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Journal articles on the topic 'Browning'

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Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Chapman, Alison. "REVOLUTIONIZING ELIZABETH BARRETT BROWNING: A REVIEW OF THE COMPLETE WORKS OF ELIZABETH BARRETT BROWNING." Victorian Literature and Culture 39, no. 2 (May 18, 2011): 605–11. http://dx.doi.org/10.1017/s1060150311000180.

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Any attempt to edit EBB's works encounters immediate and overwhelming challenges. The manuscripts, together with letters, books, drawings, and works of art, were more or less blown to the four corners of the globe with the 1913 Sotheby's sale of her son “Pen” Browning's estate. As Philip Kelley and Betty A. Coley put it, this has been considered “a disaster” by scholars (ix). Kelley and Coley's magnificent reconstruction of the contents of Pen's estate, The Browning Collections, lists each item and whereabouts, if known (the reference aid is updated at The Brownings: A Research Guidehttp://www.browningguide.org/). It is a disheartening as well as essential reading for the researcher, for its catalogue includes academic and public libraries, private collection and associations, throughout North America and Europe. Although locating those Browning effects is now easier with The Browning Collections, should the scholar have funds for travel, the manuscripts themselves are in a perilous state. Not only are they often fragile (especially the important tiny notebooks) but also often extremely challenging to read because of the spidery, faint, and often illegible handwriting. Barrett Browning often revised her poems and had false starts, and sometimes one poem in manuscript is entwined into another. They are, as EBB herself declared, a “chaos of illegibility” (Works 1: xxxiv). The poetry manuscripts do not readily welcome the editor. In addition to the geographical and paleographical challenges, EBB's corpus was huge, including the ballad, verse novel, narrative, dramatic lyric, sonnet and sonnet sequence, translation, hymn, dream vision, lyrical drama, ode, tribute poem, and elegy. Finally, much of the information about her poetry comes from the ongoing Brownings’ Correspondence, which includes letters both sent and received, and is currently at volume 18 (up to March 1853) out of a projected 40. There is a wealth of material by the Brownings, and not all of it readily accessible. Editing the works of EBB is a daunting prospect.

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2

Haigwood, Laura E. "Gender-to-Gender Anxiety and Influence in Robert Browning's Men and Women." Browning Institute Studies 14 (1986): 97–118. http://dx.doi.org/10.1017/s0092472500003473.

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In their courtship and marriage, the Brownings did not contend for that “mastery” the wife of Bath and other traditional sources of marital wisdom cite as the usual object of competition between the sexes. Instead they struggled over the privilege of admiring and serving the other. Robert Browning won that competition, his victory both symptom and cause of a poetic silence that lasted throughout most of his married life. An important exception to his prolonged inactivity is Men and Women, Browning's successful attempt at bringing his innovative style to full, sustained articulation. In order to achieve the kind of psychological, as well as intellectual, independence that would enable him to speak “in [his] true person” (“One Word More,” line 137), however, the poet needed to alter the terms of his relationship with his wife, who was both the emotional center of his life and a more successful, more popular poet. Browning achieved this separation in Men and Women, particularly in “One Word More.”

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3

Rahman, Arifa Ghani. "The Woman/Poet Wife:." Crossings: A Journal of English Studies 6 (August 1, 2015): 124–32. http://dx.doi.org/10.59817/cjes.v6i.217.

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The influence of Elizabeth Barrett Browning on Emily Dickinson’s poetry has been the subject of much speculation. The thematic similarities between the poetry of these two women and, sometimes, the use of similar or exact words have led some critics to accuse Dickinson of plagiarism. This paper considers this accusation in terms of Harold Bloom’s idea of the “anxiety of influence” to show how Barrett Browning inspired Dickinson to become at once a part of a strong female tradition as well as a deviant. The image of the wife as presented by Dickinson in her “bridal” poems has been compared with that presented in Barrett Browning’s famous “Sonnets from the Portuguese.” Barrett Browning’s sonnet sequence, written for her husband, has been valued more for the romance behind the poems than for their literary value. These poems have ultimately placed Barrett Browning securely in the place of woman/wife rather than poet. But where Barrett Browning never questioned the overlapping of these roles, Dickinson, in her poetry, is often troubled by the implications. This paper examines Dickinson’s poems as an assertion of the conflicts between the woman/poet/wife compared to Barrett Browning’s poetry which shows her complacency with her position as woman/wife as she had already established herself as a poet in the man’s world before she ever met Robert Browning.

