Depending on the edition of the poem, after the title, there is supposed to be in italics, and all capitalized the word/name FERRARA.

However, It is important to note that the poem did not always feature FERRARA as an epigraph—it was intentionally added by Browning in later editions of the poem, hence scholar Louis S. Friedland’s exploration of the history of the Duke Vespasiano Gonzaga, and comparison to Duke Alfonso II d’Este.

What was discovered was that despite both Dukes having multiple marriages and young wives, Gonzaga’s wife, Diana Folch de Cardona, did not die young, unlike Lucrezia de' Medici—a point the poem hints to the reader. Through Friedland’s comparisons of the histories between the two to the poem, the final verdict aligned with d’Este as the mysterious Duke.

The image is a painting of Lucrezia de' Medici, and though this was painted for her brother one year after her passing, this painting could be used as the stand-in for the image the Duke is describing. The Duchess' somber gaze is antithetical to how the Duke describes the Duchess as a person, which makes the reader question how much truth could the Duke be speaking. Is it possible that the Duke is imagining a smile on her face because he feels guilty? Is the Duchess' stoic look a reflection of her feelings, or was it "by design" as the Duke later states?

This line doubles as a potential moment of autobiographical poetry for Johnston. In her autobiography, published in the same book as "The Last Sark," she writes that even though the abuses of her youth left her suicidal many a time:

"I did not, however, feel inclined to die when I could no longer conceal what the world falsely calls a woman’s shame. No, on the other hand, I never loved life more dearly and longed for the hour when I would have something to love me-and my wish was realised by becoming the mother of a lovely daughter on the 14th of September, 1852."

After the birth of her daughter, her tone toward her personal death in her autobiography shifts, no longer claiming suicidal ideation, and instead a will to live.

In Scots, "gude" can be a form of exclamation, similar to "God God!" or "Lord have Mercy". The phrase also shows up in works by Sir Walter Scott, such as The Antiquary and St. Ronan's Well; see entry 5

"The Last Sark" is a dialect poem, written in the Scots language. As Florence S. Boos notes: "The everyday speech of all classes of Victorian Scotland was probably some version of Scots" (55). While it was common for Scottish authors to write in Standardized English, dialect poetry tended to be looked down upon and efforts of Scottish poets to write in traditionally English poetic forms, such as blank verse, removed them from the common Scot (54). As such, Scottish (and especially Glaswegian) working-class poets "expected no wider English audience" (56) and instead wrote more towards an audience of their peers.

Cook ends this stanza with an indictment: society denies both material gain ("profit") and emotional fulfillment ("pleasure") to the laboring class. She ends by humanizing the worker to remind society that workers are people too.

In poems that protested the oppression of the working class, domesticity and 'feminine labor' was often left out of the discussion; however, Cook appeals to both men and women in her poem. This results in a wider audience being included in the narrative, and leads to a larger group speaking out against their oppressors.

From the OED: a gun fired at intervals of a minute, esp. at a funeral.

Cook uses this as an analogy for how often workers and laborers must voice their concerns before their employers will listen to them.

"Eliza Cook, New Media Innovator" points out that part of the appeal of Cook's work is the fact that she focuses on everyday experiences and often invoked a cozy feeling for the readers. In this poem, she does not overtly focus on the challenges or politics surrounding England at the time. Instead, she creates a beautiful image of winter and a snowy day that any person could enjoy while subtly addressing Victorian norms.

https://wtamu-primo.hosted.exlibrisgroup.com/permalink/f/ahoafg/TN_cdi_walterdegruyter_books_10_1515_9781474475945_005

The speaker draws attention to the whiteness and purity of the snow here and line 8. In Christianity, particularly Isaiah 1 and Psalm 51, the whiteness of snow is a visual representation of the forgiveness a person can receive. The line "'Tis the fairest scene we can have below" (line 15, 31) most likely refers to heaven. The speaker draws the reader's attention to the biblical connections with the snow.

The word "marching is usually connected to military movement. This presents Winter as an organized and potentially dangerous force that the speaker enjoys seeing. This line may also explain why the first line characterizes Winter as brave. Most Victorians considered fighting and dying for ones country as brave.

