Passions without a tongue: dramatisations of the body in Robert Browning's poetry
Robert Browning (1812-1889) is generally held to be one of the most important and most complex Victorian poets. His poetry balances a high level of intellectual sophistication with an acute awareness of physical materiality. This study analyses the depiction of the human body in Browning's work. Particular emphasis is placed on the dramatic monologue, the poetic form for which he is famous. The main part of the study consists of close readings of Browning's poems and situates his ceuvre in the context of Victorian thinking.
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Browning Dramatic Poetry and the Victorian Body
Pauline and the Beginnings of Brownings Dramatic Poetry
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Andrea del Sarto argues artistic auditor aware Band becomes bishop bodily identity body language body's Browning Browning's dramatic poetry Browning's poetry Caliban Caliban upon Setebos Caponsacchi Carol Christ characterised Christ Cleon context corporeal Cristina critical cross-dressing David David Shaw dead death desire discourse dramatic monologue dramatisation dress Duke Duke's Elvire emphasises existence experience fact female body feminine Fifine flesh gaze grammarian's Guido Honan human imagery Incarnation Ixion Karlin Karshish Lady Last Duchess Lippo Lippi Lucrezia male body masculine masquerade material meaning metaphor mind Monaldeschi motif nature nonverbal communication object Ottima pain painting Pauline Pheidippides Phene physical Pippa Passes poem poem's poet poetic Pompilia Porphyria's Lover portrait reader reading realises relationship repression rhetorical Robert Browning role role-playing Romantic Ryals Saul scene Sebald sense Setebos sexual Shaw significance Slinn Sludge social soul speaking spiritual symbolic theatrical torture turn ultimately Victorian voice wife woman women Zeus