Since George Dance thought we were being catty about Mr. Austin’s poetry, we give you:

“The Critic, January-June 1893,” Volume 22, Number 575, p. 108:
----------

“Alfred Austin’s ‘Fortunatus the Pessimist’
Macmillan is the publisher, and he
Sells it for dollars one and quarters three.

OF ALFRED AUSTIN’S uninspired verse,
We lately wrote, and told in language terse
How generally dull it is and dry
And how it flutters when it fain would fly :
For then it was—to six large volumes swelled—
The labors of this poet we beheld
And wondered at. We still are wondering
How such a slender voice so much could sing,
And, so much having sung, strength still possess
Again to warble in the wilderness.

Impelled by some not quite divine afflatus
He recently has written “Fortunatus
The Pessimist”—a drama of our time—
In blank-verse, save for interludes in rhyme
Which, gay and graceful, frequently are done
In the smooth metre of Anacreon.

A more attractive work is this than those
Long tragedies in rhyme that should be prose,
“Savonarola” and “The Tower of Babel,”
Which, to appreciate, but few are able:
A less ambitious work,--it thereby gains
In point of pleasure what it lacks in pains;
For when this poet ventures to aspire,
Even the ashes of the sacred fire
Cannot be found with embers live to show
A glimmer of the true poetic glow.

Respectable, his verse may well be called:
Always respectable, and sometimes—bald.
Movement and fire his longer poems miss:
One feels their absence in a work like this.
Lyrics of love and nature he can write
Whose melody and fancy wake delight:
And two or three in “Fortunatus” shine
Like buds upon a pessimistic vine!

To sum up briefly then, the book is writ
In careful English, with a show of wit.
The tale is simple, gay, and not too long
To suit admirers of the author’s song,
And tells how Fortunatus, pessimist,
Landed at last upon the marriage list.

----------
Despite the limitations of his powers
We much prefer A. Austin’s verse to ours;
And if he be the judge we hope he is,
Doubtless he will prefer our verse to his!”
----------

On Thursday, November 2, 2023 at 7:38:18 PM UTC, NancyGene wrote:
> Since George Dance thought we were being catty about Mr. Austin’s poetry, we give you:
>
> “The Critic, January-June 1893,” Volume 22, Number 575, p.. 108:
> ----------
>
> “Alfred Austin’s ‘Fortunatus the Pessimist’
> Macmillan is the publisher, and he
> Sells it for dollars one and quarters three.
>
> OF ALFRED AUSTIN’S uninspired verse,
> We lately wrote, and told in language terse
> How generally dull it is and dry
> And how it flutters when it fain would fly :
> For then it was—to six large volumes swelled—
> The labors of this poet we beheld
> And wondered at. We still are wondering
> How such a slender voice so much could sing,
> And, so much having sung, strength still possess
> Again to warble in the wilderness.
>
> Impelled by some not quite divine afflatus
> He recently has written “Fortunatus
> The Pessimist”—a drama of our time—
> In blank-verse, save for interludes in rhyme
> Which, gay and graceful, frequently are done
> In the smooth metre of Anacreon.
>
> A more attractive work is this than those
> Long tragedies in rhyme that should be prose,
> “Savonarola” and “The Tower of Babel,”
> Which, to appreciate, but few are able:
> A less ambitious work,--it thereby gains
> In point of pleasure what it lacks in pains;
> For when this poet ventures to aspire,
> Even the ashes of the sacred fire
> Cannot be found with embers live to show
> A glimmer of the true poetic glow.
>
> Respectable, his verse may well be called:
> Always respectable, and sometimes—bald.
> Movement and fire his longer poems miss:
> One feels their absence in a work like this.
> Lyrics of love and nature he can write
> Whose melody and fancy wake delight:
> And two or three in “Fortunatus” shine
> Like buds upon a pessimistic vine!
>
> To sum up briefly then, the book is writ
> In careful English, with a show of wit.
> The tale is simple, gay, and not too long
> To suit admirers of the author’s song,
> And tells how Fortunatus, pessimist,
> Landed at last upon the marriage list.
>
> ----------
> Despite the limitations of his powers
> We much prefer A. Austin’s verse to ours;
> And if he be the judge we hope he is,
> Doubtless he will prefer our verse to his!”
> ----------

We read that Austin's appointment as Poet Laureate was political, rather than based on his talent as a poet.

On Friday, November 3, 2023 at 12:13:55 PM UTC, NancyGene wrote:
> On Thursday, November 2, 2023 at 7:38:18 PM UTC, NancyGene wrote:
> > Since George Dance thought we were being catty about Mr. Austin’s poetry, we give you:
> >
> > “The Critic, January-June 1893,” Volume 22, Number 575, p. 108:
> > ----------
> >
> > “Alfred Austin’s ‘Fortunatus the Pessimist’
> > Macmillan is the publisher, and he
> > Sells it for dollars one and quarters three.
> >
> > OF ALFRED AUSTIN’S uninspired verse,
> > We lately wrote, and told in language terse
> > How generally dull it is and dry
> > And how it flutters when it fain would fly :
> > For then it was—to six large volumes swelled—
> > The labors of this poet we beheld
> > And wondered at. We still are wondering
> > How such a slender voice so much could sing,
> > And, so much having sung, strength still possess
> > Again to warble in the wilderness.
> >
> > Impelled by some not quite divine afflatus
> > He recently has written “Fortunatus
> > The Pessimist”—a drama of our time—
> > In blank-verse, save for interludes in rhyme
> > Which, gay and graceful, frequently are done
> > In the smooth metre of Anacreon.
> >
> > A more attractive work is this than those
> > Long tragedies in rhyme that should be prose,
> > “Savonarola” and “The Tower of Babel,”
> > Which, to appreciate, but few are able:
> > A less ambitious work,--it thereby gains
> > In point of pleasure what it lacks in pains;
> > For when this poet ventures to aspire,
> > Even the ashes of the sacred fire
> > Cannot be found with embers live to show
> > A glimmer of the true poetic glow.
> >
> > Respectable, his verse may well be called:
> > Always respectable, and sometimes—bald.
> > Movement and fire his longer poems miss:
> > One feels their absence in a work like this.
> > Lyrics of love and nature he can write
> > Whose melody and fancy wake delight:
> > And two or three in “Fortunatus” shine
> > Like buds upon a pessimistic vine!
> >
> > To sum up briefly then, the book is writ
> > In careful English, with a show of wit.
> > The tale is simple, gay, and not too long
> > To suit admirers of the author’s song,
> > And tells how Fortunatus, pessimist,
> > Landed at last upon the marriage list.
> >
> > ----------
> > Despite the limitations of his powers
> > We much prefer A. Austin’s verse to ours;
> > And if he be the judge we hope he is,
> > Doubtless he will prefer our verse to his!”
> > ----------
> We read that Austin's appointment as Poet Laureate was political, rather than based on his talent as a poet.

