INDEX

Previous

Abt Vogler. Addison, J., disgust for the Alps. Andrea del Sarto. Another Way of Love. Apparent Failure. Artemis Prologises. Asolando, Prologue and Epilogue. Asolo: Browning's visits to, its place in his work; last summer passed there. Austin, Alfred, compared with F. Thompson.

Bad Dreams.
Bells and Pomegranates, meaning of title.
Bishop Blougram's Apology.
Bishop Orders His Tomb, The.
Blot in the 'Scutcheon, A.
Boy and the Angel, The.
Browning, Elizabeth Barrett: engagement;
her sonnets;
described by her son;
her ill health;
invented name "Dramatic Lyric;"
her assistance in R. Browning's poems.
Browning, Robert: parentage and early life;
education;
visit to Russia;
play-writing;
first visit to Italy;
marriage;
travels in Italy and lives at Paris;
domestic life in Florence described by Hawthorne;
death;
personal habits;
peculiarities;
piano-playing;
enthusiasm;
friendship with Tennyson;
normality in appearance;
excellence in character;
his theory of poetry;
his sonnets;
his favorite feature the brow;
fondness for yellow hair;
his "rejected lovers,".
Browning, Robert Barrett: death at Asolo;
my conversation with.
Bryant, W. C., visits Browning.
Byron, Lord, lyrical power.
By the Fireside.

Caliban on Setebos.
Campion, T., his lyrical power compared with Donne's.

Carlyle, T.: travels to Paris with the Brownings;
his smoking.
Cavalier Tunes.
Charles Avison.
"Childe Roland."
Choate, J. H., his remark on old age.
Christmas-Eve.
Cleon.
Clive.
Confessions.
Count Gismond.
Cristina.

Death in the Desert, A. De Gustibus. Dis Aliter Visum. Donne, J.: compared with Browning; compared with Campion. Dramatic Lyric, origin of name. Dramatic Lyrics. Dramatic Romances. Dramatis Persons.

Eliot, George, Daniel Deronda and My Last Duchess.
Emerson, R. W.: pie and optimism;
his opinion of Tennyson's Ulysses.
Epistle, An, Containing Strange Medical Experience of
Karshish
.
Eurydice.
Evelyn Hope.
"Eyes Calm Beside Thee".

Face, A.
Fano: seldom visited;
scene of picture of Guardian Angel.
Fifine at the Fair;
Epilogue to.
Forster, J., his praise of Paracelsus.
Fra Lippo Lippi.
Fulda, L., his play Schlaraffenland compared with Rephan.

Garden Fancies, Sibrandus Schafnaburgensis.
Glove, The
Goethe, doctrine of elective affinities.
Gold Hair.
Grammarian's Funeral, A.
Gray, T., early appreciation of mountain scenery.
Guardian Angel, The,

Hallam, A. H., home in Wimpole Street.
Hawthorne, N., visits Browning in Florence.
Holy Cross Day.
Home-Thoughts, from, Abroad.
Home-Thoughts, from the Sea.
How It Strikes a Contemporary.
"How They Brought the Good News."

Ibsen, H.: an original genius;
When We Dead Awaken,
A Doll's House.
In a Balcony.
In a Gondola.
Incident of the French Camp.
IvÀn Ivanovitch.

James Lee's Wife.
Jocoseria, Prologue to.
Johannes Agricola in Meditation.
Jonson, B., his remarks on Donne.

Karshish (see Epistle, An).
Keats, J.: prosody in Endymion;
Bright Star;
his conception of Beauty;
preface to Endymion;
his doctrine; of beauty.
Kipling, R., allusions to Browning in Stalky and Co.

Laboratory, The.
Landor, W. S., his poetic tribute to Browning.
Lanier, S., his criticism of The Ring and the Book.
La Saisiag, Prologue to.
Last Ride Together, The.
LeMoyne, Sarah Gowell, her reading aloud Meeting at Night.
Lessing, G. E., his: remark about truth.
Longfellow, H. W.: a better sonneteer than either Tennyson
or Browning;
Paul Revere's Ride compared with "How They Brought," etc.
Lost Leader, The.
Lost Mistress, The.
Love Among the Ruins.
Lover's Quarrel, A.
Luria.