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4

Dr Barkha Saxena. "Hindu Vision in the Poetry of Robert Browning." Creative Launcher 4, no. 2 (June 30, 2019): 27–32. http://dx.doi.org/10.53032/tcl.2019.4.2.04.

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Robert Browning is a positive poet among the great poets of the Victorian age. He is an optimistic, moralist and religious instructor. He occupies a unique place in English Literature. He seeks optimism in any situation of life by preaching universality of soul and advocacy of God. In his poems, Religion holds a prominent place, and religious teachings get expression in a commendable manner. Religion is subject dear to Browning's heart, and several of his poems deal with the theme of religion Faith in God and immortality of the soul. Besides, staunch faith in godly ways and equally profound faith in the earnest endeavour are the salient features of Browning’s philosophy of life. His famous poem Rabbi Ben Ezra is an epitome of Browning’s philosophy. In many of his poems, we encounter the matching ideas of Vedas and Upanishads. He says that God is everywhere, and we need to seek Him. He is a believer in the immortality of the soul and life after death.

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5

Quirarte-Ruvalcaba, Isadora. "The Lady on the Sofa: Revisiting Elizabeth Barrett Browning’s Illness." Humanities 13, no. 4 (July 17, 2024): 94. http://dx.doi.org/10.3390/h13040094.

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If there is one poet who has been widely represented under a legendary light, it is Elizabeth Barrett Browning (1806–1861), mostly through the figure of a secluded invalid. Barrett Browning’s illness and death have been romanticised ever since her own time, with multiple rumours and theories mostly focusing on the fact that her illness was ‘miraculously dispelled’ by ‘love’ and only reappeared gradually to take the poet’s life. This article proposes yet another and quite different diagnosis for Barrett Browning’s illness, theorising on the possibility that Barrett Browning’s ailment was a pulmonary congenital malformation, which remained misdiagnosed due to the lack of medical technology at the time. Several of the diagnoses given to Barrett Browning by her medical practitioners, contemporary and posthumous biographers and other scholars are presented and compared, alongside my own hypothesis. In addition, Barrett Browning’s arguable morphine dependency is reassessed in order to explore its impact on her illness, with the possibility that it exacerbated or even caused some of her symptoms. This reassessment also explores the role that morphine played in Barrett Browning’s death, suggesting an accidental overdose possibly overlooked by Robert Browning.

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6

Pavlova, Tatiana, Alena Aleksandrovna Ustinovskaya, Ekaterina Aleksandrovna Drozdova, and Ol'ga Geral'dovna Belousova. ""I'm some kind of anti-Browning": the counterpoint of the English pretext and subtext in the "Poem without a Hero" of A. Akhmatova." Филология: научные исследования, no. 5 (May 2022): 21–31. http://dx.doi.org/10.7256/2454-0749.2022.5.37960.

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The subject of the study is the intertextual dialogue of the "Poem without a Hero" by A. Akhmatova with texts by Robert Browning: the poetic diptych "Porphyria's Lover" and "My last Duchess". The object of the study is the counterpoint of the pretext and subtext of English literature in the multilayered and polysemantic text of the "Poem without a Hero", to which Akhmatova herself attributed the "triple bottom". The authors consider in detail the overlap of the motives of Browning's poems with the text of the "Poem without a Hero" and demonstrate the systemic "mirroring" of the reflection of situations: the complexes of the motives of the Browning diptych in Akhmatova are inverted. Particular attention is paid to the issues of various interpretations of the text of the poem "Porphyria's Lover" and related interpretation options for individual scenes and fragments in the text of the "Poem without a Hero". The main conclusions of the study are the establishment of an unambiguous semantic connection of the "Poem without a hero" with two Browning poems. The research methods include comparative-historical and intertextual. A special contribution of the authors to the study of the topic is the substantiation of the trace of Robert Browning's diptych in the text of "Poems without a Hero": traditionally, another work of Browning is indicated among the sources of the poem. The novelty of the research is determined by the involvement of new material and the proposal of a new reading of Akhmatova's self-identification as "anti-Browning". These words should be deciphered not only by projecting the relationship of the Browning and Barrett pair onto the Gumilev and Akhmatova pair, but also as a reference to the mirror reversal of the situations described by Browning in the dramatic monologues of the diptych.

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7

Sullivan, Mary Rose. "“Some Interchange of Grace”: “Saul” and Sonnets From the Portuguese." Browning Institute Studies 15 (1987): 55–68. http://dx.doi.org/10.1017/s0092472500001826.

