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Books : Literature & Fiction : Authors, A-Z : ( B ) : Browning, Robert
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This anthology presents over 170 poems by the major poets of the 19th century, including Alfred, Lord Tennyson, Robert Browning, Elizabeth Barrett Browning, Arthur Hugh Clough, Edward FitzGerald, Matthew Arnold, Dante Gabriel Rossetti, Christina Rossetti, Rudyard Kipling, and many others. An introduction and brief biographical notes on the poets are included.
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The Second Edition of this substantial collection of Browning's poetry again reprints the texts of the seventeen-volume "Fourth and complete edition" (Smith, Elder), of which all but the final volume were approved by Browning before his death. The poems are ordered chronologically according to their first appearance in book form. Thirteen new poems are included in this edition, with Pauline now printed in its entirety. Annotations have been revised throughout to clarify Browning's references and vocabulary.
"Criticism" retains the important contextual perspective of the First Edition. The twenty-three essays, nine of which are new, are divided into three sections: "Victorian Views," "Modern Essays in Criticism," and "Interpretations of Poems."
A Chronology, Selected Bibliography, and Index of Titles and First Lines are also included.
About the Series: No other series of classic texts equals the caliber of the Norton Critical Editions. Each volume combines the most authoritative text available with the comprehensive pedagogical apparatus necessary to appreciate the work fully. Careful editing, first-rate translation, and thorough explanatory annotations allow each text to meet the highest literary standards while remaining accessible to students. Each edition is printed on acid-free paper and every text in the series remains in print. Norton Critical Editions are the choice for excellence in scholarship for students at more than 2,000 universities worldwide.
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![The ring and the book (Everyman's library [no. 502])](/media/img/no-image.jpg)
Do you see this Ring? 'Tis Rome-work, made to match (By Castellani's imitative craft) Etrurian circlets found, some happy morn, After a dropping April; found alive Spark-like 'mid unearthed slope-side figtree-roots.
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Robert Browning’s famous verse retelling of the medieval legend of the Pied Piper is renowned for its humor and vivid wordplay. When the selfish townspeople of Hamelin refuse to pay the piper for spiriting away the hordes of rats that had plagued them, he exacts his revenge by luring away their greatest treasure, the children of the town.
Color reproductions of Kate Greenaway’s beautiful, delicate watercolor illustrations adorn every page.
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Awarded the Silver and Bronze plaques for books by the San Francisco Society of Illustrators.The Pied Piper of Hamelin is a true story. On June 26, 1284, events occurred, so extraordinary, they have been talked about and wondered at from that day to this one. What really happened during that fateful summer (and why) is a fascinating mystery. It may never be solved, and yet, the famous case of The Pied Piper and his misadventures in Hamelin Town remains relevant and compelling nonetheless.
The origin of what has come to be known as "The Legend of the Pied Piper" can be traced back seven hundred years. Literary scholars and historians differ, debate, and speculate about the facts of the matter. The Children's Crusade and The Dance Epidemic, a disease that blazed in the Dark Ages, are popular theories to explain the circumstances surrounding the folk tale. Barbara Tuchman writes in her wonderful book, Distant Mirror, that the legend of The Pied Piper arose from an outbreak of the plague. The modern-day citizens of Hamelin attribute the mass exodus of their ancestors to the forced colonization of Eastern Europe.
The brothers Jakob and Wilhelm Grimm heard the story on their philological trip across the German countryside at the turn of the eighteenth century. By then, the saga of The Pied Piper had been passed by word-of-mouth for many generations. The tale had been told and retold for more than five hundred years. The Grimm brothers wrote a comprehensive version of the oral history, but did not include it in their collection of Children and Household Tales (better known as Grimm's Fairy Tales) because they considered the narrative to be of social import, not a fable for children.
The legend was, by-in-large, a local one, until 1842, when Robert Browning's poetic account for young people was published. His rhyming retelling has so much appeal, it advanced a humble German river town from commonplace to world famous and immortalized a rat catcher from itinerant stranger to infamous antihero. Mr. Browning embellished the story to suit his fancy. (For rhyming reasons of his own, he changed the date to July 22, 1376.)
Word pictures dance off the pages in Browning's poem. His Pied Piper of Hamelin is so imaginative, it inspired the great illustrators of children's storybooks - Kate Greenaway, Arthur Rackham, Margaret Tarant, and Maxfield Parrish. (Parrish's mural of The Pied Piper, leading the children out of Hamelin and up Koppelberg Hill, hangs proudly over the bar at the Palace Hotel in San Francisco.)
Now, in the 1999 publication of the Robert Browning classic, the witty and wise Bud Peen adds his name to the golden roster of illustrators. Peen's thoroughly modern style is in cunning counterpoint to the medievalist discipline he adopted to suit the subject. In preparation for the project, he reacquainted himself with the paintings, illuminated manuscripts, tapestries, furnishings, architecture, clothing, and day-to-day comings and goings of life in the eleventh and twelfth centuries. Combining state-of-the-art technologies with the spirit of medieval masterworks, Peen creates his vibrant electronic paintings - and a feast for the eyes they are.
