Browning has been identified as the greatest nineteenth-century poet of human psychology, but the category most popular in his own time defined him as a poet of 'the grotesque?. In this book, John Woolford undertakes to specify the precise meaning and scope of this term, in the process placing him in a major aesthetic tradition running from the Romantic Sublime through to modern concepts andtheorizations of the grotesque. This study subsumes the other major critical discourse fertilized by his work, the 'dramatic monologue?, but adds to the other notable features of it, such as its lucid language, and what has impeded his full appreciation hitherto, its difficulty. The study seeks, not to excuse but to explain and celebrate the intellectual white heat at which he worked, and to position all aspects of his output within a unified theory of its significance.
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Brownings Grotesque Failure
Varieties of the Grotesque
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aesthetic Alfred Domett Andrea del Sarto arguably Aristophanes Bagehot beauty becomes Bells and Pomegranates Bishop Blougram's Apology Blougram Book Browning and Julia BROWNING'S GROTESQUE Browning's poetry Caponsacchi Chiappino comic contemporaries Cook and Wedderburn Cotton Night-Cap Country criticism Daniel Karlin Dark Tower Dramatic Idyls dramatic monologue Elizabeth Barrett Essay example fact George Santayana Gigadibs grotesque Grotesque Art grotesque realism Guido Franceschini Hugo Ibid idea interlocutor Interpretations of Poetry John Ruskin John Woolford Julia Wedgwood Karshish Last Duchess Lippi Luria Lyrics Macready mind Moulton-Barrett narrates objects Ogniben Oxford Pacchiarotto Padua Cathedral Paracelsus passage Pauline Pippa Passes play Poems of Browning poet Poetical Pompilia publication reader Red Cotton Night-Cap rhyme Ring Robert Browning sense Shelley Sordello soul Soul's Tragedy speaker story Strafford sublime Tennyson terrible grotesque things Thomas De Quincey thou tion truth University Press Victorian Wedderburn eds Wedgwood Woolford and Daniel words Wordsworth