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That Robert Browning and Elizabeth Barrett Browning had an influence on each other's poetry is difficult to doubt but more difficult to prove; their similar backgrounds and shared experiences, and a reticence in both to discuss their working habits, generally make attempts to fix possible influences between them problematic at best. Two periods of their shared lives, however, do provide an unusually clear record of the way each affected and was affected by the other's writings: the first, from their introduction in January 1845 until their marriage in September 1846, during which time Browning completed the last two numbers of his Bells and Pomegranates series and Elizabeth Barrett wrote her Sonnets from the Portuguese, and the second in 1855, when Browning published Men and Women. Their courtship letters show that they considered themselves engaged in a unique poetic as well as personal partnership, and their poetry of this time, together with Browning's 1855 volume, reveals that their creative interaction was more extensive than even they realized. Of particular note is the way that Browning's first version of “Saul” helped to shape the theme and imagery of Sonnets from the Portuguese, which in turn influenced his later conclusion to “Saul.”

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8

Dealing, James W., and Jeff Kazmlerczak. "Making Iconoclasts Credible: The Iben Browning Earthquake Prediction." International Journal of Mass Emergencies & Disasters 11, no. 3 (November 1993): 391–403. http://dx.doi.org/10.1177/028072709301100310.

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The present investigation reports the results of a content analysis of U.S. newspaper portrayals of the 1991 earthquake prediction by Dr. Iben Browning. Results suggest that journalists wrote stories which readers may have interpreted as advocating a belief in Browning's prediction. Specifically, news stories were found to be more subjective than objective, and more supportive than critical, of both Iben Browning and his theory.

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9

Taher-Kermani, Reza. "“A THIN DISGUISE”: ON ROBERT BROWNING'SFERISHTAH'S FANCIES." Victorian Literature and Culture 44, no. 2 (May 10, 2016): 265–78. http://dx.doi.org/10.1017/s1060150315000613.

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Ferishtah's Fancieswas a workof Browning's old age, the first of the three volumes he published after he turned seventy, before his death in 1889. All these volumes, but especially the first two,Ferishtah's Fancies(1884) andParleyings with Certain People of Importance in Their Day(1887), are reflective works, in which Browning revisits the major themes and imaginative locations of his life and work. But they are also characteristically restless works, formally complex and innovative, and polemical in spirit. They contain some of Browning's least engaging writing: dense, prickly, mannered, full of a kind of late-Browning poetic lingo which is not quite demotic and not quite high art. Oddly enough,Ferishtah's Fancieswas a success when it was published – it is the only volume Browning ever published to be reprinted twice in a year – but this success did not last beyond the First World War, and in modern critical terms it is probably the most neglected of all his work. There are good reasons for this. When you know that Henry Jones based most of his 1912 book,Browning as a Religious and Philosophical TeacheronFerishtah's Fancies, you can guess what is coming. To Jones what was earnest, profound, and consoling about Browning's ideas was exactly what the next generation rejected with a kind of nausea. Since these ideas no longer came clothed in the verse that had enraptured the Pre-Raphaelites – the verse ofMen and Women(1855),Dramatis Personae(1864), and evenThe Ring and the Book(1868–69) – it failed utterly to make its way into the twentieth century, and has lain buried.

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10

Goddard, Michael E., S. Hong Lee, Jian Yang, Naomi R. Wray, and Peter M. Visscher. "Response to Browning and Browning." American Journal of Human Genetics 89, no. 1 (July 2011): 193–95. http://dx.doi.org/10.1016/j.ajhg.2011.05.022.

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11

Lasner, Mark Samuels. "Browning's First Letter to Rossetti: A Discovery." Browning Institute Studies 15 (1987): 79–90. http://dx.doi.org/10.1017/s009247250000184x.

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In the summer of 1847, the nineteen-year-old Dante Gabriel Rossetti came across a copy of Robert Browning's anonymous first book in the library of the British Museum. This discovery of Pauline (published in 1833) by a young poet already enthusiastic about Browning has long been justly famous. Not being able to obtain the book from the publisher – it had long since been removed from sale – Rossetti was forced to transcribe the entire text into a notebook. While doing so, he noticed a similarity between certain passages of Pauline and one of Browning's acknowledged early works, Paracelsus (1835). Several months later, on 17 October 1847, Rossetti wrote to Browning to ask if he were the author of Pauline. Browning's reply – the beginning of an important literary friendship – is presented here for the first time.

