and atmosphere” for four major writers in English, including RB, and other writers, including EBB. This world was repeatedly recreated by artists and writers wishing “to recapture and understand its inspiration.”Google Scholar

C88: 27.Korn, Eric. “Remainders.” [Editorial Column.] TLS 1 04 1988: 357.Google Scholar

@Parodic reporting of the discovery, in a convent library, of “the lost originals” of EBB's Sonnets from the Portuguese. Responding letter by Fraser, K. C., TLS 29 04 1988: 473.Google Scholar

C88: 28.Kroeber, Karl. “Mariner's Rime to Freud's Uncanny.” Romantic Fantasy and Science Fiction. New Haven, CT: Yale UP, 1988. 72–94. @Compares S. T. Coleridge's “The Rime of the Ancient Mariner” to “Child Roland to the Dark Tower Came.” “[RB's] poem illustrates how Romantic fantasy was psychologized and transformed into a more symbolic art. … This process of domesticating the strange culminated in Freud's essay ”The Uncanny" (72).CrossRefGoogle Scholar

C88: 29.Latane, David E. Jr., Browning's Sordello and the Aesthetics of Difficulty. [See C87: 27.].Google Scholar

Rev. by Maynard, John, VP 26 (1988): 449–51.Google Scholar

C88: 30.Leighton, Angela. Elizabeth Barrett Browning. [See C86: 34, C87: 29.]Google Scholar

Rev. by Cooper, Helen, VS 31 (1988): 588–89;Google Scholar

Regan, Stephen, YWES 67 (1986): 378.Google Scholar

C88: 31.Leighton, Angela. “Stirring a Dust of Figures: Elizabeth Barrett Browning and Love.” BSN 17 (1987–1988): 11–24. @“The story of the popular romance” still affects contemporary readers' understanding of “the emotional drama” of EBB's “Sonnets from the Portuguese” (13). Leighton reads the sonnets in conjunction with RB's and EBB's love letters as “literary performance, rather than autobiograph[y]” (13). From this perspective, EBB's language of love can be seen as a formal and self-referential poetic discourse.Google Scholar

C88: 32.McCusker, Jane Anneliese. “Robert Browning and the Victorian Debate About the Proper Subject Matter for Poetry.” DAI 49 (1988): 259A. University of Glasgow, U. K. @Within the context of an identifiably Victorian debate, RB's poetry “not only challenges the idea of a proper subject matter for poetry, but also questions the whole notion of a stable and unchanging theory and practice of poetry.”Google Scholar

C88: 33.Munich, Adrienne Auslander. “‘Dear Dead Women’; Or, Why Gabriel Conroy Reviews Robert Browning.” New Alliances in Joyce Studies: “When it's aped to foul a Delfian”. Ed. Kime Scott, Bonnie. Newark: U of Delaware P, 1988. 126–134. @By his direct reference to RB and through his allusions to pictures, in “The Dead” James Joyce demonstrates the reinscription of a male poetics: “In having [Gabriel] Conroy review Browning, Joyce comments on an uncomfortable mediation of specifically female literary power in the making of (male) tradition” (130).Google Scholar

C88: 34.Nicholes, Joseph. “The Virgin to the Rescue: Robert Browning's Inversion of the Myth of Perseus and Andromeda.” SBHC 16 (1988): 18–29. @“[RB's] essential concept of poetic creation involves a transposition of the rescued and the rescuer which parallels and depends on his relationship to [EBB]” (28).Google Scholar

C88: 35.Parry, Ann. “Sexual Exploitation and Freedom: Religion, Race, and Gender in Elizabeth Barrett Browning's The Runaway Slave at Pilgrim's Point.” SBHC 16 (1988): 114–126. @Read in the context of nineteenth-century American abolitionist writings, EBB's “The Runaway Slave at Pilgrim's Point” “adopts an explicitly radical position that interrogates attitudes toward religion, race, and gender through the least lyrical of forms, the ballad” (115).Google Scholar

C88: 36.Peterson, Linda H. “Rereading Christmas Eve, Rereading Browning.” VP 26 (1988): 363–380. @Christmas-Eve is “central to [RB's] poetic development” (363), because the poem confronts the issue of hermeneutics. “By depicting modes of Biblical interpretation, the poem foregrounds more generally the problem of discovering and validating meaning in a text” (363).Google Scholar

C88: 37. “Poetry on a Pedestal.” Southern Living 23 (01 1988): 24. @A brief history and description of the Armstrong Browning Library at Baylor University, Waco, Texas. Two photographs: EBB's ms. of Sonnets from the Portuguese, and the Library's “Foyer of Meditation.”Google Scholar