This refers to the mannerisms and politeness that men in the Victorian era must uphold towards women. Victorian men must be pleasant and pleased women; however, at this scene, Morris uses Sir Guawaine and Mellyagraunce as a contrast to that ideal. https://www.jstor.org/stable/10.1086/427127

Guenevere's accusation suggest that Sir Gauwaine cannot claim moral superiority, as his own family history is fraught with similar transgression. This highlights the recurring theme of hypocrisy and flawed virtue among Arthurian knights. Furthermore, Guenevere is referring to the affair of Sir Gauwaine's mother, Morgause. She was killed by her son, Gaheris, when he discovered her relationship with Sir Lamorak. https://kingarthursknights.com/arthurian-characters/morgause/

Richard Oastler, a critique of the Victorian factory system wrote: "Poor infants! ye are indeed sacrificed at he shrine of avarice, without even the solace of the negro slave; ye are no more than he is, free agents; yet ye are compelled to work as long as necessity of your needy parents may require, or the cold blooded avarice of your worse than barbarian masters may demand!…ye are doomed to labour from morning to night for one who cares not how soon your weak and tender frames are stretched to breaking!" Indeed, children were often contracted to factories to work until they reach 21 years old for very little money. Even the factory reformers that called for change, for better work hours, conditions and for education, did not ask for the abolition of child labor. Families could not survive without the supplemental wages of the children. Textile factories could not function without the nimble children darting between running machines to reattach broken threads being woven (Nardinelli). The factory owners were like slave owners who invested as little as they can and whip the most work out of the children as they can.

One of the impetus for EBB to write "Cry of the Children" was the fact the the poor working children had no knowledge of God (Bouchard). They were separated from their parents at an early age as all members of the family had to work, sometimes at different locations. The normal, structured life of a nucleus family is absent and no one taught the children religion. Working from 12 to 16 hour days was another deterrent for children to accomplish any learning (Alexandrova). Like EBB says in her poem (lines 67-68), the children would rather sleep if given a meadow than play.

Clearly, the poem’s closing declaration has reverberated far beyond Victorian poetry. T. S. Eliot draws on its ruinous landscape in "The Waste Land", while Stephen King’s Dark Tower series recasts Roland’s quest as the foundation of his expansive fantasy epic. Its influence continues across speculative fiction: Alan Garner’s Elidor reimagines Roland as a modern quester, Roger Zelazny alludes to Browning in Sign of the Unicorn, Philip José Farmer quotes the poem in The Dark Design, John Connolly features it in The Book of Lost Things, and Alastair Reynolds names a doomed explorer Roland Childe in Diamond Dogs. These afterlives reveal the poem’s flexibility, as each era reshapes the Tower according to its own anxieties. Readers encountering the Tower today therein participate in a long tradition of reinterpretation, proving that Browning’s ambiguous ending is part of what gives the poem lasting cultural life.

The name “Apollyon” from Revelation 9:11 signals a theological crisis. By referencing a demonic presence from both scripture and Paradise Lost, where Milton casts Apollyon among the forces of Hell, Browning frames Roland’s journey as a passage through a world abandoned by providence. As Christopher MacKenna argues, the poem reflects a nineteenth-century “crisis of faith… [and] of knowing/meaning” (MacKenna 475). In a world “without light or redemptive purpose, ” Victorian readers, facing Darwinian science, biblical criticism, and rapid social change, often felt the same disorientation and loss of certainty as Roland (MacKenna 478). Thus, Browning created an image, the Tower, that became a touchstone for future generations confronting existential crises, helping to explain its powerful afterlives in later literature.

When Roland recalls “the knights who to the Dark Tower’s search addressed,” he gestures toward a centuries-old literary tradition. The name Roland first appears in the eleventh-century La Chanson de Roland, a French chanson de geste celebrating the knight’s heroism at Roncevaux Pass under Charlemagne. In 1595, George Peele revived the name in The Old Wives’ Tale. Then, Robert Jamieson recorded a folk version of the tale and placed it within Arthurian legend, making Roland the son of Arthur and Guinevere. Joseph Jacobs’s English Fairy Tales, pictured below, adopted Jaimeson’s version and introduced the “Dark Tower” as the dwelling of the King of Elfland, where Roland must save his sister. Where earlier Rolands fought or rescued, Browning’s hero merely endures, stripped of glory or divine purpose. With this history in mind, this scene helps capture part of why “Childe Roland” continues to haunt later writers. Its hero perseveres not because he hopes to succeed, but because turning back would mean erasing the meaning of every struggle that came before.

