Date Wednesday, March 9, 2022
Time 6:00PM

Dr. Dino Franco Felluga Presents
“Browning and the Virtuous Act”

Join on ZOOM
https://us02web.zoom.us/j/84763857583

by Laura Clarke

We are excited that Dr. Dino Franco Felluga will be presenting his recent work on Robert Browning at our March meeting, which will be held on March 9th at our new time of 6:00 pm.

About Dr. Felluga: Dino Franco Felluga is Professor of English and Director of Literature, Theory, and Cultural Studies at Purdue University. His articles have appeared in SEL: Studies in English Literature, Victorian Studies, Criticism, Victorian Poetry, European Romantic Review, Critical Quarterly, 19, the Journal of Victorian Culture, and the Blackwell Companion to Victorian Poetry. His first book, The Perversity of Poetry: Romantic Ideology and the Popular Male Poet of Genius was published by SUNY Press in 2005. It was followed by the 4-volume, million-word Encyclopedia of Victorian Literature and Critical Theory: The Key Concepts. He is also the general editor of BRANCH: Britain, Representation and Nineteenth-Century History and COVE: Collaborative Organization for Virtual Education. His current book project, Novel-Poetry, co-written with Emily Allen, explores the cross-influence of poetry and the novel in the nineteenth
century. Prof. Felluga also created the North American Victorian Studies Association and served as NAVSA’s president for the first 11 years of the organization.

Abstract for Dr. Felluga’s talk:

As its very title suggests, Robert Browning’s Ring and the Book is about both things and forms, but what is so remarkable about the poem is the extent to which Browning troubles the easy relationship between the two. Engaging the Victorian novel’s own fascination with realistically rendered things and referents, Browning’s verse-novel asks us to interrogate the novel’s claim to present us with a window onto the world of things. Poetry by its very nature could be said to work in opposition to the pure crude facts of realism precisely because it continually asks us not only to see the things described but also to recognize the metaphoric equivalences that take us away from temporal contiguity. The verse-novels of the 1850s and 60s that experimented with  the temporal and spatial expansiveness of the novel ask us to see a depicted world, thus engaging in the fictional strategy of realism, yet, engaging as they do with the generic parameters of the lyric as it was theorized in the nineteenth century, they also ask us to “see” thither where eyes “cannot reach yet yearn,” as R. Browning puts it in this poem.

Verse-novels subscribe to the formal nature of poetry, making opaque the very page that might tease us with transport to the diegetic world of things signified. The very line breaks matter, for example, as much as any matter referenced—form thus trumping any “ring-thing,” as that very phrase suggests, alluding as it does to the formal structure of rhyme (ring/thing) in the midst of Browning’s blank verse poem. R. Browning’s point, however, is that art alone can save us from mere credulity, regardless of whether we are talking here about religion, ideology, or representation. It does so by teaching one ultimate lesson and that is “This lesson, that our human speech is naught,/ Our human testimony false, our fame/ And human estimation words and wind” (12.834-36). R. Browning thus questions both sides of the equation, both narrative realism and poetic lyricism.

Like the verse-novels that preceded Browning’s poem, The Ring and the Book does not stop at mere skepticism, however, but opens up for us a mechanism for radical critique in the present. What interests us specifically are the ways that Browning’s own verse-novel interrogates the nature of evil, a concern that Browning addressed throughout his career and the dark obverse of the search for infinite truths. We thus illustrate how Browning’s understanding of truth differs structurally from the way it is addressed in the novel—and in novel criticism of the last fifty years.

I am particularly looking forward to Dr. Felluga’s talk, as I am a keen reader of nineteenth-century verse novels and have just finished reading Owen Meredith’s Lucile. Meredith, the pen name of Robert Bulwer-Lytton, was a good friend of the Brownings and was clearly influenced by their poetry; thus, in this month’s newsletter I will talk briefly about Meredith’s verse novel and the Brownings’ response to it. It is important to note that Meredith spent time with the Brownings during the period that Robert was completing Men and Women and Elizabeth was working on Aurora Leigh. He wrote to his father about their powerful influence on him: “It is
something — the contact with superior minds — which both of them are. Sometimes a word from a person of genius is an open sesame to one’s own hidden life. It is true that ‘great men make the earth wholesome.’