C88: 38.Preis-Smith, Agata. “Realistic Setting Versus Lyrical Insight in Victorian and Modern Dramatic Monologue.” Kwartalnik Neofilologiciczny (Warsaw, Poland) 34 (1987): 437–449. @The “ever-present illusion of the dramatic setting” (440) in poems such as RB's “Childe Roland to the Dark Tower Came” limits the poem's speaker (and reader) to considering only the speaker's psychological reality. Modern dramatic monologues, such as “The Love Song of J. Alfred Prufrock,” use a continually modified setting to achieve more universal lyrical insight.Google Scholar

C88: 39.Reynolds, Margaret. “Aurora Leigh: ‘Writing her story for her better self’.” BSN 17 (1987–1988): 5–11. @As EBB's choice of the opening image for Aurora Leigh invents an ideal, sympathetic reader for the poem, so do the production and critical reception of Aurora's poem mirror EBB's desires for her own poetry. EBB “prophetically writes in the actual readers of her work” (10).Google Scholar

C88: 40.Righetti, Angelo. Il ritratto, l'epitaffio, il clavicordo: Analisi di tre monologhi di R. Browning. [See C85: 51.]Google Scholar

@Analyses of “My Last Duchess,” “The Bishop Orders His Tomb at Saint Praxed's Church,” and “A Toccata of Galuppi's.” Rev. by Chalaby, Marc, SBHC 16 (1988): 149–150.Google Scholar

C88: 41.Ross, Blair. “Magic and the Magus in Browning's Paracelsus and ‘Fust and His Friends’.” SBHC 16 (1988): 86–104. @“Both the alchemist, Paracelsus, and the inventor, Fust, are re-creations of the peculiarly Renaissance version of the magus: the scientist-philosopher with special insight whose unlimited aspiration prompts him to use the material world to further the spiritual evolution of mankind” (87).Google Scholar

C88: 42.Rozmus, Mary Amber. “The Survival of the Self: Love and Power in the Poetry of the Brownings.” DAI 49 (1988): 829A. Fordham University. @Both EBB's and RB's love poems questioned Victorian idealism. The energy of the love poems is derived from the tension between love and power. An analysis of the poems shows that EBB and RB affirm love's highest aspects.Google Scholar

C88: 43.Stephenson, Glennis. “Elizabeth Barrett Browning and the Poetry of Love.” DAI 49 (1988): 1154A. University of Alberta, Canada. @As they react to sentimental views of EBB, modern critics are tending to neglect the emotional content of EBB's work. In her love poems, EBB explores women's role and women's voice, both accepting and resisting patriarchal tradition.Google Scholar

C88: 44.Strouse, J. “Private Strife: Some Social Consequences of the Anatomical Distinction Between the Sexes.” Women and Higher Education in American History: Essays. Ed. Faragher, John M. and Howe, Florence. NY: Norton, 1988. 3–17. @Three nineteenth-century women—EBB, George Eliot, and Alice James—were denied access to the broad educational experiences males of the period enjoyed. EBB's envy of her brother was socially-determined, rather than limited to a Freudian envy of the male anatomy.Google Scholar

C88: 45.Wang, S. R. “Robert Browning's Problems with Unacted Drama.” SBHC 16 (1988): 52–71. @“[RB's] later unacted drama [such as Luria] witnessed a shift from the empathetic projection [of his early unacted drama, such as Paracelsus] to the sympathetic identification which was demanded by the need to create objective poetry” (52), thus “paving the way for the final emergence of dramatic monologue” (71).Google Scholar

C88: 46.Wegener, Frederick Gustav. “Robert Browning and the Literary Apprenticeship of Henry James.” DAI 49 (1988): 507A. Harvard University. @Examines RB's influence on James' earlier works, those written during James' “apprentice period,” 1865–1875. Looks at references to RB in James' essays, letters, and reviews from 1860–1880. Three early James tales contain a central allusion to RB poems.Google Scholar

C88: 47.Wilkes, David M. “A Prufrockian Look at Browning's ‘The Last Ride Together’.” SBHC 16 (1988): 106–113. @Although “The Last Ride Together” and “The Love Song of J. Alfred Prufrock” end in different ways, “each poem does in fact stand as a representative cultural statement while simultaneously attesting to the universal experiences of personal doubt and struggle for self-definition that create the urgent need to fictionalize” (106). Speakers in both poems are “rendered inarticulate” (108) by a woman's gaze, and each speaker retreats into fantasy.Google Scholar

C88: 48.Wingerd, Cathy L. “New Voices in Victorian Criticism: Five Unrecognized Contributors to Victorian Periodicals.” DAI 48 (1988): 2348A.Google Scholar

Kent State University. @Victorian periodicals' convention of reviewer anonymity allowed women reviewers to publish, but removed them from literary history. Wingerd's edited and annotated anthology of five Victorian women's literary criticism includes a review of RB's poetry by Hassell, Elizabeth in St. Paul's, 1870.Google Scholar