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12

Shipman, Martin, Gil Fowler, and Russ Shain. "Media Coverage of the Browning Prediction." International Journal of Mass Emergencies & Disasters 11, no. 3 (November 1993): 379–89. http://dx.doi.org/10.1177/028072709301100309.

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A study of three newspapers that primarily serve the New Madrid Fault area shows that the press and public officials probably share the blame for public panic surrounding the 1990 Iben Browning earthquake prediction. The press failed to report soon enough scientists’ views that refuted Browning's prediction, and some public officials used mass media to promote earthquake awareness even though the tactics fed public misperceptions about the likelihood of Browning's prediction coming to pass.

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13

Stauffer, Andrew M. "“THE KING IS COLD,” BY STODDARD, NOT BROWNING." Victorian Literature and Culture 36, no. 2 (September 2008): 361–62. http://dx.doi.org/10.1017/s1060150308080224.

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About a decade ago, I discovered an unknown poem attributed to Robert Browning in two New York abolitionist periodicals, and published an article about it here in Victorian Literature and Culture. I made the case that the poem, a dramatic monologue entitled “The King is Cold,” sounds like Browning in ways that suggest either its authenticity or the early familiarity of an American audience with Browning's style; and I closed the article with the statement, “By bringing ‘The King is Cold’ to light, I hope to encourage further speculation and inquiry as to its place either among Browning's collected works, or within the larger field of Browning scholarship that includes the study of his American reputation” (469). Since then, electronic databases have automated broad, sweeping searches of periodicals, and now the relevant information is easily discovered: the poem was in fact written by Richard Henry Stoddard, the American poet and man of letters. It was first published under Browning's name in the New York News sometime late in 1857, and was correctly ascribed to Stoddard in Russell's Magazine in December of that year; I found this information by searching in the American Periodicals Series Online, 1740–1900. The abolitionist reprintings (in the National Anti-Slavery Standard and the Liberator) apparently followed the version in the New York News, and the misattribution was perpetuated. Indeed, the poem reappeared in another New York periodical, Munsey's Scrap Book, in 1909, where it was still being given out as Robert Browning's. “The King is Cold” was also included as Browning's in William Cullen Bryant's oft-reprinted New Library of Poetry and Song.

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14

Zhao, Kanghong, Zhengpeng Xiao, Jianguo Zeng, and Hongqi Xie. "Effects of Different Storage Conditions on the Browning Degree, PPO Activity, and Content of Chemical Components in Fresh Lilium Bulbs (Liliumbrownii F.E.Brown var. viridulum Baker.)." Agriculture 11, no. 2 (February 23, 2021): 184. http://dx.doi.org/10.3390/agriculture11020184.

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Although Lilium brownii (L. brownii) bulbs are popular fresh vegetables, a series of quality problems still remain after harvest. In this study, fresh L. brownii bulbs were placed in the dark at 25, 4, and −20 °C and under light at 25 °C from 0 to 30 days; the chemical compositions were analyzed by ultraviolet spectrophotometry (UV) and high-performance liquid chromatography quadrupole time-of-flight mass spectrometry (HPLC-Q-TOF-MS). During the 30-day storage period, the browning degree increased over the storage time and with increasing temperature, but the contents of proteins and free amino acids decreased and were aggravated by light. The total polyphenol content increased until the 6th day at 25 °C (dark or light), but it did not significantly accumulate at −20 or 4 °C. The reducing sugar content showed a dynamic balance, but the total polysaccharide content decreased constantly in the four storage conditions. The polyphenol oxidase (PPO) activity increased with storage time and increasing temperature, while it was inhibited by light. The increase rates of malondialdehyde (MDA) content at −20 °C and light (25 °C) were higher than those at 4 and 25 °C. In addition, 12 secondary metabolites were identified, most of which accumulated during the storage period, for example, 1-O-feruloyl-3-O-β-D-glucopyranosylglycerol; 1,3-O-di-p-coumaroylglycerol; 1-O-feruloyl-3-O-p-coumaroylglycerol; and 1,2-O-diferuloylglycerol. The variations in nutrient levels had a low correlation with browning, but the variations in MDA, PPO, and secondary metabolite (phenolic acids) levels had a high correlation with browning. In conclusion, fresh L. brownii bulbs should be stored at a low temperature (4 °C) and in dark condition, and browning bulbs are excellent materials for secondary metabolite utilization.