“In a letter to Elizabeth about spiritualism, Meredith says something that can help us to understand his philosophical purpose in Lucile. He writes, “Matter must be brought up to the level of spirit, as the body is to rise with the soul. Form has never been strong enough yet to contain and fit idea; the wine has burst the bottles.” The notion that form cannot perfectly fit the idea, which Meredith understands in Plato’s sense as universal ideas, is reminiscent of romantic irony, the eternal tension between the ideal and the real. This tension for the German Romantic philosopher Friedrich Schlegel results in “transcendental buffoonery,” the plight of the poet of imagination who cannot fully embody his transcendent visions in a work of art and thus only expresses himself through wit. Meredith conveys this irony in his verse novel through the humorous self-consciousness of the narrator who reveals the tension between the ideal and the real in the process of shaping his poem. There are juxtapositions of long philosophic flights with the prosaic facts of the real as well as many instances in which the poet-narrator cannot embody his inner sense of infinity in the world he is seeking to create. A particularly funny example of the poet’s plight can be seen when he invokes his muse, only to find that there can be no epic in the modern world; thus, he hails the modern muse, the publishers Murray and Son.

It is interesting that it is precisely this sense of irony—the humorous deflation of the ideal and the poetic raising of the real—that divides Robert and Elizabeth on the poem. It is not surprising that Browning, whose poetry often explores the ironic space between the ideal and the real, appreciated the combination of philosophy and wit. He wrote to Meredith to praise his achievement: “I think your general power is increased and brought into new channels; there is wit, use of the world; wisdom too, and the old music and pathos…There are backgrounds of scenery of great beauty and finish.” Elizabeth, however, was unsettled by the irony in Lucile. She commends the “descriptive part” of the verse novel which she finds “exquisite,” and she notes that Meredith can be “very witty, very tender, very pathetic.” However, she remarks that “readers like myself miss, through all the good and true thoughts scattered up and down, the sight of an earnest intention.” What Elizabeth is most critical of is “feeling a doubt whether the poet’s levity or his gravity be the more genuine. The colour of his convictions is doubtful, which, let us all be sure, is a weakness in a work of art, just as it is an infirmity in a man.” She writes: “Here, I do not see where the writer’s convictions are. He means well somehow; but what is the well he means?”

If you have not already, I encourage you to read Lucile to see whether you agree with Robert or Elizabeth’s perspective on Meredith’s experimental novel-in-verse.

I would like to close this month’s newsletter by offering my condolences to our President James Kepple, who sadly lost his mother last month. I would also like to extend my condolences to the family of Stephen Downey, our former President, who passed peacefully in his sleep on December 7th in Charlottesville, Virginia. If you would like to donate to the Society in remembrance of him you can go to https://nybrowning.org/contact/ and find out more information. You can also fill out your members’ dues for this season on that page as well.

Stephen Miner Downey
NOVEMBER 10,
1937 – DECEMBER 7, 2021(AGE
84)

Gay Muret (Browning) Kepple
FEBRUARY 19,
1954 – JANUARY 17,
202 2 (AGE 67 )

Bob McNeil Presents “Verses versus Injustice: Words of Protest from Elizabeth Barrett Browning and Other Democracy Seekers”

Date Wednesday, February 9, 2022
Time 6:00PM

Join us on Zoom:  https://us02web.zoom.us/j/88662739677

by Laura Clarke

We hope that you will be able to join us for Bob McNeil’s Zoom presentation, “Verses versus Injustice: Words of Protest from Elizabeth Barrett Browning and Other Democracy Seekers,” which will be held on February 9th at our new time of 6:00 pm.

About Bob McNeil:
Bob McNeil, writer, editor, cartoonist, and spoken word artist, is the author of Verses of
Realness (https://tinylink.net/muF6C). Hal Sirowitz, a former Queens Poet Laureate, called the book “a fantastic trip through the mind of a poet who doesn’t flinch at the truth.” Among Bob’s recent accomplishments, he found working on Lyrics of Mature Hearts to be a humbling experience because of the anthology’s talented contributors. Copies of that collection are available here: Lyrics of Mature Hearts: A Poetry Anthology.

Below is an abstract for McNeil’s talk:
Dating back to an immemorial era, brave poets challenged the immoral policies of societies. Even the Bible has verses that express sedition against tyranny. Aware of creative writing’s power to change minds and hearts, Elizabeth Barrett Browning used her literary gifts for just causes such as abolitionism, the abuse of children, and feminism. Bob McNeil, always an ardent admirer of artists fighting for righteousness, will share Elizabeth’s politically enlightened work in his lecture titled Verses versus Injustice. This program will also delve into the compositions by other writers and revolutionaries in the struggle for freedom.

