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By Warwick E. Slinn

This e-book goals to provide 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 nearly continuously specializes in conflicts of id. Browning's characters, in line with Slinn, needs to stroll a tightrope among the distracting lives of others which threaten to fragment the individual's adventure at the one hand, and regulated solipsism at the different.

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Extra resources for Browning and the Fictions of Identity

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5 This interpretation, however, presupposes that the reader is placed in a position to see God's ways from God's point of view, which can be accepted in the sense that the reader sees all that happens at Asolo. But in that case who represents man's point of view which 'regards' the irony? 6 In Browning's presentation of events only the reader can observe such a distinction and if, as Mrs Cook implies, the reader's view is to correspond to God's view, then God becomes an observer of his own ironies.

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. 419) imply the spontaneity of an honest moment. 3 But the degree of awareness which the painter has of his fear is unclear and his similes suggest that dramatisation occurs even here in obviously emotional responses. ' Two lines later, he asks, Who summoned those cold faces that begun To press on me and judge me?

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.

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