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15

Crowder, Ashby Bland. "An Italian Person of Quality Indeed!" Romanian Journal of English Studies 14, no. 1 (November 27, 2017): 8–13. http://dx.doi.org/10.1515/rjes-2017-0002.

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Abstract Robert Browning’s “Up at a Villa-Down in the City” is a dramatic monologue, a fact unnoted by criticism. Browning employs irony throughout that undercuts the stated views of the speaker, who is not a person of quality, as the subtitle has announced. The speaker reveals himself to be a man of little experience in art and literature, of meager taste, poor judgement, and in general dull and inflexible. Browning cleverly sets up the clues whereby the reader can distinguish between what the speaker intends and what the reader understands. The speaker’s repudiation of the countryside actually makes clear the virtues of country life, and his praise of city life makes it clear what is undesirable in it. Browning accomplishes this manipulation through imagery, ambiguity in language, and by reference to outside facts.

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16

Raham Dil Khan and Dr. Khan Sardaraz. "Socio-literary Study of Robert Browning and Darwesh Durrani’s Dramatic Monologues: A Comparative Literary Approach." sjesr 2, no. 2 (April 4, 2020): 125–43. http://dx.doi.org/10.36902/sjesr-vol2-iss2-2019(125-143).

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Previous literature is laden with research on Browning’s dramatic monologues from various perspectives. This paper will compare Browning’s dramatic monologues with Derwesh Durrani’s poetry from socio-literary perspective. Literary theories of analogy and variation will be used to find out similarities and differences in their poetry. Two poems from each poet have been selected for analysis through close reading technique on the model of theories of variation and analogy. Stratified sampling technique was used for taking the representative sample from the data. The findings reveals that Darwesh’s poetry exhibits most of the dramatic features of Browning’s dramatic monologues, but his poetry is more poetic, while Browning’s poetry is more dramatic; Browning invigorates the past, Darwesh recreates the present. In addition, Browning’s poems deals with domestic issues like gender violence, love and marriage, Darwesh’s poetry deals with social issues and patriotism, and contrary to Browning, he stands for women’s rights and sensibilities. This paper suggests further studies purely from socio-cultural perspective of Darwesh’s dramatic monologues, which will contribute to the existing literature on dramatic monologues.

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17

Manor, Gal. "“Grow Old Along With Me”: Robert Browning’s Conception of Jewish Old Age." SAGE Open 10, no. 2 (April 2020): 215824402091953. http://dx.doi.org/10.1177/2158244020919534.

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Robert Browning often explored the concepts of old age and dying in his poems, and surprisingly enough, some of these most striking poems use Hebraic sources as intertexts. This article will explore Robert Browning’s idea of old age as it is conveyed in “Rabbi Ben Ezra,” “Pisgah Sights,” and “Jochanan Hakkadosh,” three poems in which Browning turns to Hebrew sources to explore philosophical and mystical narratives of aging. Written against the emerging Victorian conception of the elderly subject, these poems merge two forms of Victorian Otherness—Judaism and old age—so as to create an alternative and celebratory vision of the last stage of life. These representations of old age also reflect Robert Browning’s biographical old age, which introduced long-awaited popularity and critical acclaim, and the evolution of his favorite form, the dramatic monologue.

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18

Cervo, Nathan. "Chiarini's Retort to Zanella: Browning's Italian Critics." Browning Institute Studies 14 (1986): 119–24. http://dx.doi.org/10.1017/s0092472500003485.

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Giuseppe Chiarini was an Italian poet, translator, and critic. In 1874 he sent a copy of his Poesie to Robert Browning. Among the English poets Chiarini translated were Wordsworth, Elizabeth Barrett Browning, Shelley, Tennyson, Swinburne, and Robert Browning. As an example of the liberties he took with Italian metrics in order to render the gusto of Browning's rollicking manner, I cite the first stanza of “Up at a Villa – Down in the City” (“Su in Villa e Giù in Città”):S' i' avessi denari, se n'avessiAbbastanza e d'avanzo, la mia casaSarebbe al certo alla città, giù in piazza.Oh dolce vita, oh, dolce vita starseneAffacciati laggiù alla finestra.(Poesie 421)(If I had money, if I hadEnough and cash on hand, my houseWould certainly be in the city, down in a piazza.O sweet life, O sweet life, to beLeaning out of a window there.)[My translation]

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19

Baker, J. H. "Browning's Apology: Robert Browning, Wordsworth, and William Knight." Review of English Studies 54, no. 214 (May 1, 2003): 220–37. http://dx.doi.org/10.1093/res/54.214.220.

