By Warwick E. Slinn
This publication goals to give an explanation for what Browning intended by means of 'action in character.' Slinn sees Browning as a mental dramatist utilizing the poetic style. His obstacle is with dramatic monologue, which just about consistently specializes in conflicts of identification. Browning's characters, in keeping with Slinn, needs to stroll a tightrope among the distracting lives of others which threaten to fragment the individual's event at the one hand, and regulated solipsism at the different.
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Extra resources for Browning and the Fictions of Identity
But a voice changed it. Wherefore I chose my portion'. This is the structure of his rationalised confidence. Partly a narrative of past desires and dreams, partly an act of persuasion, it is the justification which he requires in order to overcome his threatening despair. ' (l. 3). If the choice was his own, so were the consequences, and so too was the cause, in the 'voice' which changed his dreams. The voice is his reaction to the dream of fame, largely a fear of public judgement, and the interruptions and broken statements in the passage (ll.
If so, the hymn is not sufficiently imposing to counter the irony in the remainder of the work. In Paradise Lost Milton shows the lost paradise to be tragic in human terms, but comic in divine terms, in the sense that all events move inexorably towards redemption and a culmination in heavenly grace. There the reader is able to experience both the tragedy, through Adam's and Eve's sense ofloss, and the comedy, through God's plan in Book III and Michael's revelations to Adam in Books XI and xn. In Pippa Passes the reader is not provided with a corresponding experience of a divine purpose untouched by irony to offset the experience of an ironic world, with or without providence.
It is an attitude that may well produce irony, since such reliance on emotion means that he is spared the embarrassment of analysing his motives too carefully in case a desire for personal aggrandisement might be masquerading as patriotic 'feeling'. 58) is more the result of youthful self-importance than founded on knowledge about the political situation. 47), there is a hint of the role which illusion plays and of the manner in which his incipient sense of identity encompasses both the world and the heavens: And earth seems in a truce with me, and heaven Accords with me, all things suspend their strife, The very cicala laughs 'There goes he, and there!
Browning and the Fictions of Identity by Warwick E. Slinn