Browning and the Dramatic MonologueCurry, S. S. (Samuel Silas)
History
Browning and the Dramatic Monologue
Curry, S. S. (Samuel Silas)
Browning, Robert, 1812-1889 -- Criticism and interpretation; Dramatic monologues -- History and criticism
What does it all mean? One person makes it the text of a long discussion
on the use of music to cure disease. Another thinks it a suggestion in
poetry of the spirit of Hebrew prophecy. There is no end to its
applications. It is a parable. Is it not the poetic interpretation of all
noble endeavor? May not David represent any human being facing some great
undertaking? Is not the gloomy tent the world, and Saul outstretched in
the form of a cross the race, and David with his harp any trembling soul
who attempts to charm away the demon from his fellow-men? Is it too much
to say that every successful artist follows David's example as portrayed
by Browning? The artist will also share in David's experience in the
transformation of the world.
Without the monologue could such a marvellous interpretation be possible?
how could we receive such suggestions, such glimpses into man's spiritual
nature? What other form of art could serve as an objective means of
expressing those experiences? The evolution of the monologue has made
"Saul" possible.
There has been much discussion whether the book of Job is a dramatic or an
epic poem. It contains both elements, but if we study the singular
character of the many speeches, we can see that the real spirit of the
poem is explained by the principles of the dramatic monologue. It is a
series of monologues by different speakers, each character being
separately defined, and his words and ideas definitely colored by his
character, as in "The Ring and the Book."
The ninetieth Psalm is a monologue. Whoever the author may have been, he
conceived of Moses as the speaker. The experience is not that of mankind
in general. A peculiar situation and type of character are demanded. No
other man in history can utter so fittingly the words of the Psalm as can
Moses.
Public-domain text, read in full here on John Shaqi.
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