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20

Arafat, Faisal. "Robert Browning’s Poem Porphyria’s Lover: Viewed from the Perspective of a Short Story." International Journal of Language and Literary Studies 3, no. 1 (March 30, 2021): 170–76. http://dx.doi.org/10.36892/ijlls.v3i1.521.

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Robert Browning quite as an exception to his contemporary Victorian poets opted for the psychoanalysis of his characters in his poems. His obsession of delving deeper into the psyche of his characters most often lent his poems with the essence and atmosphere of a story, to be more accurate – a short story. Browning’s readers still today hovers in the labyrinth created in his poetic world. He leaves his readers in such a juncture from where the readers time and again look back into the plot of his poems to find answers of the mysteries invested by the poet. Stylistically being much ahead of the contemporary trend of poetry, Browning’s poems could be labeled as futuristic. His artistic faculty in his poems can only be somewhat explained and understood if analyzed from the perspectives of a short story. Only then the crossroads where Browning leaves his readers in his poems can find a destination and provide a literary solution. One of the most extraordinary poems of Robert Browning is ‘Porphyria’s Lover’. This paper is an analysis of the poem from the perspective of the features of a short story. The plot and theme of the poem is quite obscure especially the ending of the poem leaves the readers with a feeling of puzzle and incompleteness. In order to explain this puzzle and incompleteness this study presents an elaborate discussion of the characteristics of short story. Then it discusses the storytelling ability of Browning in his poems and finally based on the findings presents an analysis of the poem to determine the matching characteristics of a short story in the poem. The study is completely based on a qualitative analysis.

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21

Qahtan Sulaiman, Maha. "Insanity and Murder in Robert Browning’ and Robert Lowell’s Dramatic Monologues." Arab World English Journal For Translation and Literary Studies 5, no. 1 (February 15, 2021): 201–9. http://dx.doi.org/10.24093/awejtls/vol5no1.14.

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The study aims at fathoming Robert Browning’ and Robert Lowell’s intentions of choosing the dramatic monologue as a means of exploring human psyche. Significantly, the themes of insanity and murder are not ideal from an esthetic perspective, but for Browning and Lowell it provides the key to probe into human character and fundamental motives. This study examines Browning’ and Lowell’s dramatic monologues that address crime and the psyche of abnormal men. Browning’ and Lowell’s poetry in this regard unravels complicated human motivations and delineates morbid psychologies. Their monologues probe deep down into the mind-sets of their characters and dissect their souls to the readers. The main character of each of Browning’s dramatic monologues, My Last Duchess and Porphyria’s Lover; discloses his true self, mental health, and moral values through his monologue in a critical situation. Ironically, each monologue invites the reader to detect the disparity between what the character believes the story to be and the reality of the situation detected through the poem. In Lowell’s The Mills of the Kavanaughs, the monologue is delivered by the victim herself. Yet, the fact that the poem reflects Lowell’s individual experience and trauma indicates that the monologue is delivered by the poet-victimizer as well

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22

Fahmi, Ismael M., and Lanja A. Dabbagh. "Misrepresentation of The Druse Community in Browning’s Unsuccessful Tragedy." Koya University Journal of Humanities and Social Sciences 3, no. 1 (June 18, 2020): 69–72. http://dx.doi.org/10.14500/kujhss.v3n1y2020.pp69-72.

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There are a number of literary texts which earn their raison d’etre from the exotic nature or unfamiliar features in the subject matter of the creative work. One of the brilliant and of standing poets of all ages is Robert Browning. Robert Browning (1812-1889) chose a literary genre alien to his powers as a poet, and a topic beyond the range of a man who had little firsthand knowledge of the Levant. Since he had the power to transfer historical stories magically to forever recited and read poems all over the world and through all ages till the recent one. This poet composed a tragic play entitled The return of the Druses (1843). Literary histories tell us that it was a failure on all accounts. One of the logical reasons for this failure was presumably Browning’s ignorance of the culture he wished to depict in this work. This article is an analysis of the play, to which very little attention was paid even by the specialists in Browning studies. The conclusion is that Browning provided for the readers and spectators a rather weak image of the Druses as individuals and as a community. They are shown to be gullible and misguided as a community. Their leadership is shown as cunning, dishonest, and Machiavellian.

