Dramatic monologue 戏剧性独白
A 'dramatic monologue' is a piece of spoken verse that offers great insight into the feelings of the speaker. Not to be confused with a soliloquy in a play (which the character speaking speaks to themselves), dramatic monologues suggest an auditor or auditors. They were favored by many poets in the Victorian period, in which a character in fiction or in history delivers a spech explaining his or her feelings, actions, or motives. The monologue is usually directed toward a silent audience, with the speaker's words influenced by a critical situation. An example of a dramatic monologue exists in My Last Duchess by Robert Browning, when a duke speaks to an emissary of his way, "Porphyria's Lover" also by Robert Browning, "The Captain of the 1964 Top of the Form Team" by Carol Ann Duffy, and "Lady Lazarus" by Sylvia Plath.
In a general way, the dramatic tradition as a whole may have influenced the style of the monologue. Indeed, the style of the dramatic monologue, which attempts to evoke an entire story through representing part of it, may be called an endeavor to turn into poetry many of the distinctive features of drama.
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Features of the Dramatic Monologue
M. H. Abrams notes the following three features of the dramatic monologue:
1. A single person, who is patently not the poet, utters the speech that makes up the whole of the poem, in a specific situation at a critical moment […].
2. This person addresses and interacts with one or more other people; but we know of the auditors' presence, and what they say and do, only from clues in the discourse of the single speaker.
3. The main principle controlling the poet's choice and formulation of what the lyric speaker says is to reveal to the reader, in a way that enhances its interest, the speaker's temperament and character.[1]
Types of monologues
One of the most important influences on the development of the dramatic monologue are
the Romantic poets. The long, personal lyrics typical of the Romantic period are not dramatic monologues, in the sense that they do not, for the most part, imply a concentrated narrative. However, poems such as William Wordsworth's Tintern Abbey and Percy Bysshe Shelley's Mont Blanc, to name two famous examples, offered a model of close psychological observation and philosophical or pseudo-philosophical inquiry described in a specific setting.
The novel, and plays have also been important influences on the dramatic monologue, particularly as a means of characterisation. Dramatic monologues are a way of expressing the views of a character and offering the audience greater insight into that character's feelings. Dramatic monologues can also be used in novels to tell stories, as in Mary Shelly's Frankenstein, and to implicate the audience in moral judgments, as in Albert Camus' The Fall and Mohsin Hamid's The Reluctant Fundamentalist.
The Victorian Period
The Victorian period represented the high point of the dramatic monologue in English poevaguely
try.
∙ Alfred, Lord Tennyson's Ulysses, published in 1842, has been called the first true dramatic monologue. After Ulysses, Tennyson's most famous efforts in this vein are Tithonus, The Lotus Eaters, and St. Simon Stylites, all from the 1842 Poems; later monologues appear in other volumes, notably Idylls of the King.
∙ Matthew Arnold's Dover Beach and Stanzas from the Grand Chartreuse are famous, semi-autobiographical monologues. The former, usually regarded as the supreme expression of the growing skepticism of the mid-Victorian period, was published along with the later in 1867's New Poems.
∙ Robert Browning is usually credited with perfecting the form; certainly, Browning is the poet who, above all, produced his finest and most famous work in this form. While My Last Duchess is the most famous of his monologues, the form dominated his writing career. Fra Lippo Lippi, Caliban upon Setebos, Soliloquy of the Spanish Cloister and Porphyria's Lover, as well as the other poems in Men and Women are just a handful of Br
owning's monologues.
Other Victorian poets also used the form. Dante Gabriel Rossetti wrote several, including Jenny and The Blessed Damozel; Christina Rossetti wrote a number, including The Convent Threshold. Algernon Swinburne's Hymn to Proserpine has been called a dramatic monologue vaguely reminiscent of Browning's work.

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