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- W2012203821 abstract "BROWNING'S IS AN ESSENTIALLY ALEATORY POETRY, DERIVING ITS DRAMATIC life from the clashing and balancing of probabilities. His self-construction as man and writer, the style and language of his poems and his relation with his audience, embody an ethics and poetics of risk. Browning was numerate and financially astute; although his language has famously been characterized as tactile, even visceral, 2 his imagination runs equally to the spatial, the geometric, and the numerical. Like those other poets of quasi-mathematical self-consciousness, Keats and Hopkins, 3 Browning articulated his sense of inspired randomness in a language of odds, lots, hazards, and games of chance. Drawing on older understandings of chance, especially classical probability calculus and Bayesian inference, he weighed them against more recent notions of probability and against the forensic, actuarial, and theological implications of Victorian statistical science. As John Schad has shown in his study of Dickens and mathematics, the individual writer can absorb and transform the encroachments of an increasingly quantitative universe by restoring numbers to the realm of the imagination. 4 My reading of Browning traces the ways in which he dramatizes the impact of probabilistic thinking on poetic form." @default.
- W2012203821 created "2016-06-24" @default.
- W2012203821 creator A5074289584 @default.
- W2012203821 date "2003-01-01" @default.
- W2012203821 modified "2023-10-14" @default.
- W2012203821 title "Blougram's Wager, Guido's Odds: Browning, Chance, and Probability" @default.
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- W2012203821 doi "https://doi.org/10.1353/vp.2003.0012" @default.
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