| Summary: | 碩士 === 國立中正大學 === 外國語文學系 === 82 === The discrepancy between the two extremes of Browning's critics
does not necessarily implicate Browning's problematical
versification, but rather indicates the diverse standpoints of
the critics. I clarify the merits of two kinds of thinking
methods--directed thinking and fantasy thinking--to provide
another view of interpretation of Browning's poetry. Using
Harold Bloom's definitions of strong and weak poets, this
thesis attempts to view Browning's revolutionary poetic
techniques as his efforts to become a strong poet, a potential
artist who is capable of creating imaginative space for
himself, thus reversing his rols as latecomer. Chapter one
introduces the different viewpoints of Browning's critics and
their general condemnation of his poetry. Chapter two examines
the distinctions between fantasy thinking and directed
thinking, showing that thinking methods of critics have been
crucial to Browning criticism. Chapter three is a survey of
both the traditional and revolutionary concepts of literary
history in relation to the definition of a strong poet. In
chapter four, I scrutinize Browning's three major revolution-
ary techniques--his use of language, effect of sound, and the
novel style of dramatic monologue--in the way that they are
representations of a strong poet. And I conclude that Browning
is a genuine artist, whose poetic creativity has established
him as strong poet.
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