Macbeth: German translation of;
pessimistic speech by.
Macready, W. C., relations with Browning.
Maeterlinck, M.: scene in Monna Vanna taken from Luria;
his praise of Browning's poetry.

Master Hugues of Saxe-Gotha Meeting at Night Men and Women Mesmerism Mill, J. S., his opinion of Pauline MulÈykeh My Last Duchess My Star

Nationality in Drinks

Old Pictures in Florence Omar Khayyam, his figure of the Potter compared with Browning's, One Way of Love One Word More

Pacchiarotto:
Epilogue to,
Prologue to,
Paracelsus
Parting at Morning (see Meeting at Night)
Pauline
Pippa Passes
Pope: popularity of Essay on Man,
his prosody compared with that of Keats.
Porphyria's Lover
Prince Hohenstiel-Schwangau
Prospice

Rabbi Ben Ezra
Rephan
Respectability
Reverie
Ring and the Book, The
Rossetti, D. G.: draws picture of Tennyson;
his opinion of Pauline.
Rossetti, W. M., meets the Brownings and the Tennysons.
Rudel to the Lady of Tripoli
Ruskin, J., his remark on The Bishop Orders His Tomb.

Saul
Schiller, F.: his poem Der Handschuh;
his poem Das Ideal und das Leben.
Schopenhauer, A.: father's financial help similar to Browning's;
his late-coming fame similar to Browning's,
his remark on Rafael's St. Cecilia.
Schumann, R. and Mrs., presentation to the Scandinavian king.
Shakespeare, W., Browning declares him to be the supreme poet.
Sharp, W., characterization of Sordello.
Shelley, P. B.: his vegetarianism imitated by Browning;
his lyrical power.
Sibrandus Schafnaburgensis (see Garden Fancies).
Sludge (Mr. ) the Medium.
Soliloquy of the Spanish Cloister.
Soul's Tragedy, A.
Sordello.
Statue and the Bust, The.
Stedman (mother of the poet, E.C.), her remarks on the health of
Mrs. Browning in Florence.
Summum Bonum.

Tennyson, A.: reading aloud from Maud;
Browning's letter to him;
a genius for adaptation;
wrote to please critics;
compared with Browning;
his lyrical power;
his lyrics compared with Browning's;
wrote no good sonnets;
Lotos-Eaters;
Ulysses;
Crossing the Bar;
St. Agnes' Eve compared with Johannes Agricola;
Locksley Hall;
his "rejected lovers" compared with Browning's;
his criticism of The Laboratory;
Crossing the Bar compared with Epilogue to Asolando.
Thackeray, Vanity Fair.
Thompson, F., his poetry compared with Austin's.
Time's Revenges.
Toccata of Galuppi's.
Transcendentalism.
Twins, The.
Two Poets of Croisic, the Epilogue to.
Up at a Villa—Down in the City.
Wagner, R.: his originality;
his slow-coming fame;
his operas.
Which.
Wister, O., criticism of Browning's poetry in his novel The
Virginian
.
Wordsworth, W.: served as model for The Lost Leader;
his sincere love of the country.

Youth and Art.

Produced by C. Aldarondo, T. Vergon, R. Prince and the Distributed Proofreaders

We are now trying to release all our eBooks one year in advance of the official release dates, leaving time for better editing. Please be encouraged to tell us about any error or corrections, even years after the official publication date.

Most people start at our Web sites at: or http://promo.net/pg

http://www.ibiblio.org/gutenberg/etext03 or
ftp://ftp.ibiblio.org/pub/docs/books/gutenberg/etext03

Or /etext02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90

Just search by the first five letters of the filename you want, as it appears in our Newsletters.

We produce about two million dollars for each hour we work. The time it takes us, a rather conservative estimate, is fifty hours to get any eBook selected, entered, proofread, edited, copyright searched and analyzed, the copyright letters written, etc. Our projected audience is one hundred million readers. If the value per text is nominally estimated at one dollar then we produce $2 million dollars per hour in 2002 as we release over 100 new text files per month: 1240 more eBooks in 2001 for a total of 4000+ We are already on our way to trying for 2000 more eBooks in 2002 If they reach just 1-2% of the world's population then the total will reach over half a trillion eBooks given away by year's end.