George Dance thinks we are catty by saying that Mr. Austin wasn't held in high esteem as a poet. He should also take that up with Britannica.
"His [Alfred Austin's] acerbic criticism and jingoistic verse in the 1870s led Robert Browning to dismiss him as a 'Banjo-Byron,' and his appointment to the laureateship in 1896 was much mocked. He also published a series of stiff verse dramas, some novels, and a good deal of lyrical but very minor nature poetry."
https://www.britannica.com/biography/Alfred-Austin

Hmm, verse dramas! "These plays contain poetic elements, like rhyming lines, and more commonly, lines that are written in blank verse. They might also be structured in a way that makes them appear more like stanzas than paragraphs or individual lines of dialogue."
https://poemanalysis.com/genre/poetic-drama/#:~:text=These%20plays%20contain%20poetic%20elements,or%20individual%20lines%20of%20dialogue.

On Friday, November 3, 2023 at 9:16:13 PM UTC, NancyGene wrote:
> On Friday, November 3, 2023 at 12:13:55 PM UTC, NancyGene wrote:
> > On Thursday, November 2, 2023 at 7:38:18 PM UTC, NancyGene wrote:
> > > Since George Dance thought we were being catty about Mr. Austin’s poetry, we give you:
> > >
> > > “The Critic, January-June 1893,” Volume 22, Number 575, p. 108:
> > > ----------
> > >
> > > “Alfred Austin’s ‘Fortunatus the Pessimist’
> > > Macmillan is the publisher, and he
> > > Sells it for dollars one and quarters three.
> > >
> > > OF ALFRED AUSTIN’S uninspired verse,
> > > We lately wrote, and told in language terse
> > > How generally dull it is and dry
> > > And how it flutters when it fain would fly :
> > > For then it was—to six large volumes swelled—
> > > The labors of this poet we beheld
> > > And wondered at. We still are wondering
> > > How such a slender voice so much could sing,
> > > And, so much having sung, strength still possess
> > > Again to warble in the wilderness.
> > >
> > > Impelled by some not quite divine afflatus
> > > He recently has written “Fortunatus
> > > The Pessimist”—a drama of our time—
> > > In blank-verse, save for interludes in rhyme
> > > Which, gay and graceful, frequently are done
> > > In the smooth metre of Anacreon.
> > >
> > > A more attractive work is this than those
> > > Long tragedies in rhyme that should be prose,
> > > “Savonarola” and “The Tower of Babel,”
> > > Which, to appreciate, but few are able:
> > > A less ambitious work,--it thereby gains
> > > In point of pleasure what it lacks in pains;
> > > For when this poet ventures to aspire,
> > > Even the ashes of the sacred fire
> > > Cannot be found with embers live to show
> > > A glimmer of the true poetic glow.
> > >
> > > Respectable, his verse may well be called:
> > > Always respectable, and sometimes—bald.
> > > Movement and fire his longer poems miss:
> > > One feels their absence in a work like this.
> > > Lyrics of love and nature he can write
> > > Whose melody and fancy wake delight:
> > > And two or three in “Fortunatus” shine
> > > Like buds upon a pessimistic vine!
> > >
> > > To sum up briefly then, the book is writ
> > > In careful English, with a show of wit.
> > > The tale is simple, gay, and not too long
> > > To suit admirers of the author’s song,
> > > And tells how Fortunatus, pessimist,
> > > Landed at last upon the marriage list.
> > >
> > > ----------
> > > Despite the limitations of his powers
> > > We much prefer A. Austin’s verse to ours;
> > > And if he be the judge we hope he is,
> > > Doubtless he will prefer our verse to his!”
> > > ----------
> > We read that Austin's appointment as Poet Laureate was political, rather than based on his talent as a poet.
> George Dance thinks we are catty by saying that Mr. Austin wasn't held in high esteem as a poet. He should also take that up with Britannica.
> "His [Alfred Austin's] acerbic criticism and jingoistic verse in the 1870s led Robert Browning to dismiss him as a 'Banjo-Byron,' and his appointment to the laureateship in 1896 was much mocked. He also published a series of stiff verse dramas, some novels, and a good deal of lyrical but very minor nature poetry."
> https://www.britannica.com/biography/Alfred-Austin
>
> Hmm, verse dramas! "These plays contain poetic elements, like rhyming lines, and more commonly, lines that are written in blank verse. They might also be structured in a way that makes them appear more like stanzas than paragraphs or individual lines of dialogue."
> https://poemanalysis.com/genre/poetic-drama/#:~:text=These%20plays%20contain%20poetic%20elements,or%20individual%20lines%20of%20dialogue.

We can understand why George Dance defends Alfred Austin: He [Austin] had unsuccessful candidacies for Parliament as a Conservative for Taunton in 1865, and again for Dewsbury in 1880." George Dance identifies with losers.
https://prabook.com/web/alfred.austin/3738016

