Paper 104 : The Use of Dramatic Monologue in Browsing's Poetry

This blog is part of an assignment for the paper 104 - Literature of the Victorians , Sem - 1, 2024.

The Use of Dramatic Monologue in Browsing's Poetry 

Table of Contents:-

• Personal Information

• Assignment Details

• Abstract

• Introduction

• Origins and Evolution of the Dramatic Monologue

• Early Development of Browning’s Style

• Refinement of the Form

• Key Characteristics of Browning's Dramatic Monologues

• Psychological Insight and Moral Ambiguity

• Impact and Influence

• Conclusion

• References

Personal Information:-

Name:- Rutvi Pal

Batch:- M.A. Sem 1 (2024-2026)

Enrollment Number:- 5108240025

E-mail Address:-rutvipal4@gmail.com

Roll Number:- 27

Assignment Details:-

Topic: The Use of Dramatic Monologue in Browsing's Poetry 

Paper & subject code:-104- Literature of the Victorians & 22395

Submitted to:- Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar

Date of Submission:- 20 November , 2024

The Use of Dramatic Monologue in Browning’s Poetry:

Abstract:

Robert Browning, a celebrated poet of the Victorian era, revolutionized the genre of dramatic poetry with his unique use of the dramatic monologue. By employing this form, Browning created compelling characters who speak directly to the reader, revealing the innermost thoughts, emotions, and motivations of complex individuals. This paper explores how Browning’s dramatic monologues, found in works such as My Last Duchess, The Bishop Orders His Tomb at St. Praxed’s Church, and Porphyria’s Lover, provide psychological insights, blur moral boundaries, and engage with the philosophical and psychological questions of the era. Browning’s exploration of the human psyche and his manipulation of narrative form have had a lasting influence on the evolution of poetry and continue to captivate readers.

Introduction:

Born: May 7, 1812, London

Died: Dec. 12, 1889, Venice

Notable Works: “Bishop Blougram’s Apology” “Christmas-Eve and Easter-Day” “Dramatis Personae” “Fra Lippo Lippi” “Men and Women” “My Last Duchess” “Paracelsus” “Pippa Passes” “Rabbi Ben Ezra” “Sordello” “The Bishop Orders His Tomb at St. Praxed’s Church” “The Pied Piper of Hamelin” “The Ring and the Book” 

Robert Browning, a prominent Victorian poet, is widely recognized for his innovative use of the dramatic monologue, a genre he helped to shape and perfect. This literary form involves a single speaker who addresses either an implied or silent listener, revealing their thoughts, emotions, and motives in a direct and often candid manner. Through this technique, Browning provides a deep psychological portrait of his characters, allowing for a nuanced exploration of human emotions, desires, and moral dilemmas. His monologues often expose complex characters who blur the line between right and wrong, creating works that provoke thought and elicit multiple interpretations.

This paper examines how Browning’s dramatic monologues present profound psychological insights and moral ambiguities, exploring how his poems explore the complexities of human nature. It will discuss the development of Browning’s use of the dramatic monologue, its defining characteristics, and its impact on both the Victorian literary scene and subsequent generations of poets.

Origins and Evolution of the Dramatic Monologue:

The dramatic monologue as a genre has its roots in classical literature, including Greek drama and Shakespearean soliloquies. However, it was during the Victorian era that the form gained prominence as a vehicle for exploring individual psychology and moral complexity.

Early Development of Browning’s Style:

Browning's use of dramatic monologue began to emerge in his early poetry collections, such as Dramatic Lyrics (1842) and Men and Women (1855). His first attempts at this form were relatively simple, yet they laid the groundwork for his later, more sophisticated works. In these early works, Browning experimented with monologues that gave voice to a range of characters, from historical figures to fictional creations, revealing their innermost thoughts and desires.

Refinement of the Form:

By the time Browning published Dramatis Personae (1864) and The Ring and the Book (1868-1869), his mastery of the dramatic monologue was evident. In these later works, Browning created characters of extraordinary psychological depth, exploring issues such as guilt, obsession, love, and betrayal. The complexity of his characters and the sophistication of the form made his dramatic monologues a hallmark of Victorian poetry.