In anticipation of McNeil’s talk on Elizabeth Barrett Browning and other writers and revolutionaries who have fought for justice, I want to take a moment in this month’s newsletter to discuss Elizabeth’s concept of freedom, especially as it is voiced in her verse novel Aurora Leigh. Elizabeth’s idea of freedom is often expressed in terms that are derived from Saint Paul’s letter to the Corinthians, in which he states: “And we have such trust through Christ toward God. Not that we are sufficient of ourselves to think of anything as being from ourselves, but our sufficiency is from God, who also made us sufficient as ministers of the new covenant, not of the letter but of the Spirit; for the letter kills, but the Spirit gives life.”

In On Heroes, Thomas Carlyle, whom the Brownings greatly admired, has in mind the Biblical distinction between the letter that kills and the spirit that gives life when he remarks that “All substances clothe themselves in forms.” For Carlyle, there are “forms which grow round a substance” and “correspond to the real nature and purport of it,” which are “true, good.” But there are also “forms which are conspicuously put round a substance.” These forms are false: they are the letter and not the spirit because they have not been evolved from the spirit within.

Elizabeth, who shared Carlyle’s transcendentalist philosophy, also believed that: “the practical and real (so called) is but the external evolution of the ideal & spiritual—that is from inner to outer.” Thus, it was her conviction that imposing forms from without rather than deriving them from the spirit within is tantamount to tyranny, whether in the realm of politics, religion, or art.

Elizabeth explores this idea of freedom and the difference between false and organic forms in her verse novel Aurora Leigh. First, we see that Aurora must throw off the tyranny of religious forms. Living with her aunt, who is certain that “Christian doctrine was enforced at church,” Aurora “learnt the collects and the catechism, / The creeds, from Athanasius back to Nice, / The Articles…the Tracts against the times.” Aurora knows, however, that she has “relations to the Unseen,” and thus “kept the life thrust on me, on the outside / Of the inner life with all its ample room / For heart and lungs, for will and intellect, / Inviolable by conventions.”

When Aurora discovers her poetic voice, her heart and soul finally “clears…to elemental freedom” and “At poetry’s divine first finger-touch, / Let go conventions and sprang up surprised, / Convicted of the great eternities / Before two worlds.” Aurora has the revelation that true religion is not a litany of external rules and rituals but her own inward connection to the infinite. Aurora must also throw off the tyranny of poetic forms. After asking: “What form is best for poems?” she tells herself, “Let me think / Of forms less, and the external. Trust the spirit, / As Sovran nature does, to make the form.” She then makes a connection between false forms and tyranny: “For otherwise we only imprison spirit /And not embody. Inward evermore / To outward, – so in life, and so in art / Which still is life.” Aurora, like Elizabeth herself, finds that writing a verse novel—in which the power of poetry reveals the spiritual essence of the prosaic and the real—is the form that most organically expresses her poetic vision. Aurora convinces Romney that even political and economic theories cannot be imposed from without; they must evolve from the inner spirit of individuals that make up a people and a nation. Through their respective poetical and political work, Aurora and Romney will strive to embody the spiritual in the real, the internal in the external. Only then “In new dynasties of the race of men; Developed whence, shall grow spontaneously / New churches, new economies, new laws / Admitting freedom, new societies / Excluding falsehood: HE shall make all new.”

Fiona Sampson Presents
“Elizabeth Barrett Browning as Self-Invented Poet”
January 12, 2022 -6PM-

VIA ZOOM:  https://us02web.zoom.us/j/81333221955

by Laura Clarke

We are excited that Fiona Sampson will be presenting a talk on Elizabeth Barrett Browning at this month’s Browning Society meeting. For my newsletter today, I want to talk about my experience of reading Sampson’s biography of Elizabeth, the first new biography to have been written in over thirty years. I have a tendency to start biographies and not finish them, but Sampson’s Two-Way Mirror: The Life of Elizabeth Barrett Browning is a page-turner. In one of the many philosophical ruminations in the book, Sampson contemplates the constructed nature of identity and laments how the fictionalized character of ‘Elizabeth’ that has replaced her in the popular imagination is “someone passive and poorly, bullied and rescued, barely even a poet,” someone who “is almost entirely bodily, scarcely a mind at all.” What is most interesting for me is that while Sampson certainly challenges the bodily narrative of Elizabeth’s legacy and explores her intellectual development, her biography is itself intensely embodied, and what I mean by that is I was left with an intense perception of Elizabeth as a living, breathing, real-life person, something that I have not felt from reading a biography before.