Here is the briefest record of our progress (* means estimated):

eBooks Year Month

1 1971 July
10 1991 January
100 1994 January
1000 1997 August
1500 1998 October
2000 1999 December
2500 2000 December
3000 2001 November
4000 2001 October/November
6000 2002 December*
9000 2003 November*
10000 2004 January*

We need your donations more than ever!

As of February, 2002, contributions are being solicited from people
and organizations in: Alabama, Alaska, Arkansas, Connecticut,
Delaware, District of Columbia, Florida, Georgia, Hawaii, Illinois,
Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Massachusetts,
Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New
Hampshire, New Jersey, New Mexico, New York, North Carolina, Ohio,
Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South
Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West
Virginia, Wisconsin, and Wyoming.

We have filed in all 50 states now, but these are the only ones that have responded.

As the requirements for other states are met, additions to this list will be made and fund raising will begin in the additional states. Please feel free to ask to check the status of your state.

In answer to various questions we have received on this:

We are constantly working on finishing the paperwork to legally request donations in all 50 states. If your state is not listed and you would like to know if we have added it since the list you have, just ask.

While we cannot solicit donations from people in states where we are not yet registered, we know of no prohibition against accepting donations from donors in these states who approach us with an offer to donate.

International donations are accepted, but we don't know ANYTHING about how to make them tax-deductible, or even if they CAN be made deductible, and don't have the staff to handle it even if there are ways.

Donations by check or money order may be sent to:

Contact us if you want to arrange for a wire transfer or payment method other than by check or money order.

We need your donations more than ever!

You can get up to date donation information online at:

/donation.html

***

Michael S. Hart <hart@pobox.com>

Prof. Hart will answer or forward your message.

We would prefer to send you information by email.

**The Legal Small Print**

(Three Pages)

***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN EBOOKS**START*** Why is this "Small Print!" statement here? You know: lawyers. They tell us you might sue us if there is something wrong with your copy of this eBook, even if you got it for free from someone other than us, and even if what's wrong is not our fault. So, among other things, this "Small Print!" statement disclaims most of our liability to you. It also tells you how you may distribute copies of this eBook if you want to.

To create these eBooks, the Project expends considerable efforts to identify, transcribe and proofread public domain works. Despite these efforts, the Project's eBooks and any medium they may be on may contain "Defects". Among other things, Defects may take the form of incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other eBook medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

If you discover a Defect in this eBook within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending an explanatory note within that time to the person you received it from. If you received it on a physical medium, you must return it with your note, and such person may choose to alternatively give you a replacement copy. If you received it electronically, such person may choose to alternatively give you a second opportunity to receive it electronically.

THIS EBOOK IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS TO THE EBOOK OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.

Some states do not allow disclaimers of implied warranties or the exclusion or limitation of consequential damages, so the above disclaimers and exclusions may not apply to you, and you may have other legal rights.

[1] Only give exact copies of it. Among other things, this requires that you do not remove, alter or modify the eBook or this "small print!" statement. You may however, if you wish, distribute this eBook in machine readable binary, compressed, mark-up, or proprietary form, including any form resulting from conversion by word processing or hypertext software, but only so long as *EITHER*:

[*] The eBook, when displayed, is clearly readable, and does *not* contain characters other than those intended by the author of the work, although tilde (~), asterisk (*) and underline (_) characters may be used to convey punctuation intended by the author, and additional characters may be used to indicate hypertext links; OR

[*] The eBook may be readily converted by the reader at no expense into plain ASCII, EBCDIC or equivalent form by the program that displays the eBook (as is the case, for instance, with most word processors); OR

[*] You provide, or agree to also provide on request at no additional cost, fee or expense, a copy of the eBook in its original plain ASCII form (or in EBCDIC or other equivalent proprietary form).

[2] Honor the eBook refund and replacement provisions of this "Small Print!" statement.

If you are interested in contributing scanning equipment or software or other items, please contact Michael Hart at: hart@pobox.com

*END THE SMALL PRINT! FOR PUBLIC DOMAIN EBOOKS*Ver.02/11/02*END*

                                                                                                                                                                                                                                                                                                           

Clyx.com


Top of Page
Top of Page