The Pied Piper of Hamelin is a cautionary tale with words to the wise. There is an old-English proverb that goes: "He who pays the piper may call the tune." But the phrase simply stating the facts, painted on the stained glass window of Hamelins church, says it best of all [loosely translated] "In the year 1284, on John's and Paul's day, was the 26th of June - 130 children born in Hamelin were abducted by a piper dressed in a many colored coat, and lost at the top of Koppelberg Hill forever."
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Features 42 works, among them a number of the Victorian master's famed dramatic monologues — "Fra Lippo Lippi," "How It Strikes a Contemporary" and "The Bishop Orders His Tomb at Saint Praxed's Church" among them — plus such memorable masterworks as "Love among the Ruins," "The Pied Piper of Hamelin" and "Home Thoughts from Abroad."
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Robert Browning, a towering poetic presence of the Victorian era, was hailed by Henry James as a tremendous and incomparable modern. The sheer immediacy and colloquial energy of his poetry ensure enduring appeal. Browning paints landscapes both suburban and sublime, combines lyric and demotic language, and introduces everyday events of the streets and marketplace into the rarified world of Victorian poetry.
This edition includes examples from the early Dramatic Lyrics (1842) and Dramatic Romances and Lyrics (1845); from the masterpieces Men and Women (1855) and Dramatis Personae (1864), and from the less familiar works of his later years. Together they convey the intensity, the lyric beauty, and the vitality of Browning's poetry.
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Robert Browning (1812-1889) represents the intellectual and argumentative strand in English poetry in contrast to the more ornate style of Spenser and Tennyson. His poetry demonstrates how a poet must be a sharp perceptive observer of the complexity of the human condition. Perhaps his most moving poetry was written to express his feelings for his wife, the poet Elizabeth Barrett Browning, in which he deals in a very 'modern' way with the uncomfortable fact that we can never quite bridge the gap between ourselves and the people we love.
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A Riveting and brilliant work of biography. The story of two great English poets, Elizabeth Barrett and Robert Browning, whose work was immediately recognized and adored by their contemporaries, whose courtship ranks with the great love stories of all time -- and in whose marriage romance was not merely sustained but intensified.
We enter their story through the sealed Victorian world of the Barretts of Wimpole Street: Elizabeth, at thirty-nine, a poet of international fame, a child prodigy who had grown to be a middle-aged spinster, a woman for whom romantic love seemed not to be possible, confined by illness, morphine, and the tyranny of her father, scion of rich Jamaican slaveholders, rum and sugar traders.
It is to this fortress that Robert Browning, already an admired young poet and playwright, already a devotee of Elizabeth's, lays siege. ("I love your verses," he had written Elizabeth in his first letter to her, long before they met. "I love your verses with all my heart -- and I love you too.") And miraculously Elizabeth let life in.
Julia Markus chronicles their extraordinary courtship, their marriage in secret (Browning to Elizabeth: "How you have dared and done all this ... for my only sake?"), and their radiant honeymoon in Italy.
Markus shows us how the political events of the times inspired the great dramatic monologues of Robert's middle years and how Italy's stormy reunification inspired Elizabeth's later work.
We come to see Elizabeth as an artist with a fierce and final confidence in poetry and its effect on the poets' lives. We see husband and wife celebrate the birth of their son, Robert Wiedemann "Pen" Barrett Browning (Browning to her sisters: "I sate by [Elizabeth] as much as I was allowed, and I shall never forget what I saw, tho' I cannot speak about it").
We see them among their artist/writer friends: in London with Tennyson, Thackeray, Rossetti, and others; in Rome with William Story, the American lawyer, poet, sculptor; with Harriet Hosmer, the stonecutter, who was one of the models for Aurora Leigh; with Charlotte Cushman, the American actress, who held readings of Elizabeth's novel in verse. We see Elizabeth in Paris meeting her heroine George Sand, whose society of socialists and theatrical types Robert described as "ragged Red."
We come to understand Elizabeth's dependence on the ever-present drug in her life ("I should not be alive except by help of my morphine") and her constant battle with depression. And we see Elizabeth, encouraged by a woman with whom she was infatuated, move from interest to obsession with spiritualism, a cause that became the only source of serious dissension between the Brownings.
We follow the course of their rich marriage, from the beginning when each saw the other as a brilliant poet, a compassionate and strangely similar heart, through the years in which they discovered each other's differences, each remaining a complex and thrilling human being to the other.
To tell their story, Markus for the first time makes use of much of Elizabeth's unpublished correspondence, amid a wealth of other documents. She delves fully into the Brownings' Creole background and shows how it affected their lives and their work (Elizabeth was the first of the Jamaican Barretts to be born in England in many generations).
