The Discourse of Self in Victorian Poetry

Slinn, E. Warwick

doi:10.1007/978-1-349-10452-9

Cited by 14 publications

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“…By using a highly symbolical images of "the sun", "his glory" and "gorgeous urn" to reflect man`s oppression to women and the natural setting, Elizabeth browning has employed man`s metaphoric language that asserts his desire for domination as well as oppression. As long as man uses the symbolical image of the sun in literature as a sign of the masculine superior power as Slinn (1991) in his book the discourse of self asserts that "… the presence of the sun, presumably sustains the speaker`s desire for masculine authority, with himself in the position of the sun, the object of worship and desire for the flowers" (81). While the female sign as a flower becomes dependent on the masculine power.…”

Section: Elizabeth B Browning's a Dead Rosementioning

confidence: 99%

An Ecofeminist Reading of Woman Vision in Elizabeth B. Browning’s A Dead Rose

Mohsen¹,

Hassan²

2022

AUJLL

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Elizabeth B. Browning is one of the most influential poets in the literary arena of the Victorian age who boldly had challenged the constriction of the patriarchal culture scratching her name in the history of the greatest poets. Her natural revolutionary notions and highly conscious awareness, acquired from her pursuit and thirst for knowledge which is not available for women in the nineteenth century, unleashed the conscious female identity inside her to be the mother tongue of the oppressed women. Thus, many literary studies have tackled Elizabeth Browning`s works within the lenses of feminism. However, these literary studies overlook the role of nature that dominates much of Browning`s poetry as a womb nurtures women`s awareness and empowers her vision to roar against woman's marginalization and nature's oppression. Therefore, this study employs the ecofeminist frame of Susan Griffin's Woman and Nature: The Roaring Inside Her to investigate the relationship between woman and nature in Elizabeth Browning's A Dead Rose. Women and Nature refute the patriarchal contentions that the closeness between women and nature is an expression of passiveness and weakness. Accordingly, this study concludes that the relationship between woman and nature is a relationship of regeneration and activation.

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Section: Elizabeth B Browning's a Dead Rosementioning

confidence: 99%

An Ecofeminist Reading of Woman Vision in Elizabeth B. Browning’s A Dead Rose

Mohsen¹,

Hassan²

2022

AUJLL

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“…Character thus presents itself at each moment as made up of latent potencies capable of being awakened by the clash with outward circumstances, and of taking ever a new form in the conflicts by which it maintains itself. (Jones, 1897: 206-07) It was just such features that made Browning's poetry exemplary of Victorian poetry's rejection of Romanticism's autonomous, unified, authoritative, and stable first-person speakers (Bristow, 1991: 26-27) in favour of the representation of selfhood as a site of contradiction and division rather than one of revelation and authenticity (Armstrong, 1993;Slinn, 1991). The early and sustained appeal of Browning in America was because his dramatic lyrics allowed writers to respond to an increasingly complex and socially diverse American nation entangled in competing and contradictory ideas and ideals and 'cognitive dissonances' (Bennett, 2013).…”

Section: Self-divided 'Imaginary Persons'mentioning

confidence: 99%

‘It Does Not Mean Me, But a Supposed Person’: Browning, Dickinson, and the Dramatic Lyric

Finnerty

2014

Comparative American Studies An International Journal

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Although scholars have explored the importance of the works of Elizabeth Barrett Browning to Emily Dickinson, very little research exists on the implications of her admiration for Robert Browning. Within the context of Browning's nineteenth-century US reception, this essay considers the profound and seminal effect this writer had on Dickinson's vocation as a poet and her understanding of poetry. Focusing in particular on Dickinson's reading and response to Browning's Men and Women (1855), it explores connections between Browning's dramatic lyrics and Dickinson's creation of dramatic speakers and situations. Developing earlier scholarship on Dickinson's use of personae and the influence of drama and performance on her works, this essay argues that Dickinson found in Browning's poetry distancing strategies that complicated the notion of the lyric as a form of personal address and/or biographical revelation. Rather than granting the reader access to the poet's interiority or corporeal presence, Dickinson, like Browning, creates 'supposed persons' who speak in a confidential, intimate manner about particular events and incidents. Following Browning, Dickinson constructs speakers whose identities are divided, contradictory, and fragmented, and, in so doing, she further impersonalizes the personal lyric by creating the possibility of a difference between what her speakers say and what her poems mean.

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Dramatic Monologue

Slinn¹

2008

A Companion to Victorian Poetry

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The Discourse of Self in Victorian Poetry

Cited by 14 publications

References 0 publications

An Ecofeminist Reading of Woman Vision in Elizabeth B. Browning’s A Dead Rose

An Ecofeminist Reading of Woman Vision in Elizabeth B. Browning’s A Dead Rose

‘It Does Not Mean Me, But a Supposed Person’: Browning, Dickinson, and the Dramatic Lyric

Dramatic Monologue

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