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This study attempts to show the way and process Browning as a post-Romantic poet tries to overcome his “morbid self-consciousness,” finally coming to the threshold of “the objective form.” He begins his literary career worshipping Shelley as his mentor, but the High Romantic Poets' “transcendental subjectivity” which he inherited mainly from Wordsworth and Shelley works as a burden even in his early youth. In this context, the substance of romantic ideology is summed up in the first section of this paper in relation to the romantic imagination and romantic longings of such poets as Wordsworth and Shelley. And then, in the later sections, Browning's “anxiety of influence” and his enormous efforts to “misread” Shelley are examined, focusing mainly on his first long poem Pauline. Surrounded by the increasingly materializing bourgeois culture, Browning tries to establish his poetic subject and poetic identity by winning the struggle against his mentor Shelley. He reveals the passion and longings for being born anew as “a strong poet,” and enacts very complex textual strategies in Pauline in that context. On worshipping the sun god/Shelley as his muse, Browning continually reveals the anxiety which derives from the loss of belief in the transcendental subjectivity. Therefore, the recognition that the poet's self may be only a fiction makes Pauline constructed as what Roland Barthes, and after him Isobel Armstrong, names “a fractured text” or “a corrupt text”. Browning's dramatic monologue as an objective form has its root in the despair of the political liberal who has lost his belief in the mentor's romantic ideology. However, the very sense of loss, paradoxically, drives him to find out the harder, safer, and more reliable lyric form that could be a model for the later modernist poets.