Sampson challenges the myth of Elizabeth as a weak invalid, but she also does not linger on the ideal of the Victorian poetess. Elizabeth can be exuberant, contradictory, dark, emotional, obsessive, and brilliant. For instance, Sampson introduces us to the intense literary friendships that Elizabeth had with men, such as with Hugh Stuart Boyd, which were so important to her intellectual development, but she also shows us how these relationships were often manipulative, abusive, or psychologically unhealthy. She also shows us that Elizabeth’s privileged position makes her complicit in colonialism, despite her political and ethical beliefs. Although we know Elizabeth and Robert were abolitionists, Sampson does not shy away from revealing the extent to which Elizabeth’s idyllic childhood at Hope End and even her elopement to Italy was funded by “blood money.” Indeed, even though the Barretts were politically progressive Whigs, their family wealth, Sampson emphasizes, came largely from sugar plantations. She reminds us of the fact that “[in] 1810, more than 10 per cent of wealthy Britons are profiting from slavery; money that will never return to the enslaved people who created it, but remains in the British economy into the twenty-first century.”

Sampson’s biography continually complicates the images we have received of both Elizabeth and Robert by asking thought-provoking questions that push us to deconstruct neat definitions and narratives. For instance, she highlights letters that reveal the strength of feelings Robert had for Alfred Domett and asks, “might Robert the femmelette [as Mary Mitford called him] ever have experimented with bisexuality, or attracted crushes.” I had always imagined the Brownings’ life in Italy as a time of stability, happily settled at Casa Guidi, but Sampson documents the financial and health concerns that led Elizabeth and Robert to move from place to place a dizzying number of times. Materiality is emphasized again as Sampson details Elizabeth’s dependency on morphine and her multiple miscarriages. Even the ideal of Elizabeth’s death, one perpetuated by Robert, is questioned. Sampson observes that Elizabeth’s death “resembles a breath-shallowing, heart-stopping morphine overdose,” and points out that Robert administered morphine to Elizabeth on the night of her death. She remarks “combine the high dependency on the drug and the panicky human desire to relieve suffering and this is not inconceivable.” Focusing her attention on Robert, Sampson remarks, “And who’s to say that it would not even be a kind of pragmatic, if unconscious compassion?”

While Sampson’s biography often left me feeling unsettled, this is because it was if she was resuscitating Elizabeth, bringing her back to life. Sampson, however, closes her biography by noting that this reinterpretation is colored by her own subjectivity. She asks, “how else can we encounter our biographical subject, except by coming to meet her? Writing can never be wholly innocent of the writing self, and slowly I’m coming to accept that a biographer’s own self always frames her subject.” In this, Sampson’s biography is an intensely modern work of art.

Fiona Sampson is the author of twenty-eight books of poetry and nonfiction, including the critically acclaimed In Search of Mary Shelley. Published in thirty-seven languages. She’s the recipient of numerous national and international honors, including an MBE for services to literature. A Fellow of the Royal Society of Literature, Wordsworth Trust, and English Association, she is the professor emerita of the University of Roehampton and lives on the Welsh border.

Annual Holiday Poetry Reading
A Tribute to Stephen Downey
Date Wednesday, December 8, 2021
Time 6:00PM

JOIN US AND READ POETY VIA ZOOM!
https://us02web.zoom.us/j/87290615314

by Laura Clarke

We hope that you will be able to join us for our annual holiday poetry reading, a time when we get together to share excerpts of our favorite poetry by the Brownings.

Many of the traditional elements of Christmas that are still popular today began in the Victorian period: decorating Christmas trees, sending Christmas cards, singing carols, pulling Christmas crackers, and enjoying a traditional Christmas dinner with family. And of course, it was Charles Dickens’ A Christmas Carol that solidified the many Christmas traditions we still enjoy today. For this holiday newsletter, then, I want to point out two opportunities in New York City this month for experiencing Dickens’ classic Christmas novel.

Every December, The Morgan Library displays the original manuscript of A Christmas Carol, which was purchased by Pierpont Morgan in the 1890s. Every year, the Morgan turns one page of the manuscript, and this year the manuscript is open at the point in the novel in which Scrooge quarrels with his nephew over the value of Christmas. The page concludes with Scrooge’s first mention of Jacob Marley who “died seven years, this very night,” which is a reference that hints at Scrooge’s adventures to come and the lessons he will learn.
For more information on this exhibition, visit https://www.themorgan.org/exhibitions/charles-dickens-a-christmascarol.

If you’re in the mood for more Christmas fun with Dickens, consider attending a 1-hour reading of A Christmas Carol at the Merchant House Museum. In December 1867, Dickens held sold-out readings of A Christmas Carol in New York City, and to commemorate these popular events, the Merchant House Museum stages readings by Kevin Jones in its elegant double parlor, which is ornamented with traditional nineteenth-century Christmas decorations. Select performances are followed by a reception with Dickens and mulled wine. For more information about this event and ticket prices, visit https://merchantshouse.org/christmascarol/.