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23

Dupras, Joseph A. "The Word's Dispersion: Two Letters and a Parchment in Browning's Poetry." Browning Institute Studies 18 (1990): 95–111. http://dx.doi.org/10.1017/s0092472500002881.

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Scientific and hermeneutic studies, which held the attention of Robert Browning7's contemporaries who were sensitive to Christology, made Scripture and the “book of nature” seem even more inscrutable. A prominent theme in many Browning poems, “How very hard it is to be / A Christian” (Easter-Day, lines 1–2), pertains not only to behavior but also to the influence of spoken, written, or printed discourse on historical and canonical matters. In Karshish's epistle to Abib, Cleon's letter to Protus, and multiple analyses of a parchment concerning St. John's death, Christianity appears not just a religious and cultural phenomenon, but a changing philological and interpretive one affected by “the ineptitude of the time, / And the penman's prejudice” (Christmas-Eve 871–72). For Victorians and later readers, anxious about being on the brink of a post-Christian age and therefore inclined to idealize their ancestors' religious confidence, Browning's portraits of Christianity's first century are a chance to review inherited discursive practices. He represents Christianity's vocal and textual foundations to accentuate “hermeneutics, … how poets find authority and means to communicate in written language and how readers derive meaning from poetic texts … or an event qua text.” (Peterson 363). Browning is less troubled by “higher” or “lower” critics, attuned to the perils of logocentrism, than by nervous religious and literary disciples who understand his poetics no better than they adapt to the altered theological climate.

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Landrigan, Margaret, Stephen C. Morris, and Barry W. McGlasson. "Postharvest Browning of Rambutan is a Consequence of Water Loss." Journal of the American Society for Horticultural Science 121, no. 4 (July 1996): 730–34. http://dx.doi.org/10.21273/jashs.121.4.730.

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Rambutan (Nephelium lappaceum L.) rapidly lose their attractive appearance after harvest due to a superficial pericarp browning. Storage at high humidity minimizes fruit desiccation and may, therefore, delay browning onset. This paper examines the effect of reduced water loss rate on browning that may occur with time. Rambutan fruit pericarp browning beyond a commercially saleable level occurred at a weight loss of 25% to 40%. This depended on duration and storage relative humidity (RH). Skin browning was 50% greater on the red (R 134) than the yellow (R 156) cultivar at 60% RH. There was a storage time × RH interaction in the development of browning such that browning was observed earlier at lower RHs. Skin browning and spintern (soft spine) browning developed independently. Cracks appeared on the surface of fruit with increased weight loss. Browning occurrence was consistent with increased total phenolic compound levels in the pericarp. Water loss precedes browning occurrence and, over time, water loss is related to browning. Water stress appeared to affect rambutan pericarp tissue in much the same manner as senescence.

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Stauffer, Andrew M. "Robert Browning and “The King is Cold”: A New Poem." Victorian Literature and Culture 26, no. 2 (1998): 465–73. http://dx.doi.org/10.1017/s1060150300002515.

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By February of 1858, the American abolitionist community had at least twice been exposed to a poem — attributed to Robert Browning — entitled “The King is Cold.” It appeared in January in the National Anti-Slavery Standard, a weekly newspaper published in New York City, and, one month later, it was reprinted in William Garrison's Boston paper, the Liberator. Yet aside from this brief record of publication, the poem has left no discernible traces, either before or since. The oddly one-sided (i.e., American) appearances of “The King is Cold” surely contributed to its being overlooked by generations of Browning scholars and editors, including such modern fugitive-hunters as Broughton, Honan, and Kelley. In fact, with a few notable exceptions, Browning scholarship has been reluctant to extend its efforts across the Atlantic. We still await an analysis of the poet's American transactions that would update the important research done by Louise Greer in the 1950s. For most of his life, Browning was much more popular in the United States than in England, and, as Greer puts it, “Browning must have known more Americans than any other English man of letters” (39). And, although their author never visited the United States, Browning's poems arrived by the 1840s, finding enthusiastic audiences that included such luminaries as Hawthorne, Lowell, Emerson, and Thomas Higginson. This Boston intellectual clique — transcendentalist, Unitarian, and abolitionist — recognized in Robert (and, more rapidly, in Elizabeth Barrett) the “brave translunary things that our first poets had” (Lowell qtd. in Greer 14). As the uncatalogued existence of “The King is Cold” suggests, the fruits of this special relationship remain incompletely gathered.

