i tried to respond to cowper to prank me

Robert Hewison, ‘John Ruskin and the Argument of the Eye’, in Susan P. Lynda Nead, Victorian Babylon: People, Streets and Images in Nineteenth-Century London (New Haven: Yale University Press, 2000), p. Knickerbocker, eds., New Letters of Robert Browning (London: John Murray, 1951), p. John Woolford and Daniel Karlin, eds., The Poems of Robert Browning (London: Longman, 1991, vol. John Pettigrew, ed., Robert Browning The Poems, vol. Sharon Aronofksy Weltman, Performing the Victorian: John Ruskin and Identity in Theater, Science and Education (Columbus: The Ohio State University Press, 2007), p. Virginia Surtees, ed., Sublime and Instructive: Letters from John Ruskin to Louisa, Marchioness of Waterford, Anna Blunden and Ellen Heaton (London: Michael Joseph, 1972), p.

326–327.īoyd Litzinger and Donald Smalley, eds., Browning: The Critical Heritage (London: Routledge, 1970), pp. 75.ĭavid DeLaura, ‘Ruskin and the Brownings: Twenty-Five Unpublished Letters’, Bulletin of the John Rylands Library, 54 (1971–1972), p. William Fredeman, ed., The Correspondence of Dante Gabriel Rossetti (Cambridge: D.S. Warwick Slinn, ‘Dramatic Monologue’, in Richard Cronin, Alison Chapman, and Anthony Harrison, eds., A Companion to Victorian Poetry (Oxford: Blackwell, 2002), p. The term ‘dramatic monologue’ was not Browning’s coinage but ‘was first used by a poet, George Thornbury, in 1857’. 449.īrowning is credited with publishing some of the first dramatic monologues in 1836: ‘Porphyria’s Lover’ and ‘Johannes Agricola in Meditation’. Cook and Alexander Wedderburn eds., Complete Works of John Ruskin (London: George Allen, 1903–12), vol. This process is experimental and the keywords may be updated as the learning algorithm improves.Į.

These keywords were added by machine and not by the authors. The worst of it is that this kind of concentrated writing needs so much solution before the reader can fairly get the good of it, that people’s patience fails them, and they give up the thing as insoluble though, truly, it ought to be the current of common thought like Saladin’s talisman, dipped in clear water, not soluble altogether, but making the element medicinal. It is nearly all that I said of the central Renaissance in 30 pages of the Stones of Venice put into as many lines, Browning’s being also the antecedent work. I know of no other piece of modern English, prose or poetry, in which is so much told, as in these lines of the Renaissance spirit, - its worldliness, inconsistency, pride, hypocrisy, ignorance of itself, love of art, of luxury and of good Latin.

I tried to respond to cowper to prank me