In the spirit of giving that is so important to Dickens’ famous novel, we hope that you will consider making a donation to the New York Browning Society. Please find attached a dues donation form for 2021. Your membership will help us to keep our historic society alive; we are very proud to be the longest running Browning Society in America.

SLAVERY, SOCIAL JUSTICE & THE BROWNINGS
The Date: Wednesday November 10th 2021
The Time: 1:00 PM
The Place: The National Arts Club
15 Gramercy Park South
New York, New York 1003
Admission: Free & Open To The Public
Website: NYBROWNING.ORG

It is perhaps now a mystery just why the phenomenon of “Browning Fever” once swept this country, inspiring the founding of hundreds of Browning Societies, many of them by
women, across America between the 1870s and the 1920s.

The answer lies in the title of poet Tom d’Egidio’s talk, “SLAVERY, SOCIAL JUSTICE & THE BROWNINGS “, in which he explains the Abolitionist, Feminist, Revolutionary & Radical
lives and writings of the Brownings that so captured the American imagination.

The Brownings are the superstar couple among poets, their courtship portrayed many times in novels, plays, musicals, TV dramas and Hollywood movies. Virginia Woolf even wrote a novel from the point of view of Elizabeth Barrett Browning’s dog Flush.
And now Game Of Thrones star Emilia Clarke is to play Elizabeth Barrett Browning in a new movie called “Let Me Count The Ways”.

The NY Browning Society, New York City’s oldest continuously active literary society, founded 1907, is revisiting its original radical roots as an organization dedicated to ideals of social justice and reform as represented by the writings and life examples of Robert (1812-1889) and Elizabeth Barrett Browning (1806-1861).

The many hundreds of Browning Societies, many established by and for women while Robert was still alive, represent a unique phenomenon among literary societies, with hundreds founded in the United States alone, and a few still ongoing to this day.
One of the purposes of the Browning Societies was to provide an educational outlet for women who were still prohibited from attending universities. Even with the doors of higher education now long open to women, the powerful poems and the inspiring lives of the Brownings continue to fuel interest in and attract members to the Browning Societies today.

The Brownings lived through turbulent times featuring great 19th century reform movements fighting against slavery and in favor of liberal democracy, and were themselves at the heart of those movements. Elizabeth documented the huge uprising in Florence against the Grand
Duke of Tuscany in her major poem “Casa Guidi Windows”. Her novel in verse, “Aurora Lee”, is a foundational document of the Feminist Movement. Robert helped revive interest in the post-feudal spirit of the Renaissance, invoking its celebration of individual freedom and creativity in “Fra Lippo Lippi”, “Andrea del Sarto”, and other major poems. Elizabeth’s 253-line poem “The Runaway Slave At Pilgrim’s Point” was explicitly written by her for sale in the U.S. in order to raise money for the Abolitionist cause, in the ‘Revolutionary Year’ of 1848 when armed revolts
against despotic monarchs were taking place all over Europe, led by firebrands such as their personal friend Mazzini who is portrayed in Robert’s “The Italian in England”.

British slavery had already been ended by then, but both Brownings had personal reasons for their ongoing concern. Robert’s father had been an overseer of slaves on his family’s plantation on the Caribbean island of St. Kitts. But that was nothing compared to the great wealth that the Barretts had derived through the exploitation of thousands of their slaves on Jamaica,
prompting Elizabeth’s father to regard Robert as a fortune hunter. The blanket opposition of Elizabeth’s father to marriage for any of his children made elopement by the Brownings necessary, and cut Elizabeth off from huge wealth. Yet two inheritances from other slave-holding relatives financed a comfortably bourgeois lifestyle, complete with Elizabeth’s personal
maid from London, for the Brownings in Florence.

In Tom d’Egidio’s talk, the lives and works of the Brownings are discussed against the sweeping panorama of a 19th century in which serfs and slaves were finally liberated, in which democracy became the dominant political ideal, in which poets such as Percy Shelley, Ugo Foscolo, Victor Hugo, and the Brownings preferred exile over oppression, in which poets carried the banner of political and social reform. There are however, many motivations that can only be clarified in retrospect; much that was poorly understood or simply not publicly expressed. Certainly the shared Barrett and Browning family background of Slavery importantly linked the Brownings in their mutual rebellion against prevailing assumptions of relative racial superiority.