On Friday, November 3, 2023 at 5:16:13 PM UTC-4, NancyGene wrote:
> On Friday, November 3, 2023 at 12:13:55 PM UTC, NancyGene wrote:
> > On Thursday, November 2, 2023 at 7:38:18 PM UTC, NancyGene wrote:
> > > Since George Dance thought we were being catty about Mr. Austin’s poetry, we give you:
> > >
> > > “The Critic, January-June 1893,” Volume 22, Number 575, p. 108:
> > > ----------
> > >
> > > “Alfred Austin’s ‘Fortunatus the Pessimist’
> > > Macmillan is the publisher, and he
> > > Sells it for dollars one and quarters three.
> > >
> > > OF ALFRED AUSTIN’S uninspired verse,
> > > We lately wrote, and told in language terse
> > > How generally dull it is and dry
> > > And how it flutters when it fain would fly :
> > > For then it was—to six large volumes swelled—
> > > The labors of this poet we beheld
> > > And wondered at. We still are wondering
> > > How such a slender voice so much could sing,
> > > And, so much having sung, strength still possess
> > > Again to warble in the wilderness.
> > >
> > > Impelled by some not quite divine afflatus
> > > He recently has written “Fortunatus
> > > The Pessimist”—a drama of our time—
> > > In blank-verse, save for interludes in rhyme
> > > Which, gay and graceful, frequently are done
> > > In the smooth metre of Anacreon.
> > >
> > > A more attractive work is this than those
> > > Long tragedies in rhyme that should be prose,
> > > “Savonarola” and “The Tower of Babel,”
> > > Which, to appreciate, but few are able:
> > > A less ambitious work,--it thereby gains
> > > In point of pleasure what it lacks in pains;
> > > For when this poet ventures to aspire,
> > > Even the ashes of the sacred fire
> > > Cannot be found with embers live to show
> > > A glimmer of the true poetic glow.
> > >
> > > Respectable, his verse may well be called:
> > > Always respectable, and sometimes—bald.
> > > Movement and fire his longer poems miss:
> > > One feels their absence in a work like this.
> > > Lyrics of love and nature he can write
> > > Whose melody and fancy wake delight:
> > > And two or three in “Fortunatus” shine
> > > Like buds upon a pessimistic vine!
> > >
> > > To sum up briefly then, the book is writ
> > > In careful English, with a show of wit.
> > > The tale is simple, gay, and not too long
> > > To suit admirers of the author’s song,
> > > And tells how Fortunatus, pessimist,
> > > Landed at last upon the marriage list.
> > >
> > > ----------
> > > Despite the limitations of his powers
> > > We much prefer A. Austin’s verse to ours;
> > > And if he be the judge we hope he is,
> > > Doubtless he will prefer our verse to his!”
> > > ----------
> > We read that Austin's appointment as Poet Laureate was political, rather than based on his talent as a poet.
> George Dance thinks we are catty by saying that Mr. Austin wasn't held in high esteem as a poet. He should also take that up with Britannica.
> "His [Alfred Austin's] acerbic criticism and jingoistic verse in the 1870s led Robert Browning to dismiss him as a 'Banjo-Byron,' and his appointment to the laureateship in 1896 was much mocked. He also published a series of stiff verse dramas, some novels, and a good deal of lyrical but very minor nature poetry."
> https://www.britannica.com/biography/Alfred-Austin
>
> Hmm, verse dramas! "These plays contain poetic elements, like rhyming lines, and more commonly, lines that are written in blank verse. They might also be structured in a way that makes them appear more like stanzas than paragraphs or individual lines of dialogue."
> https://poemanalysis.com/genre/poetic-drama/#:~:text=These%20plays%20contain%20poetic%20elements,or%20individual%20lines%20of%20dialogue.

Verse dramas? I'm intrigued...

On Saturday, November 4, 2023 at 2:54:42 PM UTC-4, Ash Wurthing wrote:
> On Friday, November 3, 2023 at 5:16:13 PM UTC-4, NancyGene wrote:
> > On Friday, November 3, 2023 at 12:13:55 PM UTC, NancyGene wrote:
> > > On Thursday, November 2, 2023 at 7:38:18 PM UTC, NancyGene wrote:
> > > > Since George Dance thought we were being catty about Mr. Austin’s poetry, we give you:
> > > >
> > > > “The Critic, January-June 1893,” Volume 22, Number 575, p. 108:
> > > > ----------
> > > >
> > > > “Alfred Austin’s ‘Fortunatus the Pessimist’
> > > > Macmillan is the publisher, and he
> > > > Sells it for dollars one and quarters three.
> > > >
> > > > OF ALFRED AUSTIN’S uninspired verse,
> > > > We lately wrote, and told in language terse
> > > > How generally dull it is and dry
> > > > And how it flutters when it fain would fly :
> > > > For then it was—to six large volumes swelled—
> > > > The labors of this poet we beheld
> > > > And wondered at. We still are wondering
> > > > How such a slender voice so much could sing,
> > > > And, so much having sung, strength still possess
> > > > Again to warble in the wilderness.
> > > >
> > > > Impelled by some not quite divine afflatus
> > > > He recently has written “Fortunatus
> > > > The Pessimist”—a drama of our time—
> > > > In blank-verse, save for interludes in rhyme
> > > > Which, gay and graceful, frequently are done
> > > > In the smooth metre of Anacreon.
> > > >
> > > > A more attractive work is this than those
> > > > Long tragedies in rhyme that should be prose,
> > > > “Savonarola” and “The Tower of Babel,”
> > > > Which, to appreciate, but few are able:
> > > > A less ambitious work,--it thereby gains
> > > > In point of pleasure what it lacks in pains;
> > > > For when this poet ventures to aspire,
> > > > Even the ashes of the sacred fire
> > > > Cannot be found with embers live to show
> > > > A glimmer of the true poetic glow.
> > > >
> > > > Respectable, his verse may well be called:
> > > > Always respectable, and sometimes—bald.
> > > > Movement and fire his longer poems miss:
> > > > One feels their absence in a work like this.
> > > > Lyrics of love and nature he can write
> > > > Whose melody and fancy wake delight:
> > > > And two or three in “Fortunatus” shine
> > > > Like buds upon a pessimistic vine!
> > > >
> > > > To sum up briefly then, the book is writ
> > > > In careful English, with a show of wit.
> > > > The tale is simple, gay, and not too long
> > > > To suit admirers of the author’s song,
> > > > And tells how Fortunatus, pessimist,
> > > > Landed at last upon the marriage list.
> > > >
> > > > ----------
> > > > Despite the limitations of his powers
> > > > We much prefer A. Austin’s verse to ours;
> > > > And if he be the judge we hope he is,
> > > > Doubtless he will prefer our verse to his!”
> > > > ----------
> > > We read that Austin's appointment as Poet Laureate was political, rather than based on his talent as a poet.
> > George Dance thinks we are catty by saying that Mr. Austin wasn't held in high esteem as a poet. He should also take that up with Britannica.
> > "His [Alfred Austin's] acerbic criticism and jingoistic verse in the 1870s led Robert Browning to dismiss him as a 'Banjo-Byron,' and his appointment to the laureateship in 1896 was much mocked. He also published a series of stiff verse dramas, some novels, and a good deal of lyrical but very minor nature poetry."
> > https://www.britannica.com/biography/Alfred-Austin
> >
> > Hmm, verse dramas! "These plays contain poetic elements, like rhyming lines, and more commonly, lines that are written in blank verse. They might also be structured in a way that makes them appear more like stanzas than paragraphs or individual lines of dialogue."
> > https://poemanalysis.com/genre/poetic-drama/#:~:text=These%20plays%20contain%20poetic%20elements,or%20individual%20lines%20of%20dialogue.
> Verse dramas? I'm intrigued...