Browning opens his poem by overturning one of the oldest conventions of the quest romance in which the wise guide sets the hero on his way. The “hoary cripple” parodies that archetype, and his supposed direction is offered through deceit rather than wisdom. This ironic inversion signals that Roland’s journey, before it even begins, will be fraught with suspicion, fatigue, and self-doubt. Virginia Blain argues this encounter also exposes a deeper Victorian fear of failed masculinity. The cripple’s leer, Roland’s disgust, and the absence of women and redemptive love mirrors what Blain calls Browning’s “homosexual panic,” a symptom of the age’s broader struggle to define masculinity amid social change (Blain). Blain’s reading consequently joins the long critical tradition of reshaping “Childe Roland” to mirror contemporary concerns. In her hands, the poem becomes a reflection of Victorian gender anxiety, just as later critics and artists would recast it to speak to their own cultural and psychological landscapes.

Browning takes his title from King Lear, where Edgar, disguised as Poor Tom, mutters the phrase in the midst of feigned madness. In Shakespeare, the phrase carries no narrative function and is without clear meaning. However, Browning recontextualizes the fragment and expands it into a fully imagined landscape of interior ruin, retaining the original atmosphere of delirium while reshaping it into an existential quest. By transforming a line without context into a sustained meditation on purpose and persistence, Browning creates an interpretive void that later readers and artists repeatedly fill, fueling the poem’s evolving cultural afterlife within literary and critical discourse.

Tagore understood that the primary audience of an English translation would be Christian, and thus utilized an explicit reference to Christianity with a capitalized Father referring to the Christian God. He is utilizing both the language and religion of another people in support of his own. This would strengthen his call among that audience and helps turn this entire poem into a prayer and call to the divine.

Free here can mean multiple things.

Free as in the monetary sense and free as in it is available to everyone without restriction. Both definitions feed into the next line by opening up knowledge outside of those it is typically restricted to, which is an exceptionally notable statement from Tagore, due to his standing at the very top of the traditional Hindu caste system. In his arguments here, he is explicitly calling for the dissemination of knowledge to everyone.

Tagore defines the mind in What is Art? very specifically as the logical and reasoning half of what might generally be considered the whole mind by a reader. Emotions, like fear, are found within the personal man, or personality, instead of the physical man. Thus, if the mind is without fear, then this inner personality has been sated and exists in harmony with the physical mind.

Our speaker is "othered" in these lines. She indicates how she is treated unfairly, but imagination allows her to live her life in peace. We can see how Brontë is reflected in this, a she is often referred to as "reclusive" and "solitary," contributing to the idea that she is more than likely part of the queer community. As Claire O'Callaghan states in her essay about Brontë, "Emily's reserve- ... does not correspond with typical gender norms and implies subversion."

According to the Oxford English Dictionary (OED), benignant is an adjective that means showing kindly feelings towards inferiors and has a sense of condescension.

Deixis is the use of words and phrases to refer to a specific time, place, or person in context. Usually their semantic meaning is fixed but their denoted meaning varies depending on contextual cues of time and/or place.

Examples include the do-, ko-, so-, a- progression (dore, kore, sore, are; docchi, kocchi, socchi, acchi, etc.) serve this function of distance from the speaker.

Is there a word or phrase in the advertising space which covers the filtering out of websites and networks which have objectionable material one doesn't want their content running against?

Contextual intelligence seems to be one...

Apparently the platforms Verity and Grapeshot (from Oracle) protect against this.

Google translation:

Every Egyptology student learns in their first semester that the Egyptian word pt (pronounced pet) means "heaven". The collection of documents in the dictionary archive comprises around 6,000 document slips. In the order of this material one learns that the Egyptian heaven has gates and ways, waters and banks, sides, pillars and chapels. This makes it tangible that the Egyptians had something completely different in mind when they heard the word "heaven" than modern Westerners do, namely a mythical space in which gods and spirits of the dead dwell.

This is a fantastic example of context creation for a dead language as well as for creating proper historical context.

The benefit of creating such a massive key word in context index for the Wörterbuch der ägyptischen Sprache meant that instead of using an ad hoc translation method (guessing based on limited non-cultural context) for a language, which was passingly familiar, but not their mother tongue, Adolph Erman and others could consult a multitude of contexts for individual words and their various forms to provide more global context for better translations.

Other dictionaries like the Oxford English Dictionary attempt to help do this as well as provide the semantic shift of words over time because the examples used in creating the dictionary include historical examples from various contexts.

The Friedberg Judeo-Arabic Project contains a large corpus of Judeo-Arabic text which can be manually searched to help improve translations of texts, but it might also be profitably mined using information theoretic and corpus linguistic methods to provide larger group textual translations and suggestions at a grander scale.

Vale la pena preguntarse de manera detallada qué implica esto, y las reflexiones que las epistemologías feministas han construido para indagar sobre lo situado y en activo.

