Généalogie générique du monologue dramatiquebrowningnien ; et du monopolylogue
The dramatic monologue did not appear with Browning or Tennyson. But in order to reassess Robert Browning’s achievement, one might trace a line starting with Aristophanes’ dramatic use of the parabasis, evolving with the Roman satire, and going through John Donne’s game with the reader, conceived of...
Saved in:
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
Presses Universitaires de la Méditerranée
2011-03-01
|
| Series: | Cahiers Victoriens et Edouardiens |
| Online Access: | https://journals.openedition.org/cve/2168 |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| Summary: | The dramatic monologue did not appear with Browning or Tennyson. But in order to reassess Robert Browning’s achievement, one might trace a line starting with Aristophanes’ dramatic use of the parabasis, evolving with the Roman satire, and going through John Donne’s game with the reader, conceived of as a silent auditor. Browning also put to good use the generic hybridity of his Romantic predecessors who endeavoured to master the spoken word within the written word. If Tennyson called Maud a monodrama, Browning’s most original generic achievement might be called a “monopolylogue”, that is to say a speech containing various voices uttered by only one speaker. |
|---|---|
| ISSN: | 0220-5610 2271-6149 |