Our resident Dunce "corrected" NancyGene for referring to "The Human Tragedy" as a play. NancyGene just nailed Dunce's ass to a wall.

Michael Pendragon
“it's not even poetry. it's bad, disjointed mental dribbling…”
-- J.R. Sherman on Will Dockery’s “poetry.”

On Saturday, November 4, 2023 at 10:14:06 AM UTC-10, Michael Pendragon wrote:
> On Saturday, November 4, 2023 at 2:54:42 PM UTC-4, Ash Wurthing wrote:
> > On Friday, November 3, 2023 at 5:16:13 PM UTC-4, NancyGene wrote:
> > > On Friday, November 3, 2023 at 12:13:55 PM UTC, NancyGene wrote:
> > > > On Thursday, November 2, 2023 at 7:38:18 PM UTC, NancyGene wrote:
> > > > > Since George Dance thought we were being catty about Mr. Austin’s poetry, we give you:
> > > > >
> > > > > “The Critic, January-June 1893,” Volume 22, Number 575, p. 108:
> > > > > ----------
> > > > >
> > > > > “Alfred Austin’s ‘Fortunatus the Pessimist’
> > > > > Macmillan is the publisher, and he
> > > > > Sells it for dollars one and quarters three.
> > > > >
> > > > > OF ALFRED AUSTIN’S uninspired verse,
> > > > > We lately wrote, and told in language terse
> > > > > How generally dull it is and dry
> > > > > And how it flutters when it fain would fly :
> > > > > For then it was—to six large volumes swelled—
> > > > > The labors of this poet we beheld
> > > > > And wondered at. We still are wondering
> > > > > How such a slender voice so much could sing,
> > > > > And, so much having sung, strength still possess
> > > > > Again to warble in the wilderness.
> > > > >
> > > > > Impelled by some not quite divine afflatus
> > > > > He recently has written “Fortunatus
> > > > > The Pessimist”—a drama of our time—
> > > > > In blank-verse, save for interludes in rhyme
> > > > > Which, gay and graceful, frequently are done
> > > > > In the smooth metre of Anacreon.
> > > > >
> > > > > A more attractive work is this than those
> > > > > Long tragedies in rhyme that should be prose,
> > > > > “Savonarola” and “The Tower of Babel,”
> > > > > Which, to appreciate, but few are able:
> > > > > A less ambitious work,--it thereby gains
> > > > > In point of pleasure what it lacks in pains;
> > > > > For when this poet ventures to aspire,
> > > > > Even the ashes of the sacred fire
> > > > > Cannot be found with embers live to show
> > > > > A glimmer of the true poetic glow.
> > > > >
> > > > > Respectable, his verse may well be called:
> > > > > Always respectable, and sometimes—bald.
> > > > > Movement and fire his longer poems miss:
> > > > > One feels their absence in a work like this.
> > > > > Lyrics of love and nature he can write
> > > > > Whose melody and fancy wake delight:
> > > > > And two or three in “Fortunatus” shine
> > > > > Like buds upon a pessimistic vine!
> > > > >
> > > > > To sum up briefly then, the book is writ
> > > > > In careful English, with a show of wit.
> > > > > The tale is simple, gay, and not too long
> > > > > To suit admirers of the author’s song,
> > > > > And tells how Fortunatus, pessimist,
> > > > > Landed at last upon the marriage list.
> > > > >
> > > > > ----------
> > > > > Despite the limitations of his powers
> > > > > We much prefer A. Austin’s verse to ours;
> > > > > And if he be the judge we hope he is,
> > > > > Doubtless he will prefer our verse to his!”
> > > > > ----------
> > > > We read that Austin's appointment as Poet Laureate was political, rather than based on his talent as a poet.
> > > George Dance thinks we are catty by saying that Mr. Austin wasn't held in high esteem as a poet. He should also take that up with Britannica.
> > > "His [Alfred Austin's] acerbic criticism and jingoistic verse in the 1870s led Robert Browning to dismiss him as a 'Banjo-Byron,' and his appointment to the laureateship in 1896 was much mocked. He also published a series of stiff verse dramas, some novels, and a good deal of lyrical but very minor nature poetry."
> > > https://www.britannica.com/biography/Alfred-Austin
> > >
> > > Hmm, verse dramas! "These plays contain poetic elements, like rhyming lines, and more commonly, lines that are written in blank verse. They might also be structured in a way that makes them appear more like stanzas than paragraphs or individual lines of dialogue."
> > > https://poemanalysis.com/genre/poetic-drama/#:~:text=These%20plays%20contain%20poetic%20elements,or%20individual%20lines%20of%20dialogue.
> > Verse dramas? I'm intrigued...
> Our resident Dunce "corrected" NancyGene for referring to "The Human Tragedy" as a play. NancyGene just nailed Dunce's ass to a wall.

Very true, but George Dance never sticks to the wall very long. He will define "verse," then define "drama," then tell us how to make a watch.
>
>
> Michael Pendragon
> “it's not even poetry. it's bad, disjointed mental dribbling…”
> -- J.R. Sherman on Will Dockery’s “poetry.”