Just as predictive means may be used on the level of letters, words, and even whole sentences within information theory at the level of specific languages, does early orality sophistication in children help them to become predictive readers at earlier ages?

How could one go about testing this, particularly in a broad, neurodiverse group?

Following interruptions by colleagues or phone calls at work, people may frequently ask themselves "where was I?" more frequently than "what was I doing?" This colloquialism isn't surprising as our memories for visual items and location are much stronger than actions. Knowledge workers will look around at their environments for contextual clues for what they were doing and find them in piles of paper on their desks, tabs in their computer browser, or even documents (physical or virtual) on their desktops.

Many people treat their blogging practice as an experimental thought space. They try out new ideas, explore a small space, attempt to come to understanding, connect new ideas to their existing ideas.

Ton Zylstra coins/uses the phrase "metablogging" to think about his blogging practice as an evolving thought space.

How can we better distill down these sorts of longer ideas and use them to create more collisions between ideas to create new an innovative ideas? What forms might this take?

The personal zettelkasten is a more concentrated form of this and blogging is certainly within the space as are the somewhat more nascent digital gardens. What would some intermediary "idea crucible" between these forms look like in public that has a simple but compelling interface. How much storytelling and contextualization is needed or not needed to make such points?

Is there a better space for progressive summarization here so that an idea can be more fully laid out and explored? Then once the actual structure is built, the scaffolding can be pulled down and only the idea remains.

Reminiscences of scaffolding can be helpful for creating context.

Consider the pyramids of Giza and the need to reverse engineer how they were built. Once the scaffolding has been taken down and history forgets the methods, it's not always obvious what the original context for objects were, how they were made, what they were used for. Progressive summarization may potentially fall prey to these effects as well.

How might we create a "contextual medium" which is more permanently attached to ideas or objects to help prevent context collapse?

How would this be applied in reverse to better understand sites like Stonehenge or the hundreds of other stone circles, wood circles, and standing stones we see throughout history.

Though The Canonization can be separated from his "earlier poems that reflect more generally to erotic encounters," John Donne still uses some sexual allusions to show his wit and connection of this poem to his early reputation as an ingenious erotic poet.

Here, following words can be interpreted as below. Die - Orgasm

Rise - Erection

Die and Rise - Copulation

Source: Source: Hadfield. Andrew. John Donne : In the Shadow of Religion, 2021, p132

document.querySelector('hypothesis-adder') is present but has size of 0x0

What Joel says here about Contextual Backlinks is that they allow you to "bootstrap" a concept (i.e. start working with it) without explicit definitions coming into play (or as Andy would say, the content is empty).

Comments for: https://blog.rapid7.com/2017/06/15/about-user-enumeration/ (they were in iframe there)

Should be superseded by: https://codesandbox.io/s/github/final-form/react-final-form/tree/master/examples/field-warnings but that version has error:

Cannot read property 'mutators' of undefined

See https://m5qwxpr6o8.csb.app/ for annotations. https://m5qwxpr6o8.csb.app/

By wrapping a stateful ExternalModificationDetector component in a Field component, we can listen for changes to a field's value, and by knowing whether or not the field is active, deduce when a field's value changes due to external influences.

Clever.

By wrapping a stateful ExternalModificationDetector component in a Field component

I think you mean wrapping a Field in a ExternalModificationDetector. Or wrapping a ExternalModificationDetector around a Field component.

Fell, M. J., Pagel, L., Chen, C., Goldberg, M. H., Herberz, M., Huebner, G., Sareen, S., & Hahnel, U. J. J. (2020). Validity of energy social research during and after COVID-19: Challenges, considerations, and responses [Preprint]. SocArXiv. https://doi.org/10.31235/osf.io/pe6cd

Domínguez-Álvarez, B., López-Romero, L., Isdahl-Troye, A., Gómez-Fraguela, J. A., & Romero, E. (2020). Children Coping, Contextual Risk and their Interplay during the COVID-19 Pandemic: A Spanish Case [Preprint]. PsyArXiv. https://doi.org/10.31234/osf.io/bt6kr

This is exactly what in context payments mean.

Some connection with SAMR, unbundling, “open learning”… With diverse learners whose constraints may affect institutions, there’s a fair bit of talk about new(ish) tech-infused approaches to distance education. As with many other things, not much of it is new. But there might be some enabling phenomena. Not sure how gamification fits, here. Sure, open play could allow for a lot of flexibility. But gamification is pretty much the reverse: game mechanics without the open-ended playfulness.