Abstract

The lyric speaker begins by turning his or her will into words, but begins to be a Browningesque speaker when this conversion leads to a turning of the will against words. This inversion, or perversion, of the will against its own expression requires a reader to entertain a complex notion of the relationship between intention and language—or, more accurately, to hold in suspension two competing versions of that relationship. A reader learns not only to conceive interpretation in the simple lyric sense, as a prevailing assertion of the will, but also to conceive any given assertion of the will, any intention given over to articulation in language, as an interpretation and therefore a potential falsification inviting further refinement. The playful competition Browning urges between these two conceptions of intentionality frees meaning to wander somewhere beyond the ken of each lyric speaker, somewhere in the future of lyric utterance. Meaning is to the dramatic lyric what action is to the drama proper; and much as the curious "action in character" of Browning's dramas defers dramatic action and makes room for play, so Browning defers meaning in the lyrics by enlisting the patterning forces of the self-interfering will.1· 1. Browning remarked in the preface to Strafford that his play turned on "Action in the Character rather than Character in Action".Herbert F. Tucker, Jr., an assistant professor of English at Northwestern University, has published articles on Hopkins and Browning. An expanded version of the present essay appears in his Browning's Beginnings: The Art of Disclosure.