On Saturday, November 4, 2023 at 8:08:12 PM UTC-4, NancyGene wrote:
> On Saturday, November 4, 2023 at 10:14:06 AM UTC-10, Michael Pendragon wrote:
> > On Saturday, November 4, 2023 at 2:54:42 PM UTC-4, Ash Wurthing wrote:
> > > On Friday, November 3, 2023 at 5:16:13 PM UTC-4, NancyGene wrote:
> > > > On Friday, November 3, 2023 at 12:13:55 PM UTC, NancyGene wrote:
> > > > > On Thursday, November 2, 2023 at 7:38:18 PM UTC, NancyGene wrote:
> > > > > > Since George Dance thought we were being catty about Mr. Austin’s poetry, we give you:
> > > > > >
> > > > > > “The Critic, January-June 1893,” Volume 22, Number 575, p. 108:
> > > > > > ----------
> > > > > >
> > > > > > “Alfred Austin’s ‘Fortunatus the Pessimist’
> > > > > > Macmillan is the publisher, and he
> > > > > > Sells it for dollars one and quarters three.
> > > > > >
> > > > > > OF ALFRED AUSTIN’S uninspired verse,
> > > > > > We lately wrote, and told in language terse
> > > > > > How generally dull it is and dry
> > > > > > And how it flutters when it fain would fly :
> > > > > > For then it was—to six large volumes swelled—
> > > > > > The labors of this poet we beheld
> > > > > > And wondered at. We still are wondering
> > > > > > How such a slender voice so much could sing,
> > > > > > And, so much having sung, strength still possess
> > > > > > Again to warble in the wilderness.
> > > > > >
> > > > > > Impelled by some not quite divine afflatus
> > > > > > He recently has written “Fortunatus
> > > > > > The Pessimist”—a drama of our time—
> > > > > > In blank-verse, save for interludes in rhyme
> > > > > > Which, gay and graceful, frequently are done
> > > > > > In the smooth metre of Anacreon.
> > > > > >
> > > > > > A more attractive work is this than those
> > > > > > Long tragedies in rhyme that should be prose,
> > > > > > “Savonarola” and “The Tower of Babel,”
> > > > > > Which, to appreciate, but few are able:
> > > > > > A less ambitious work,--it thereby gains
> > > > > > In point of pleasure what it lacks in pains;
> > > > > > For when this poet ventures to aspire,
> > > > > > Even the ashes of the sacred fire
> > > > > > Cannot be found with embers live to show
> > > > > > A glimmer of the true poetic glow.
> > > > > >
> > > > > > Respectable, his verse may well be called:
> > > > > > Always respectable, and sometimes—bald.
> > > > > > Movement and fire his longer poems miss:
> > > > > > One feels their absence in a work like this.
> > > > > > Lyrics of love and nature he can write
> > > > > > Whose melody and fancy wake delight:
> > > > > > And two or three in “Fortunatus” shine
> > > > > > Like buds upon a pessimistic vine!
> > > > > >
> > > > > > To sum up briefly then, the book is writ
> > > > > > In careful English, with a show of wit.
> > > > > > The tale is simple, gay, and not too long
> > > > > > To suit admirers of the author’s song,
> > > > > > And tells how Fortunatus, pessimist,
> > > > > > Landed at last upon the marriage list.
> > > > > >
> > > > > > ----------
> > > > > > Despite the limitations of his powers
> > > > > > We much prefer A. Austin’s verse to ours;
> > > > > > And if he be the judge we hope he is,
> > > > > > Doubtless he will prefer our verse to his!”
> > > > > > ----------
> > > > > We read that Austin's appointment as Poet Laureate was political, rather than based on his talent as a poet.
> > > > George Dance thinks we are catty by saying that Mr. Austin wasn't held in high esteem as a poet. He should also take that up with Britannica.
> > > > "His [Alfred Austin's] acerbic criticism and jingoistic verse in the 1870s led Robert Browning to dismiss him as a 'Banjo-Byron,' and his appointment to the laureateship in 1896 was much mocked. He also published a series of stiff verse dramas, some novels, and a good deal of lyrical but very minor nature poetry."
> > > > https://www.britannica.com/biography/Alfred-Austin
> > > >
> > > > Hmm, verse dramas! "These plays contain poetic elements, like rhyming lines, and more commonly, lines that are written in blank verse. They might also be structured in a way that makes them appear more like stanzas than paragraphs or individual lines of dialogue."
> > > > https://poemanalysis.com/genre/poetic-drama/#:~:text=These%20plays%20contain%20poetic%20elements,or%20individual%20lines%20of%20dialogue.
> > > Verse dramas? I'm intrigued...
> > Our resident Dunce "corrected" NancyGene for referring to "The Human Tragedy" as a play. NancyGene just nailed Dunce's ass to a wall.
> Very true, but George Dance never sticks to the wall very long. He will define "verse," then define "drama," then tell us how to make a watch.
> >
> >
> > Michael Pendragon
> > “it's not even poetry. it's bad, disjointed mental dribbling…”
> > -- J.R. Sherman on Will Dockery’s “poetry.”

"The Human Tragedy" is a play. The Frostyettes will be performing it on the tour. With singing and dancing and darkness.

On Monday, November 6, 2023 at 8:05:12 AM UTC-5, NancyGene wrote:
> On Saturday, November 4, 2023 at 8:08:12 PM UTC-4, NancyGene wrote:
> > On Saturday, November 4, 2023 at 10:14:06 AM UTC-10, Michael Pendragon wrote:
> > > On Saturday, November 4, 2023 at 2:54:42 PM UTC-4, Ash Wurthing wrote:
> > > > On Friday, November 3, 2023 at 5:16:13 PM UTC-4, NancyGene wrote:
> > > > > On Friday, November 3, 2023 at 12:13:55 PM UTC, NancyGene wrote:
> > > > > > On Thursday, November 2, 2023 at 7:38:18 PM UTC, NancyGene wrote:
> > > > > > > Since George Dance thought we were being catty about Mr. Austin’s poetry, we give you:
> > > > > > >
> > > > > > > “The Critic, January-June 1893,” Volume 22, Number 575, p. 108:
> > > > > > > ----------
> > > > > > >
> > > > > > > “Alfred Austin’s ‘Fortunatus the Pessimist’
> > > > > > > Macmillan is the publisher, and he
> > > > > > > Sells it for dollars one and quarters three.
> > > > > > >
> > > > > > > OF ALFRED AUSTIN’S uninspired verse,
> > > > > > > We lately wrote, and told in language terse
> > > > > > > How generally dull it is and dry
> > > > > > > And how it flutters when it fain would fly :
> > > > > > > For then it was—to six large volumes swelled—
> > > > > > > The labors of this poet we beheld
> > > > > > > And wondered at. We still are wondering
> > > > > > > How such a slender voice so much could sing,
> > > > > > > And, so much having sung, strength still possess
> > > > > > > Again to warble in the wilderness.
> > > > > > >
> > > > > > > Impelled by some not quite divine afflatus
> > > > > > > He recently has written “Fortunatus
> > > > > > > The Pessimist”—a drama of our time—
> > > > > > > In blank-verse, save for interludes in rhyme
> > > > > > > Which, gay and graceful, frequently are done
> > > > > > > In the smooth metre of Anacreon.
> > > > > > >
> > > > > > > A more attractive work is this than those
> > > > > > > Long tragedies in rhyme that should be prose,
> > > > > > > “Savonarola” and “The Tower of Babel,”
> > > > > > > Which, to appreciate, but few are able:
> > > > > > > A less ambitious work,--it thereby gains
> > > > > > > In point of pleasure what it lacks in pains;
> > > > > > > For when this poet ventures to aspire,
> > > > > > > Even the ashes of the sacred fire
> > > > > > > Cannot be found with embers live to show
> > > > > > > A glimmer of the true poetic glow.
> > > > > > >
> > > > > > > Respectable, his verse may well be called:
> > > > > > > Always respectable, and sometimes—bald.
> > > > > > > Movement and fire his longer poems miss:
> > > > > > > One feels their absence in a work like this.
> > > > > > > Lyrics of love and nature he can write
> > > > > > > Whose melody and fancy wake delight:
> > > > > > > And two or three in “Fortunatus” shine
> > > > > > > Like buds upon a pessimistic vine!
> > > > > > >
> > > > > > > To sum up briefly then, the book is writ
> > > > > > > In careful English, with a show of wit.
> > > > > > > The tale is simple, gay, and not too long
> > > > > > > To suit admirers of the author’s song,
> > > > > > > And tells how Fortunatus, pessimist,
> > > > > > > Landed at last upon the marriage list.
> > > > > > >
> > > > > > > ----------
> > > > > > > Despite the limitations of his powers
> > > > > > > We much prefer A. Austin’s verse to ours;
> > > > > > > And if he be the judge we hope he is,
> > > > > > > Doubtless he will prefer our verse to his!”
> > > > > > > ----------
> > > > > > We read that Austin's appointment as Poet Laureate was political, rather than based on his talent as a poet.
> > > > > George Dance thinks we are catty by saying that Mr. Austin wasn't held in high esteem as a poet. He should also take that up with Britannica..
> > > > > "His [Alfred Austin's] acerbic criticism and jingoistic verse in the 1870s led Robert Browning to dismiss him as a 'Banjo-Byron,' and his appointment to the laureateship in 1896 was much mocked. He also published a series of stiff verse dramas, some novels, and a good deal of lyrical but very minor nature poetry."
> > > > > https://www.britannica.com/biography/Alfred-Austin
> > > > >
> > > > > Hmm, verse dramas! "These plays contain poetic elements, like rhyming lines, and more commonly, lines that are written in blank verse. They might also be structured in a way that makes them appear more like stanzas than paragraphs or individual lines of dialogue."
> > > > > https://poemanalysis.com/genre/poetic-drama/#:~:text=These%20plays%20contain%20poetic%20elements,or%20individual%20lines%20of%20dialogue.
> > > > Verse dramas? I'm intrigued...
> > > Our resident Dunce "corrected" NancyGene for referring to "The Human Tragedy" as a play. NancyGene just nailed Dunce's ass to a wall.
> > Very true, but George Dance never sticks to the wall very long. He will define "verse," then define "drama," then tell us how to make a watch.
> > >
> > >
> > > Michael Pendragon
> > > “it's not even poetry. it's bad, disjointed mental dribbling…”
> > > -- J.R. Sherman on Will Dockery’s “poetry.”
> "The Human Tragedy" is a play. The Frostyettes will be performing it on the tour. With singing and dancing and darkness.

