The use of the monologue as a literary form has grown every year, and no reason can be seen why its adoption or application may not go on increasing until it becomes as truly a recognized literary form as the play. The varieties that can be found from the epic monologue "Ulysses" of Tennyson to such a popular poem as "Griggsby's Station" by James Whitcomb Riley, indicate the uses to which the monologue can be turned and its importance as a form of poetry. The fact that we meet a number of monologues before Browning's time shows the naturalness and the necessity of this dramatic form; yet it is only in Browning that the monologue becomes profoundly significant. Browning remains the supreme master of the monologue. Here we find the deepest interpretation of the problems of existence, and the expression of the depths of human character. So strongly did this form fit his great personality and conception of art that his plays cannot compare with his monologues. It was by means of the monologue that he made his deepest revelations. It is safe to say that, without his adoption of the monologue, the best of his poetry would never have been written; and where else in literature can we find such interpretation of hypocrisy? Where else can we find a more adequate suggestion of the true nature of human love, especially the interpretation of the love of a true man, except in Browning? Who can thoroughly comprehend the spirit of the middle part of the nineteenth century, and get a key to the later spiritual unfolding, without studying this great poet's interpretation of the burden of his time? Who can contemplate, even for a few moments, some good example of this dramatic form, especially one of Browning's great monologues, and not feel that this overlooked form is capable of revealing and interpreting phases of character which cannot be interpreted even by the play or the novel? One form of art should never be compared with another. No form of art can ever be substituted for the play in revealing human action and motive, or even for the novel, with its deep and suggestive interpretation of human life. While the monologue will never displace any other form of art, the fact that it can interpret phases of human life and character which no other mode of art can express, proves it to be a distinct form and worthy of critical investigation. Its recognition constitutes one of the phases of the development of art in the nineteenth century, and it is safe to say that it will remain and occupy a permanent place as a literary form. We must not, however, exaggerate its importance on the one hand, nor on the other too readily pronounce it to be a mere incident and passing oddity. Its instinctive employment by leading authors, those with a message and philosophy of life, proves that its true nature and possibilities deserve study. PART II DRAMATIC RENDERING OF THE MONOLOGUE IX. NECESSITY OF ORAL RENDITION