But could it be true as well, that the Brownings had not just figurative but literal skin in the game: That one or both of them had Black African ancestry in an era when that was not at all rare among slave owning families? What exactly did Elizabeth mean when she wrote the following to suitor Robert on December 20th, 1845: “I would give ten towns in Norfolk to own
some purer lineage than that of the blood of the slave”? Is this letter the clue to Elizabeth’s father’s strange attempt to bring the family line to an end? Or is the biggest clue hiding in plain sight, stated in numerous poems by Robert Browning, over and over again, throughout his writing life? Making use of established historical fact, family legend, and literary analysis, Tom d’Egidio will explore this issue of genetics, and all other sources of the commitment of both Brownings to social justice that so inspired many more individuals than any other 19th century poets.

Come be part of the fascinating conversation. Come be part of the NYBrowning Society: nybrowning.org

Tom d’Egidio is a member of the Suppose An Eyes poetry group at the
University of Pennsylvania’s Kelly Writers House, and serves on the Board of
the NY Browning Society as a Director-At-Large. His poetry chapbook The
Enigma Of Arrival is available through UNDERGROUNDBOOKS.ORG

Friends and Members of the New York Browning Society,

Welcome to our 115th Season! We have made it together all these
years! The start of this year began with our participation in
National Translation Month two weeks ago at a new venue
for the society, The Westbeth Community Room at 155 Bank
Street in Manhattan. We also met under the auspice of a new time
at 6:00 Pm in the evening. It was a great pleasure to have read
from Robert Browning’s “Meeting at Night” to highlight this
new era of the Browning Society. The event was a success,
typically identified by wine, cheese and crackers, in my opinion
a slight upgrade to the cookies and coffee of the past.

Please take a look at the meeting itself online via at
www.NYBrowning.org/Blog/ .

We are inviting you out next week October 20^th via ZOOM
for all of our members to discuss our thoughts on the new venue
and time, and to discuss many elements of the currently changing
dynamic between our Society and Society at large. I feel as though
Zoom will be a great opportunity to hear from the voices of those
that could not attend, and those that did, to discuss our feelings
on this venue and the new time going forward. I would like for us to
explore all of the options we have available.

We have also updated our website with a complete archive of all
of our Award Winning Poets since 2012. Take a look at all of the amazing
talent this city has procured over the last 10 years.

I am inviting all of us out to this special meeting to serve as a sounding
board, an informal Browning Society board meeting, and a way to fellowship
with all of our members who were unavailable to make the first meeting
this year. I would love to discuss how everyone is doing, and their thoughts
going forward with this new season.

Please join us on ZOOM 10/20/2021 at 6pm so that we can discuss
all things Browning and Browning Society for our upcoming 2021-2022
season! https://us02web.zoom.us/j/82980828974

I look forward to seeing all of your beautiful and smiling faces as we embrace
the change of the leaves, and the changes upcoming for our Society!

Cheers!

James Browning Kepple
President – NY Browning Society

“Four Poets And Their
Translations”

Westbeth Community Room, located
at 155 Bank Street

Date Wednesday, September 29, 2021
Time 6:00PM

by Laura Clarke

On the evening of Wednesday, September 29th, 2021, at 6pm, the NY Browning Society will
participate in National Translation Month in its first event of the 2021-2022 season.
“Four Poets And Their Translations” will take place in the Westbeth Community Room, located at 155 Bank Street. Admission is free. The event will be moderated by noted actor and long-time Browning Society member Tandy Cronyn, star of stage and screen. This program takes its inspiration from the Brownings, Elizabeth and Robert, both able linguists who practiced the art of translation. “Four Poets And Their Translations” will feature translations of poems from French, German, and Italian into English, as well as from English into Spanish.

The Participants:

Poet Annabel Lee publishes poets through her Vehicle Editions press. She serves on the Board of The Poetry Project at St. Marks. The latest collection of her poems is Minnesota Drift (Accent Books of Chester, Vermont). She will present her translations from the French of 20th century poet Louise de Vilmorin.

Poet Roberto Mendoza Ayala publishes Mexican and U.S. poets in bilingual editions with his Darklight publishing company. His own latest collection is Palabras Desconocidas/Unknown Words (Darklight: Mexico City & NYC). He will read five Mexican contemporary poets whose work he has translated into English with the help of Arthur Gatti: Baudelio Camarillo, Héctor Carreto, María Ángeles Juárez Téllez, Iliana Rodríguez Zuleta and Carlos Santibáñez Andonegui.

Poet Tom d’Egidio is part of the Suppose An Eyes poetry group at the University of Pennsylvania’s Kelly Writers House, and Director-At-Large of the NY Browning Society. Harlem’s
http://undergroundbooks.org/ publishes his chapbook The Enigma Of Arrival. He will present his translations of contemporary Roman poet Valerio Magrelli.