I fully expect it to be the theatrical event of the season.

Michael Pendragon
"I'd think so, but never underestimate the stupidity of a troll."
-- Will Dockery, a man who should never be underestimated.
https://imgur.com/gallery/dpR2ESh
https://imgur.com/gallery/rtvGMMt

On Thursday, November 16, 2023 at 10:34:54 AM UTC-5, Michael Pendragon wrote:
> NancyGene wrote:

> > The opinions were from critics of the day, contemporary with Austin. Do you ignore all reviews and opinions from qualified people, in favor of just your own opinion?
> DUNCE: Oh, no, NastyGoon, you're misunderstanding again. One should read all the reviews. However, when it comes to believing[ them,]
>
> You're stuttering, Dunce, and have misused a period instead of a comma. I know that "Team Donkey" is fond of accusing others of having a "MELTDOWN," but you are the one who displays the telltale effects of one most frequently.

Seriously, Monkey? Where did you get the idea that "stuttering" is the sign of a "MELTDOWN"? Do you really believe that? Or is that just something you and NastyGoon learned on your "debate teams" -- "If your opponent stutters, forget what you're debating and switch to making personal attacks on him!"?

> > you have to use your own judgement, put them in context, and consider the sources. The "opinions ... of the day" have actually been from other poets, Austin's competitors. Poets like Browning and Blunt were not dispassionate critics: they were convinced that they were "better" poets than Austin (and they may have been correct (and may have been; I'm not getting into that), so it's reasonable to think they were both jealous and butthurt when Austin became Poet Laureate, while neither of them were even considered for the job.

*crickets*. As I said, "forget what you're debating" ...

> DUNCE: (I've witnessed that very thing first hand; for example, I remember how jealous and butthurt Jim Senetto became when Will Dockery got a book published by George J. Dance and he didn't. So I do know what I'm talking about.)
>
> Why do you lie so much, Dunce?
> No one remembers any such thing, because it never happened.

You don't "remember any such thing" because Jim was your ally and your slurp-puppet.
>
> Jim has a poetry collection, "Cardboard Mansions," published at Amazon, and did so at the time.
Wh> https://www.amazon.com/Cardboard-Mansions-J-D-Senetto/dp/1329079825

Yes, Michael, we know; you both bragged of it often enough. Jim's one "proof" that he was a poet and Will wasn't was that he had a book, and Will didn't. Then Will got one.
>
> The reason that Jim (and everyone else) was annoyed with your publishing the Donkey was that you inconsiderately chose to compile/edit/proofread the book *here,* rather than through personal emails. In doing so, you used AAPC for what should have been personal correspondence, thereby wasting everyone else's time.

Yes, I've read that story from you before, Michael; and your periodically regurgitating it doesn't make it any more believable. IMO, any would-be writer can benefit by learning what goes into putting out a book, so I think our threads on the book were beneficial; but, for those like you who didn't, there was no reason for you to be reading those threads in the first place as they were clearly marked as such: they were none of your business, and you knew they were none of your business. You and your slurppuppet Jim chose to waste your own time sticking your nose into our business; stop trying to pretend that was our fault just because it was our business.
> The fact that you did so for approximately 2 1/2 years (when anyone else would have had the book published in less than a month) only compounded your offense.

We may have talked about doing *a* book for that long, but the total time to produce Will's SP, from conception to publishing date, was IIRC about 3 months. Once again: why do you lie so much, Michael Monkey?

