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Course tutor: Dr. Adrian Radu Office: M12 Email: Web: www.lett.ubbcluj.


The dramatic monologue

This implies poetry overheard confession of a working mind, where an imaginary speaker speaks to an imaginary audience. Types:
soliloquy an implied interlocutor

A. Tennyson Robert Browning

Robert Browning (1812-1889)

the representative of a more intellectual tradition interested in moral and political problems study of psychological motivation of characters

exploited the dramatic monologue

Brownings dramatic monologue

1. 2.

also called dramatic lyrics or dramatic romances two kinds:

soliloquies without an interlocutor: Porphyrias Lover, Soliloquy of the Spanish Cloister monologues with a silent interlocutor: My Last Duchess, Fra Lippo Lippi, Andrea del Sarto

the speakers mind in a moment of crisis distorted psychology point: to throw light upon the realm of consciousness

Soliloquy of the Spanish Cloister

speaker: a Spanish monk situation: jealous of his fellow monk, attributes him all

of his own personal sins

Soliloquy of the Spanish Cloister

G-r-r-r there go, my hearts abhorrence! Water your damn flowerpots, do! If hate killed men, Brother Lawrence, Gods blood, would not mine, kill you! What? your myrtle bush wants trimming? Oh, that rose has prior claims Needs its leaden vase filled brimming? Hell dry you up with its flames!

My Last Duchess
dramatic monologue

with an interlocutor speaker: the Duke of Ferrara (Alphonse II of Ferrara) interlocutor: the emissary of the Count of Tirol situation: the Duke wants to marry the Counts daughter

Lucrezia de Medici, Duchess to Alphonse II of Ferrara

Porphyrias Lover
speaker: Porphyrias lover situation: Porphyria comes late during a rainy night

Fra Lippo Lippi

Italian Renaissance painter of the 15th century
mentioned in The Lives of the Most Eminent Painters,

Sculptors and Architects by Giorgio Vassari dramatic monologue with an interlocutor situation: Fra LippoLippi is caught by the guards returning from sportive ladies to his convent late at night

Fra Lippo Lippi

Your business is not to catch men with show, With homage to the perishable clay, But lift them over it, ignore it all, Make them forget theres such a thing as flesh. Your business is to paint the souls of men Mans soul, and its a fire, smoke no, its not Its vapour done up like a new-born babe (In that shape when you die it leaves your mouth) Its well, what matters talking, its the soul! Give us no more of body than shows soul! Heres Giotto, with his Saint a-praising God, That sets us praising why not stop with him? Why put all thoughts of praise out of our head With wonder at lines, colours, and what not? Paint the soul, never mind the legs and arms!

Andrea del Sarto

Italian Renaissance painter of the 16th century
The Faultless Painter mentioned in The Lives of the Most Eminent Painters,

Sculptors and Architects by Giorgio Vassari dramatic monologue with an interlocutor situation: talk with his wife about his work and personal achievement

Andrea del Sarto

I am grown peaceful as old age to-night. I regret little, I would change still less. Since there my past life lies, why alter it? The very wrong to Francis! it is true I took his coin, was tempted and complied, And built this house and sinned, and all is said. My father and my mother died of want. Well, had I riches of my own? you see How one gets rich! Let each one bear his lot. They were born poor, lived poor, and poor they died; And I have laboured somewhat in my time

Andrea del Sarto

And not been paid profusely. Some good son Paint my two hundred pictures let him try! No doubt, theres something strikes a balance. Yes. You loved me quite enough, it seems to-night. This must suffice me here. What would one have? In heaven, perhaps, new chances, one more chance Four great walls in the New Jerusalem, Meted on each side by the angels reed, For Leonard, Rafael, Agnolo and me To cover the three first without a wife, While I have mine.

The Ring and the Book

the book: found in Florence in 1860 the ring: Mrs Brownings ring work of the goldsmith circular structure of the work characters: Pompilia Count Guido Franceschini (husband) the priest Caponsacchi (lover) the multiple point of view

handling of the material: unexpected point of view changes of focus (point of view) from particular observation to transcendental truth irony characters represent human motives