Key Characteristics of Browning's Dramatic Monologues:

 Browning's monologue is a synthesis of dramatic and lyric quality. It is dramatic because it is the utterance of a single speaker who is different from the poet; at the same time, it Lyrical because it is an expression of his own thoughts and inner drama.Browning’s dramatic monologues share several distinct characteristics that differentiate them from other forms of poetry. These features are essential to understanding how Browning's work captures the complexities of the human experience.

1. A Solitary Speaker:

The most defining feature of a dramatic monologue is the presence of a single speaker who addresses the audience. In Browning’s poems, this speaker often reveals more about themselves than they intend. The solitary speaker provides insight into their emotional state, desires, and motivations, allowing the reader to interpret their inner life.

Example: "My Last Duchess"

In My Last Duchess, the Duke of Ferrara speaks to an implied listener, recounting the story of his late wife, whom he had “commanded” to be killed. The Duke’s monologue is filled with subtle hints of his possessiveness and jealousy, as he reveals his belief that his wife’s beauty was a commodity he controlled. The fact that the Duke speaks at length about his wife’s portrait—without ever acknowledging her as a person—reveals much about his character.

"That’s my last Duchess painted on the wall,

Looking as if she were alive. I call

That piece a wonder, now."

The Duke’s obsession with controlling his wife’s image and his detachment from her as a living being speaks volumes about his character and mindset. Through this single speaker, Browning offers a psychological portrait of a man who sees others as possessions.

2. An Implied or Silent Listener:

While the speaker dominates the poem, there is always an implied audience, whether it is a specific character or the reader themselves. This silent listener is crucial because they often serve as a foil to the speaker’s personality, shaping the dynamics of the poem. Their presence adds dramatic tension, as the speaker's words may be influenced by how they imagine the listener will react.

Example: "Porphyria's Lover"

In Porphyria's Lover, the speaker recounts the events leading up to a murder in a calm, almost detached manner. Throughout the poem, the lover speaks directly to the implied listener, using the second person to create a sense of intimacy and involvement. However, the lack of response from the implied listener emphasizes the speaker’s isolation and psychological detachment.

"The rain set early in tonight,

The sullen wind was soon awake,

It tore the elm-tops down for spite,

And did its worst to vex the lake:"

The description of the storm sets the tone for the poem, foreshadowing the speaker’s violent actions. By positioning the implied listener as passive, Browning allows the speaker’s voice to dominate, creating an unsettling effect.

3. A Specific Setting:

Browning often grounds his dramatic monologues in a specific time and place, which helps contextualize the character’s actions and thoughts. This setting often reflects the inner turmoil or moral contradictions of the speaker.

Example: "The Bishop Orders His Tomb at St. Praxed's Church"

In this poem, the dying Bishop orders the construction of his tomb while reflecting on his life. The setting of the church—a place associated with spirituality—contrasts with the Bishop’s materialism and vanity. Browning uses the setting to highlight the Bishop’s moral decay, as he focuses on creating a grand tomb rather than addressing the sins he committed during his lifetime.

"Nay, but I know

Your disposition, and I know His —

He will not give it; you must take it."

The Bishop’s monologue is filled with arrogance and a desire for control, even in death. The setting of the church emphasizes his hypocrisy, as the sacred space becomes a stage for his worldly concerns.

4. Psychological Complexity and Stream-of-Consciousness:

Browning’s monologues are marked by a stream-of-consciousness style of narration, where the speaker’s thoughts flow freely, revealing their inner psychology in a disjointed and often erratic manner. This style allows Browning to present multifaceted characters, whose words may not always be reliable.

Example: "The Pipelayer’s Grave"

In this lesser-known poem, the speaker's rambling monologue reflects his growing obsession with a past lover. His thoughts jump from one topic to another, illustrating his inability to let go of his memories. The stream-of-consciousness technique here allows readers to experience the speaker's psychological fragmentation and emotional instability.

Psychological Insight and Moral Ambiguity:

One of the most compelling features of Browning’s dramatic monologues is the way they delve into the psychology of the speaker. Browning’s characters often grapple with inner conflicts, exposing the darker sides of human nature. These characters are morally ambiguous, which encourages readers to question traditional notions of good and evil.

