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Poetics Today 22:3 Following the deï¬nition of the genre, the rest of the ï¬rst chapter is devoted to a short survey of the origins and development of the dramatic monologue. This includes a speculative discussion of the reasons for the genreâs birth and ï¬owering in Victorian England (starting in the ï±ï¸ï³ï°s) of all places and for its failure to acquire a signiï¬cant presence outside English (and American) literature. The bookâs second chapter, ââThe Victorians,ââ focuses on the work of the two major founders and practitioners of the genre, Robert Browning and Alfred, Lord Tennyson, and includes close readings of Browningâs ââThe Bishop Orders His Tomb at Saint Praxedâs Churchââ and Tennysonâs ââTithonus.ââ In this context Howe discusses the many diï¬erences in tone, atmosphere, setting, characterization, and language between the styles of the two poets. Chapter three examines the age of modernism by looking at representative works by Ezra Pound (ââMarvoilââ) and T. S. Eliot (ââPortrait of a Ladyââ). For both poets the writing of dramatic monologues against the background of the Victorian tradition of the genre constituted an essential stage in their early development. Chapter four begins with a survey of dramatic monologues by other twentieth-century poets (e.g.,
Poetics Today: International Journal for Theory and Analysis of Literature and Communication – Duke University Press
Published: Sep 1, 2001
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