In the monologue, as in all true dramatic representation, the listener as well as the speaker must be realized as continuously living and thinking. The listener, though he utters not a word, must be conceived from the effect he makes upon the speaker, in order to perceive the argument as well as the situation and point of view. The necessity of realizing a listener is one of the most important points to be noted in the study of the monologue. Take, as an illustration, Browning's "Incident of the French Camp." INCIDENT OF THE FRENCH CAMP You know, we French stormed Ratisbon: A mile or so away, On a little mound, Napoleon Stood on our storming day; With neck out-thrust, you fancy how, Legs wide, arms locked behind, As if to balance the prone brow Oppressive with its mind. Just as perhaps he mused, "My plans That soar, to earth may fall, Let once my army-leader Lannes Waver at yonder wall,"-- Out 'twixt the battery smokes there flew A rider, bound on bound Full galloping; nor bridle drew Until he reached the mound. Then off there flung in smiling joy, And held himself erect By just his horse's mane, a boy: You hardly could suspect-- (So tight he kept his lips compressed, Scarce any blood came through) You looked twice ere you saw his breast Was all but shot in two. "Well," cried he, "Emperor, by God's grace We've got you Ratisbon! The Marshal's in the market-place, And you'll be there anon To see your flag-bird flap his wings Where I, to heart's desire, Perched him!" The Chief's eye flashed; his plans Soared up again like fire. The Chief's eye flashed; but presently Softened itself, as sheathes A film the mother-eagle's eye When her bruised eaglet breathes: "You're wounded!" "Nay," his soldier's pride Touched to the quick, he said: "I'm killed, Sire!" And, his Chief beside, Smiling the boy fell dead.