> >> > George Dance doesn't practice this philosophy, since George Dance obviously didn't read Austin's preface to "The Human Tragedy," or George Dance would have known that Austin considered epic and dramatic poetry to be the highest poetry.
>
> >> The problem with that, NastyGoon, is that I did know "that Austin considered epic and dramatic poetry to be the highest poetry" and and you already know that; since you've read where I've stated it:
>
> > Then why did you say to Michael: "So where is your quote from "Austin's Preface" Michael? Or anywhere else that Austin allegedly says that he 'wanted [The Human Tragedy] to be thought of as "Dramatic Verse"' and/or that 'he believed [Dramatic Verse] "to be the highest form of poetry'?" AND "I can't "refute" evidence that you don't supply, Michael. You've given us no evidence that Austin thought Dramatic Verse was "the highest form of poetry" or that he tried to turn /The Human Tragedy/ into Dramatic Verse. (Even your "AllPoetry" quote doesn't say that, BTW.)" .....if you already knew where it was?

> DUNCE: As I've already explained, Michael was misquoting Austin, and, more importantly, was misrepresenting him. Austin said that narrative poetry (whether written in epic or dramatic style were the highest form of poetry. Michael's account made no mention of epic poetry at all -- in Michael's account "Dramatic Verse" was the highest form and dumb old epic poetry wasn't even worth a mention.
>
> As I'd guessed in my previous response, this is yet another example of your niggling attempts nitpick the words used in a paraphrased reference to a passage I'd directly quoted.
>
Michael: when you said you quoted a passage from Austin's preface, I asked you to produce it. You still haven't.

Now that NastyGoon has supplied quotes from the preface, it's clear why you didn't: there was no such passage, since Austin never said there (or, most likely, anywhere) what you'd claimed he did.

> Do you understand what a paraphrase is?

Sure. Do you understand that a paragraph can be accurate or inaccurate, correct or incorrect? Yours was inaccurate and incorrect.

> Do you understand that when discussing a passage one has quoted verbatim, it is unnecessary to point out *everything* contained in said passage?

Michael; once again, no one has seen your so-called verbatim quote. When you were asked to produce it, or a link,to it, you tried to fob off a quote from fricking *AllPoetry* instead. Nor could your NastyGoon produce it, either; they had to Google the relevant quotes on their own (and found only quotes that completely undercut your argument).
>
> Furthermore "dramatic style (poetry)" = "dramatic verse."

Michael, neither "dramatic verse" nor "dramatic style (poetry)" are the same thing as "epic and dramatic poetry". The latter category includes epic poetry; the former does not.

> Quibbling over Mr. Austin's not having placed the words "dramatic" and "verse" together, is petty beyond belief.

Which explains why you'd want to pretend anyone is quibbling over that.

> > George Dance, you are are losing focus.
> DUNCE: No, NastyGoon. Here's where the focus is, and should stay:
> > Alfred Austin wrote an epic poem, /The Human Tragedy/. Perhaps because of the title, perhaps because he called his Cantos "Acts," you got the idea Austin's epic was a play -- you mistakenly called it a play, and I corrected you. Since you and your monkey don't like to be corrected, given that you want to be seen as "so much smarter," than anyone else, you've been spreading the nonsense that Austin'g epic really was a play.
>
> You've finally conceded that his original (1862) verse was an epic poem; your current story is that Austin turned it into a play in his 1876 revision.
> MONKEY: No, Lying Dunce -- NancyGene has never conceded any such thing.

Wrong, Lying Michael. In yet another of their troll-threads, NastyGoon has conceded exactly that, in the Bandar-Log way, by pretending they never called the 1862 poem a play in the first place:

'If he looks above, we say "Mr. Austin seems to have published this 1862 version of the book/play, then recalled the copies for revision." We didn't say that the 1862 publication was a play at that point. It became one later."
https://groups.google.com/g/alt.arts.poetry.comments/c/X1hBOAzcciA/m/nYLmz1S6BgAJ?hl=en

I notice that you two like to call everything your opponent says a "lie" without ever showing any evidence, in the hope something will stick. Is that yet another tactic you picked up on your "Debating Team"?
>
> Mr. Austin's revision (wherein he divided his work into "Acts," merely supports NancyGene's original claim that he considered his work to be a "closet drama."

It's your claim that (because he called his cantos Acts") he considered his epic poem to be a "closet drama" rather than an epic poem (which, remember, he considered the "highest form" of poetry). The quotes NastyGoon (not you) found in his 1876 preface do not support your claim in any way.

> >> <quote>
> >> > > >> > > >> {Alfred Austin] believed that narrative poetry, whether epic or dramatic, was the highest or greatest form of poetry, and that great poetry must be narrative poetry. </q>
> >> https://groups.google.com/g/alt.arts.poetry.comments/c/FRQDPlBv69M/m/tYyZ547SBwAJ?hl=en
> >> We know you read that, since it's from the very post you copied the quotes in your OP for this thread. Was your only reason for opening a new thread so that you could misrepresent the discussion?
>
> > No, it was to make sure that you saw the origin of the quote that Austin thought that dramatic verse was the highest form of poetry.
> DUNCE: As we've seen, that quote did not say "that dramatic verse was the hidhest form of poetry". Austin thought that narrative poetry, whether written in dramatic style as a play (like Shakespeare) or in straight narrative as an epic (like Milton) was the highest form. Austin's quotes do not say that "dramatic verse" was higher or better than epic poetry, while Michael's quotes say exactly that.
> >
>
> MONKEY: While it's true that Mr. Austin never said that "dramatic verse was the hidhest[sic] form of poetry," he did say that it was (along with epic verse) the *highest* form.

On Monday, November 20, 2023 at 1:30:27 PM UTC-5, George J. wrote:
> On Thursday, November 16, 2023 at 10:34:54 AM UTC-5, Michael Pendragon wrote:
> > NancyGene wrote:
>
> > > The opinions were from critics of the day, contemporary with Austin. Do you ignore all reviews and opinions from qualified people, in favor of just your own opinion?
> > DUNCE: Oh, no, NastyGoon, you're misunderstanding again. One should read all the reviews. However, when it comes to believing[ them,]
> >
> > You're stuttering, Dunce, and have misused a period instead of a comma. I know that "Team Donkey" is fond of accusing others of having a "MELTDOWN," but you are the one who displays the telltale effects of one most frequently.
> Seriously, Monkey? Where did you get the idea that "stuttering" is the sign of a "MELTDOWN"? Do you really believe that? Or is that just something you and NastyGoon learned on your "debate teams" -- "If your opponent stutters, forget what you're debating and switch to making personal attacks on him!"?
>

Stuttering (especially the keyboard var.) is a sign that one is flailing -- desperately jabbering away with an ever-increasing awareness that his foot is in his mouth, but if he attempts to remove it, everyone will know.