Brilliantly interweaving the Brownings' own words with her authentic and perceptive narrative, Julia Markus brings these two great poets -- their marriage, their work, their times -- alive as never before.
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The latest in the successful Oxford Authors series, this edition of Browning is the most comprehensive in print, spanning the full range of his output. The selection includes the complete text of many longer poems (Pauline, Pippa Passes), "Bishop Blougram's Apology") as well as three whole books of his epic masterpiece The Ring and the Book. Over eighty shorter poems are included, among them his best-loved dramatic monologues. In addition to Browning's only significant piece of critical writing (the "Essay on Shelley"), this edition includes a generous selection of letters, including much of his courtship correspondence with Elizabeth Barrett and more general correspondence that cast unique light on the poems themselves. The text has been edited from Browning's last collected edition and annotated throughout in an accessible yet scholarly fashion. Noted Browning scholar Daniel Karlin contributes a lively introduction.
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Robert Browning and Elizabeth Barrett Browning are without parallel in the nineteenth century: celebrated poets, they became equally famous for their marriage. Still popular more than a century after their deaths, their poetry vividly reflects the unique nature of their relationship.
This collection presents the Brownings’ work in the context of their lives: the early years and their initial friendship, their courtship and marriage, the fifteen happy years they spent living in Italy until Elizabeth’s death. Whether in short poems such as Elizabeth’s “Hector in the Garden” and Robert’s “Natural Magic,” or in extracts from longer works such as Aurora Leigh and Pauline, the great themes they shared are all represented: love, marriage, illicit passion, England and Italy, childhood, religion, poetry, and nature. Elizabeth’s famous Sonnets from the Portuguese, based on their love affair, is included in its entirety.
The poems are augmented with a generous selection of the marvelous letters the Brownings wrote to each other.
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Collection of poems by the English poet and playwright who remains among the first rank of English poets.
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Robert Browning's poetic scope was broad, ranging from the beguiling magic of The Pied Piper of Hamelin to the epic book-length poem The Ring and the Book. This comprehensive selection includes over eighty of his shorter poems, amongst them his most famous and best-loved dramatic monologues, as well as the complete text of many of his longer poems. It contains three books from The Ring and the Book and Browning's critical writing, Essay on Shelley. This edition also selects generously from the love letters between Browning and Elizabeth Barrett, as well as from Browning's more general correspondence--letters that cast a unique light upon the poems themselves and poetry in general. The book represents a unique combination of Browning's poetry and prose chosen from the whole range of his career to give the essence of his work and thinking.
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The vitality and accessibility of Browning's poetry have given it lasting appeal. Many of his finest poems are the intensely dramatic monologues, such as "Andrea del Sarto" or "My Last Duchess," in which the poet's imaginative power is at its height.
This splendid collection features selections from Browning's entire career, through the poet's literary successes and critical disappointments. Includes "Paracelsus," "Home—Thoughts from Abroad," Sordello," "Christmas-Eve" and selections from "The Ring and the Book."
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Volume II contains Stafford, a play seldom reprinted, and Sordello, a poem commonly, but mistakenly, neglected as "unintelligible." The book looks at Browning's correspondence with Emily Hickey, the first editor of Strafford, and important copies of Sordello that help to shed light on Browning's attempts to revise the poem. Also included are such of the juvenilia that survive.
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In the 1880s, the aging Browning showed once again the remarkable versatility of his lyric and narrative talents. Ranging across eras and cultures, the books here reveal his late thoughts about history, myth, legend, faith, love, and desire. He had never been more popular, and the founding of the Browning Society in 1881 expanded both his audience and his sense of his place in English letters. The first title in Volume XV is Dramatic Idylls, Second Series (1880). Taking his subjects from classical history, colonial India, Arabian legend, medieval sorcery, Jewish folk tales, and Greek myth, Browning startles the reader with the rapidity of his thought and the inventiveness of his art. In Jocoseria (1883) Browning’s subjects range across time and space from Hebraic legend to the England of the Romantics. Such variety helped attract new readers: Jocoseria was immediately successful, and a second edition was printed in the same year as the first. Although Browning’s next volume, Ferishtah’s Fancies (1884), was so popular that three editions were printed in less than two years, this artful string of anecdotes and lyrics has attracted little favorable criticism. The materials— Persian legends and Arabic backgrounds—chimed with the wildly popular Orientalism of FitzGerald’s Rubáiyát, Whistler’s Peacock Room, and Alma-Tadema’s paintings. But the thought was pure Browning in his most optimistic vein, and not at all in tune with the growing pessimism of the day. As always in this series of critical editions, a complete record of textual variants is provided, as well as extensive explanatory notes.
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The diverse poems of Men and Women include captivating dramatic monologues, in which this idiosyncratic and talented poet relishes his characters' unwitting self-revelation. This edition also contains many of his earlier and later poems, such as "Johannes Agricola in Meditation," "My Last Duchess," and "Caliban on Setebos."