Psychological Complexity in "My Last Duchess":

The Duke’s speech in My Last Duchess reveals a man who is consumed by jealousy, insecurity, and a desire for control. As the Duke discusses his late wife’s “flirting” and her inability to recognize his superior status, we begin to see that his sense of entitlement is rooted in a deep psychological need to dominate. The Duke’s casual admission of his involvement in his wife’s death presents him as a character who is completely disconnected from any moral accountability.

Moral Ambiguity in "Mr. Sludge, the Medium":

In Mr. Sludge, the Medium, the speaker justifies his fraudulent activities, showing how he has manipulated people through spiritual mediums. The monologue makes it clear that Mr. Sludge is morally corrupt, yet Browning also elicits sympathy for him by presenting his self-deception and his attempts to rationalize his actions.

"I’m Mr. Sludge, the medium — this

Is Mr. Sludge's seance — I'm the man

As good as guarantees a spirit — if

You pay me."

The repetition of “I’m Mr. Sludge” creates an almost absurd, self-assured confidence, highlighting the speaker’s detachment from any moral responsibility. At the same time, Sludge’s casual tone invites the reader to consider how far his actions stem from opportunism versus desperation.

Impact and Influence :

Browning’s innovative use of the dramatic monologue had a lasting impact on literature. Poets such as T.S. Eliot, Ezra Pound, and even modern poets like Sylvia Plath were influenced by his techniques. Eliot’s The Love Song of J. Alfred Prufrock and Pound’s The Cantos both reflect Browning’s exploration of the individual’s psyche and the use of monologue to delve into inner turmoil. Browning's characters, like Prufrock, are often flawed, self-reflective, and trapped in their own thoughts—characteristics that echo Browning’s approach.

Additionally, Browning’s ability to blend psychological insight with dramatic tension paved the way for future explorations of unreliable narrators and moral ambiguity in literature. His use of the dramatic monologue influenced not only poetry but also modernist and postmodernist approaches to narrative in fiction, where complex, fragmented characters challenge the reader to navigate the nuances of moral and emotional landscapes.

Conclusion:

In conclusion, Robert Browning’s use of the dramatic monologue was a groundbreaking technique that allowed him to explore the depths of human psychology, emotion, and morality. Through works like My Last Duchess, Porphyria’s Lover, and The Bishop Orders His Tomb at St. Praxed’s Church, Browning delves into complex themes of control, obsession, and guilt. His speakers often reveal themselves through their own words, offering rich psychological portraits that challenge readers to consider the nuances of human nature.

The dramatic monologue allows Browning to present his characters in a way that is both intimate and detached, offering readers the chance to engage with the emotional and moral contradictions of these figures. The genre became a central element of Browning’s poetic legacy, influencing countless writers and poets in the years that followed. Today, Browning’s dramatic monologues continue to captivate readers, inviting them into the minds of characters who are as compelling as they are morally complex.

References:

Avery_Sharp. (2012, August 1). Robert Browning and the Dramatic Monologue | Armstrong Browning Library & Museum. https://blogs.baylor.edu/armstrongbrowning/2012/08/01/robert-browning-and-the-dramatic-monologue/

Armstrong, Isobel. “Browning’s Mr. Sludge, ‘The Medium.’” Victorian Poetry, vol. 2, no. 1, 1964, pp. 1–9. JSTOR, http://www.jstor.org/stable/40001240. Accessed 19 Nov. 2024.

 Drew, P. (2024, November 14). Robert Browning | Victorian Poet, Dramatist & Lyricist. Encyclopedia Britannica. https://www.britannica.com/biography/Robert-Browning

 My Last Duchess. (2024, August 23). The Poetry Foundation. https://www.poetryfoundation.org/poems/43768/my-last-duchess 

Porphyria’s Lover. (2024, June 22). The Poetry Foundation. https://www.poetryfoundation.org/poems/46313/porphyrias-lover

 Three Defining Characteristics of Browning’s Dramatic Monologues. (n.d.). https://victorianweb.org/authors/rb/dm4.html