> > > you have to use your own judgement, put them in context, and consider the sources. The "opinions ... of the day" have actually been from other poets, Austin's competitors. Poets like Browning and Blunt were not dispassionate critics: they were convinced that they were "better" poets than Austin (and they may have been correct (and may have been; I'm not getting into that), so it's reasonable to think they were both jealous and butthurt when Austin became Poet Laureate, while neither of them were even considered for the job.
> *crickets*. As I said, "forget what you're debating" ...

I'm sorry, George, but your comment is impossible to address. I cannot possibly know whether Mr. Browning and Mr. Blunt were motivated by feelings of jealousy and "butthurt."

Your comment is speculative at best, and based on... nothing.

I'm sure that you would experience feelings of jealousy and "butthurt" over the success of one of your peers, but you're known for your pettiness, whereas Browning and Blunt were not.

> > DUNCE: (I've witnessed that very thing first hand; for example, I remember how jealous and butthurt Jim Senetto became when Will Dockery got a book published by George J. Dance and he didn't. So I do know what I'm talking about.)
> >
> > Why do you lie so much, Dunce?
> > No one remembers any such thing, because it never happened.
> You don't "remember any such thing" because Jim was your ally and your slurp-puppet.

I don't remember it, because it never happened.

If you can show proof that Jim acted "butthurt," please post it.

I don't think anyone here saw your "publication" of Will's donkeyspew as anything to be jealous of.

> > Jim has a poetry collection, "Cardboard Mansions," published at Amazon, and did so at the time.
> Wh> https://www.amazon.com/Cardboard-Mansions-J-D-Senetto/dp/1329079825
>
> Yes, Michael, we know; you both bragged of it often enough. Jim's one "proof" that he was a poet and Will wasn't was that he had a book, and Will didn't. Then Will got one.

Do you have any idea how spitefully childish you sound.

Jim is a talented poet. The Donkey is the worst so-called "poet" I have ever read.

The only "proof" necessary is their poetry.

> > The reason that Jim (and everyone else) was annoyed with your publishing the Donkey was that you inconsiderately chose to compile/edit/proofread the book *here,* rather than through personal emails. In doing so, you used AAPC for what should have been personal correspondence, thereby wasting everyone else's time.
> Yes, I've read that story from you before, Michael; and your periodically regurgitating it doesn't make it any more believable. IMO, any would-be writer can benefit by learning what goes into putting out a book, so I think our threads on the book were beneficial; but, for those like you who didn't, there was no reason for you to be reading those threads in the first place as they were clearly marked as such: they were none of your business, and you knew they were none of your business. You and your slurppuppet Jim chose to waste your own time sticking your nose into our business; stop trying to pretend that was our fault just because it was our business.
>

There is nothing beneficial from reading personal note passed between you and your Donkey.

> > The fact that you did so for approximately 2 1/2 years (when anyone else would have had the book published in less than a month) only compounded your offense.
> We may have talked about doing *a* book for that long, but the total time to produce Will's SP, from conception to publishing date, was IIRC about 3 months. Once again: why do you lie so much, Michael Monkey?
>

You talked about it a long time, exchanged what should have been personal emails regarding it for a long time, argued over what should and shouldn't be included for a long time, and spend approximately 2 1/2 years doing all of the above.

Book production begins when the Acquisitions Editor contracts with the Author. That would have been the point at which you'd agreed to publish a book.

> > >> > George Dance doesn't practice this philosophy, since George Dance obviously didn't read Austin's preface to "The Human Tragedy," or George Dance would have known that Austin considered epic and dramatic poetry to be the highest poetry.
> >
> > >> The problem with that, NastyGoon, is that I did know "that Austin considered epic and dramatic poetry to be the highest poetry" and and you already know that; since you've read where I've stated it:
> >
> > > Then why did you say to Michael: "So where is your quote from "Austin's Preface" Michael? Or anywhere else that Austin allegedly says that he 'wanted [The Human Tragedy] to be thought of as "Dramatic Verse"' and/or that 'he believed [Dramatic Verse] "to be the highest form of poetry'?" AND "I can't "refute" evidence that you don't supply, Michael. You've given us no evidence that Austin thought Dramatic Verse was "the highest form of poetry" or that he tried to turn /The Human Tragedy/ into Dramatic Verse. (Even your "AllPoetry" quote doesn't say that, BTW.)" .....if you already knew where it was?
>
> > DUNCE: As I've already explained, Michael was misquoting Austin, and, more importantly, was misrepresenting him. Austin said that narrative poetry (whether written in epic or dramatic style were the highest form of poetry.. Michael's account made no mention of epic poetry at all -- in Michael's account "Dramatic Verse" was the highest form and dumb old epic poetry wasn't even worth a mention.
> >
> > As I'd guessed in my previous response, this is yet another example of your niggling attempts nitpick the words used in a paraphrased reference to a passage I'd directly quoted.
> >
> Michael: when you said you quoted a passage from Austin's preface, I asked you to produce it. You still haven't.

There is no single quote that includes all of the necessary elements. I *paraphrased* the general idea expressed over seven pages of his Preface. To wit:

Preface: On the Position and Prospects of Poetry,
p ix: Austin divides poetry into the following categories: "Descriptive, Lyrical, Reflective, and Narrative Poetry, respectively Epic and Dramatic Poetry." He continues to say that "epic Poetry and dramatic Poetry have assuredly fallen on evil days."
p x: he lists examples of epic and dramatic poets as "Chaucer, Spenser, Milton, Byron, even Shakespeare himself."
pp xv-xvi: "I suppose it is everybody's opinion that the most delightful of all love-stories in verse is *Romeo and Juliet.*"

From the above examples, it is clear that he is including Shakespeare's plays as examples of "Dramatic Poetry" and "Verse."

> Now that NastyGoon has supplied quotes from the preface, it's clear why you didn't: there was no such passage, since Austin never said there (or, most likely, anywhere) what you'd claimed he did.
>

See above.

> > Do you understand what a paraphrase is?
> Sure. Do you understand that a paragraph can be accurate or inaccurate, correct or incorrect? Yours was inaccurate and incorrect.

I said "paraphrase," Dunce. Not "paragraph."

The two words are *not* interchangeable.

> > Do you understand that when discussing a passage one has quoted verbatim, it is unnecessary to point out *everything* contained in said passage?
> Michael; once again, no one has seen your so-called verbatim quote. When you were asked to produce it, or a link,to it, you tried to fob off a quote from fricking *AllPoetry* instead. Nor could your NastyGoon produce it, either; they had to Google the relevant quotes on their own (and found only quotes that completely undercut your argument).
> >