Alfred Prufrock,” readers find the voice of the poet cloaked in a mask, a technique that Eliot mastered in his career. In the twentieth century, the influence of Browning’s monologues can be seen in the work of Ezra Pound and T. Her wits to yours, forsooth, and made excuse, Or that in you disgusts me here you miss, Quite clear to such an one, and say, ‘Just this In speech-(which I have not)-to make your will This complex relationship is evident in the following excerpt from “My Last Duchess”: His monologues combine the elements of the speaker and the audience so deftly that the reader seems to have some control over how much the speaker will divulge in his monologue. Browning’s poems “ My Last Duchess” and “ Soliloquy of the Spanish Cloister,” though considered largely inscrutable by Victorian readers, have become models of the form. Though the technique is evident in many ancient Greek dramas, the dramatic monologue as a poetic form achieved its first era of distinction in the work of Victorian poet Robert Browning. Because a dramatic monologue is by definition one person’s speech, it is offered without overt analysis or commentary, placing emphasis on subjective qualities that are left to the audience to interpret. A persona poem is a poem in which the poet speaks through an assumed voice.Īlso known as a dramatic monologue, this poetic form shares many characteristics with a theatrical monologue: an audience is implied there is no dialogue and the poet takes on the voice of a character, a fictional identity, or a persona.
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