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Bailey, Suzanne. "Robert Browning." Victorian Poetry 58, no. 3 (2020): 331–42. http://dx.doi.org/10.1353/vp.2020.0020.

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Bailey, Suzanne. "Robert Browning." Victorian Poetry 59, no. 3 (September 2021): 324–37. http://dx.doi.org/10.1353/vp.2021.0021.

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Crunkhorn, Sarah. "Browning fat." Nature Reviews Drug Discovery 11, no. 12 (November 30, 2012): 907. http://dx.doi.org/10.1038/nrd3896.

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Herrin, J. "ROBERT BROWNING." Past & Present 156, no. 1 (August 1, 1997): 3–6. http://dx.doi.org/10.1093/past/156.1.3.

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Britta Martens. "Robert Browning." Victorian Poetry 46, no. 3 (2008): 328–38. http://dx.doi.org/10.1353/vp.0.0026.

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Britta Martens. "Robert Browning." Victorian Poetry 47, no. 3 (2009): 559–66. http://dx.doi.org/10.1353/vp.0.0075.

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Gibson, Mary Ellis. "Robert Browning." Victorian Poetry 38, no. 3 (2000): 416–22. http://dx.doi.org/10.1353/vp.2000.0028.

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Gibson, Mary Ellis. "Robert Browning." Victorian Poetry 39, no. 3 (2001): 447–53. http://dx.doi.org/10.1353/vp.2001.0025.

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Gibson, Mary Ellis. "Robert Browning." Victorian Poetry 40, no. 3 (2002): 303–11. http://dx.doi.org/10.1353/vp.2002.0020.

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Gibson, Mary Ellis. "Robert Browning." Victorian Poetry 41, no. 3 (2003): 394–402. http://dx.doi.org/10.1353/vp.2003.0030.

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Gibson, Mary Ellis. "Robert Browning." Victorian Poetry 42, no. 3 (2004): 355–68. http://dx.doi.org/10.1353/vp.2004.0049.

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Martens, Britta. "Robert Browning." Victorian Poetry 44, no. 3 (2006): 332–40. http://dx.doi.org/10.1353/vp.2006.0036.

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Martens, Britta. "Robert Browning." Victorian Poetry 45, no. 3 (2007): 287–97. http://dx.doi.org/10.1353/vp.2007.0038.

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Bailey, Suzanne. "Robert Browning." Victorian Poetry 49, no. 3 (2011): 376–83. http://dx.doi.org/10.1353/vp.2011.0033.

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Bailey, Suzanne. "Robert Browning." Victorian Poetry 50, no. 3 (2012): 349–58. http://dx.doi.org/10.1353/vp.2012.0027.

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Bailey, Suzanne. "Robert Browning." Victorian Poetry 51, no. 3 (2013): 365–84. http://dx.doi.org/10.1353/vp.2013.0015.

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Bailey, Suzanne. "Robert Browning." Victorian Poetry 52, no. 3 (2014): 535–51. http://dx.doi.org/10.1353/vp.2014.0017.

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Bailey, Suzanne. "Robert Browning." Victorian Poetry 53, no. 3 (2015): 300–316. http://dx.doi.org/10.1353/vp.2015.0016.

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Bailey, Suzanne. "Robert Browning." Victorian Poetry 54, no. 3 (2016): 344–63. http://dx.doi.org/10.1353/vp.2016.0018.

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Bailey, Suzanne. "Robert Browning." Victorian Poetry 55, no. 3 (2017): 349–72. http://dx.doi.org/10.1353/vp.2017.0020.

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Bailey, Suzanne. "Robert Browning." Victorian Poetry 56, no. 3 (2018): 305–25. http://dx.doi.org/10.1353/vp.2018.0019.

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Bailey, Suzanne. "Robert Browning." Victorian Poetry 57, no. 3 (2019): 380–99. http://dx.doi.org/10.1353/vp.2019.0018.

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E. A.W. "Robert Browning." Journal of Education 52, no. 8 (August 1990): 135–37. http://dx.doi.org/10.1177/002205749005200808.

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Kotz, Joanne. "Browning fat." Science-Business eXchange 5, no. 5 (February 2012): 114. http://dx.doi.org/10.1038/scibx.2012.114.

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Martens, Britta. "Robert Browning." Victorian Poetry 48, no. 3 (September 2010): 373–84. http://dx.doi.org/10.1353/vp.2010.a405452.

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