Poet Robert Kramer is Emeritus Director of International Studies at Manhattan College, and current Vice-President of the NY Browning Society. His latest collection is At The Margins/Al Margen (Darklight: Mexico City & NYC). His presentation will reflect the extensive translations he has made from every period of German poetry.

-As we kick off the 115th Season of the New York Browning Society we hope to invite you out to a new venue and time for this event! As the world continues to change in so many ways, we look forward to keep you updated to all the exciting new ways we will adapt for this season with a mixture of venues, times, & speakers, online and off! We invite you to join the New York Browning Society in this upcoming season! We would love to earn your membership and
patronage for the years to come!
Cheers!
James Browning Kepple – President

6 PM Sept 29th 2021 155 BANK ST – Closest Subway ACD L at 14th, and 1,2,3 at 14th St!

Date Wednesday, May 12, 2021 

Time 1:00– 2:00PM 

Roundtable Discussion/Performances 

by Laura Clarke

For our final meeting of the year, we welcome  members and guests to join us for a round table  discussion on the legacy of the Brownings and the  future of Browning studies. Participants are  encouraged to lead a short discussion on any aspect  of our theme or to select a short reading to discuss.  

Since we will be reflecting on the lives and works of  the Brownings and considering their relevance in the  present day, I want to focus in this newsletter on the  

way that Dr. Joshua King, who holds the post of  Browning Chair at the Armstrong Browning Library  and Museum, is getting students involved in research  on the Brownings. This is a goal close to our heart at  the Browning Society of New York which, thanks to  the work of our President James Kepple, holds an  annual Browning poetry competition in New York  City that now includes over 200 schools. 

Students in Dr. King’s Senior Research Seminar at  Baylor University created an exhibition called The  Brownings in Our World, which explores the lives  and works of Elizabeth Barrett Browning and Robert  

Browning through three central themes: injustice,  nature, and faith. Students explored the vast archives  at the Library and selected documents that  contextualize these themes. In the first section of the  exhibition, students noted that despite the fact Robert  and Elizabeth supported the abolition of slavery, they  were also complicit in the slave trade since  Elizabeth’s money was derived from her family’s  plantation in Jamaica. It was this money,  

they point out, that allowed Elizabeth to flee England  with Browning and move to Italy. To illustrate this  conflict, the exhibition displays a first edition copy of  Elizabeth’s poem, “The Runaway Slave at Pilgrim’s  Point” along with a picture of a golden pen that was  gifted to Elizabeth by her father. The poem reveals  Elizabeth’s sympathy with slaves, but the pen signifies  the wealth that her family accumulated through the  slave trade and that allowed her to write.  

The second section of the exhibition focuses on nature  in the works and lives of both poets. Photographs of  Italy and the gardens of Elizabeth’s childhood home  are partnered with poems that use images of flowers to  discuss love, and we are told that the Brownings  regularly included flowers in their courtship  correspondence.  

The final part of the exhibition looks at the role of  religion in the lives of the Brownings, especially the  importance of spiritualism for Elizabeth. One  particularly interesting part of the culminating section – because it tells us something about the beginnings of  our own society—is dedicated to the cult of Robert  Browning that developed in the 1880s. Devoted fans of  Browning organized hundreds of Societies throughout  North America and Britain, which took on a religious  atmosphere. For example, the article shows pictures of  “The Ten Commandments for Literary Studies”  published by The Chicago Browning Society and an  original book of inscriptions gifted to Browning from  his many fans on his seventieth birthday. 

Date Wednesday, April 14, 2021
Time 1:00– 2:00PM

 Bob Griffiths: “Why Browning?:
A Poet of Questions and Ambiguities”

by Laura Clarke

We hope that you will be able to join us on April 14th for Bob Griffiths’ talk, “Why Browning?: A Poet of Questions and Ambiguities.”

In this world of 24-hour connectedness, with literally half the world’s population (four billion people) on social media, and the average person spending two hours and 24 minutes a day looking at it, why should we care about a 19th-century poet named Robert Browning?

Scholar Camille Paglia reminds us that “poetry envelops the imagination and focuses the soul.” I suggest that it can deal with the human condition in a unique and telling way. And in that context, Browning excels, as no other 19th-century poet does, in his preoccupation with the metaphysical and abstract. President Emeritus Steve Downey calls Browning “a surgeon of human character.” And in his dissection, Browning frequently is a poet of ambiguity who doesn’t resolve for us the paradoxes and conflicts he writes about: human and divine love, good and evil, love and hate, ambition and the greater good. Indeed, Dutch philosopher Desiderius Erasmus (720-86) wrote about the power to be found in ambiguity – and Browning is a master of it.

