English Language and Literature ETDs

Publication Date

7-11-1974

Abstract

Five of the major theories which attempt to explain laughter are those of superiority, contrast, release, enlightenment, and instinct. One seldom finds a single theory that will satisfactorily explain all of our reasons for laughing in response to a particular work. More often than not, a combina­tion of appeals will be found necessary to take into account the complexity of what occurs between impetus and reaction. The overall aim in tracing out some of these major theories of humor and in trying to "place" Browning in relationship to them is to verify the contention that uses of humor, at practically every level from verbal play to sweeping satire, constitute a significant element in much of his poetry.

The principal categories of humorous approaches in Browning's poetry--verbal, situational, cosmic, ironic, and satiric--range in an ascending scale from simple to complex. While a 1tmmber of the techniques and figures Browning employs to achieve his humor appear to be innovative, an analysis of them reveals that they are usually variations of more or less standard devices and types that have existed in all periods of English literature. The truly distinctive quality of his humor arises, then from his unusual way of viewing the components of a scene or situation and from his artistic skill in presenting them. These features of his work become most noticeable when one focusses on the adriotness with which Browning manipulates the point of view and his linguistic cleverness in the handling of diction and syntax.

Both the peculiar angle of vision Browning employs and his extra­ordinary willingness to experiment with patterns of language ally him with the “wit” tradition in English poetry rather than with the “soul” tradition. His manner of developing a character is more often through psychological progression than through logical elaboration. He characteristically gives the reader only enough of historical detail to establish with validity the basis on which the poet can build his individuated portrait. One can see this technique in "Soliloquy of the Spanish Cloister,” in which the specific historicity of the situation is purposely vague. The figure of the jealous monk is full-blown, but it depends upon Browning's ability to relate an understanding of the man's motivation and speech rather than on our know­ledge of monastical customs and procedures at any particular point in time.

Browning demonstrates a curious penchant for upsetting the reader's expectation by introducing seemingly incongruous elements in the midst of matters ordinarily considered serious. A good deal of poetry of the Victorian Age is intentionally humorous; much more is written in a tone of ponderous solemnity. Browning is one of the few poets who successfully intermingle high seriousness with the laughable. One of the integral constituents allowing him to achieve this remarkable feat is his deft employ-

Degree Name

English

Level of Degree

Doctoral

Department Name

English

First Committee Member (Chair)

Ivan Peter Melada

Second Committee Member

Frederick Bolton Warner

Third Committee Member

Paul Benjamin Davis

Language

English

Document Type

Dissertation

Download

Share

COinS