In this program, President Emeritus Bob Griffiths shows us why Browning still matters, how he can enrich our lives, and how we can gratefully lose ourselves in careful readings and contemplation of our poet’s gifts – a welcome and rewarding break indeed from Instagram, Tik-Tok, Facebook, Twitter, and the TV news cycle.

As a poet of ambiguity, Browning does not directly tell us what to think; he indirectly elicits realizations in the reader through our perception of the limitations and flaws inadvertently revealed by the speakers of his dramatic monologues. One particularly good example of how Browning does this can be seen in his poem, “How it Strikes A Contemporary,” which shows Browning’s view of the poet’s role through the perspective of a speaker who entirely misunderstands it.

In this monologue, Browning’s speaker recounts his encounter with a poet he once knew. He recalls that the poet meticulously studied the material world: “He walked and tapped the pavement with his cane, / Scenting the world, looking it full in the face.” In observing “all thought, said and acted,” the poet surveyed and appreciated the minutiae of daily life in the town of Valladolid. Yet although the speaker intuits that the poet had some kind of power and insight into their lives, he inverts Shelley’s notion (and Browning’s) that the poet is the spiritual legislator of humankind, conjecturing that the poet was the town’s “chief-inquisitor” who reported to the king on the daily activities of the locals.

The speaker tells of how he once followed the poet home and was surprised to find that he did not lead the extravagant and decadent life he had been rumored to lead, but rather lived contentedly and simply with little material wealth. Imagining ahead to the sparsely attended funeral of the poet, the speaker perceives the poignant tragedy in the discrepancy between the man’s seeming power and his actual lack of material wealth and societal influence. He ponders the poet’s frugal appearance and congratulates himself upon his good fortune to be dressed in fine attire, exclaiming jovially, “Well I could never write verse,” which is a statement that equates the speaker’s materialism with his shallow understanding of poetry as merely the skillful metrical arrangement of language rather than as the embodiment of spiritual truths apprehended through imagination. When the speaker calls upon his friends to join him at the Prado and to embrace the brevity of life, it is clear that he slips back into a prosaic daily existence that is unaffected by his brief interaction with a man of vision. Through the speaker’s vanity, the reader is guided to see for themselves what he has missed: the true spiritual vocation of the poet.

We are currently discussing the possibility of meeting outside for the final meeting of the season. I will be in touch soon with updates.

Date Wednesday, March17, 2021
Time 1:00– 2:00PM

“Robert Browning, Ezra Pound and the Modernists.”

by Laura Clarke

We hope that you will be able to join us for James Kepple’s talk, “Robert Browning, Ezra Pound and the Modernists.” From our President:

St. Patrick’s Day calls forth a Lecture of Red Hair! A Testament to both Poets’ insatiable designs! Ezra has Robert Browning on his mind all throughout the Cantos as well as in his work with Yeats and Joyce. Celebrate a pint with the President of the New York Browning Society as he presents: Browning, Pound & a Pint. Sláinte!

The influence of Browning’s poetry on the modernists is a particularly interesting study because it illuminates what the modernists appropriated and rejected from Victorian poetry. While the modernists may have left behind Browning’s Christian values and metaphysical ideas, they experimented with the dramatic monologue and admired his emphasis on the psychology of his individual speakers.

A letter written by Thomas Hardy to Edmund Gosse on April 6, 1899 reveals the conflicted response to Browning. Hardy exclaims to Gosse: “The longer I live the more does B’s character seem the literary puzzle of the 19th century. How could smug Christian optimism worthy of a dissenting grocer find a place inside a man who was so vast a seer & feeler when on neutral ground?” He admits that: “One day I had a theory which you will call horrible—that perceiving he would obtain in a stupid nation no hearing if he gave himself in his entirety, he professed a certain mass of commonplace opinion as a bait to get the rest of him taken.”
Despite his skepticism about Browning’s “smug Christian optimism,” Hardy, who knew Browning personally from literary gatherings in the 1880s, made a serious study of his poetry for over sixty years. Hardy owned fived editions of Browning’s poetry, saved reviews of Browning’s poetry, and transcribed lines from Browning’s poetry into his notebooks.

One of Hardy’s favorite poems by Browning was “The Statue and the Bust,” which tells the story of the unrequited love between Duke Ferdinand and a woman who is married to the head of the Riccardi family. She watches him as he rides through the town square and he admires her through the window. Growing older, the lady has a youthful bust placed of her in the window while the duke places an equestrian statue of himself in the town square. Never acting on their love, their inactive passivity is translated into frozen statues. It is not surprising that Hardy loved this particular poem of Browning’s, as he was also a writer who lingered on the tragedy of lost chances and postponed fulfillment.

We look forward to seeing you at James’ talk.