Abrupt beginning, cause of Browning’s obscurity, 81
Abt Vogler, 290;
theme in, 88-89
ACTION, 172-195
importance at opening, 172-173
precedence of, 173
significance of, in a monologue, 174
in Italian in England, 174
in Mrs. Caudle, 174
in Up at a Villa, 174-175
in A Tale, 175-176
caused by change in thinking and feeling, 175-176
by struggle for idea, 176
in quotations, 177-178
transitions and, 178
pivotal, shows attention and politeness, 181-186
locations of objects, 182-183
monologue must not be declaimed, 183
descriptive and manifestative, 187-189
in Old Boggs’ Slarnt, Day, 188
in Vagabonds, Trowbridge, 190-193
dangers of, 194
attitude, importance of, 195
Andrea del Sarto, 265
Appearances, 265
ARGUMENT OF MONOLOGUE, 86-100
Illustrated by A Death in the Desert, 89
Illustrated by Bishop orders his Tomb, 91-94
(Poem, 285)
Illustrated by Memorabilia, 160-162
Art, function of, 7
dramatic, important, 11
forms of, not invented, necessary, 11-12
Browning on, 40
indirect, 63
composed of few elements, 87-88
theme of, 110
social, 258
At the Mermaid, 73-74
extract from, 74
Attention, key to dramatic, 181
shown by pivotal action, 182-186
Attitude, importance of, 195
Barrack-Room Ballads are monologues, 128
Before Sedan, Dobson, 84
Biglow Papers are monologues, 19
Bishop Blougram’s Apology, listener in, 41-42
Bishop orders his Tomb, 285
listener in, 53
dramatic argument of, 91-94
BODY, ACTIONS OF MIND AND, 172-195
Bret Harte’s, In a Tunnel, 173
Bridge of Sighs, Hood, 209
metre of, 211
Browning
Patriot, The, 3
Woman’s Last Word, A, 6
Confessions, 7
Youth and Art, 21
Incident of the French Camp, 33
Rabbi Ben Ezra, 36
Soliloquy of the Spanish Cloister, 58
Up at a Villa—Down in the City, 65
A Grammarian’s Funeral, 72
At the Mermaid, 74
My Last Duchess, 96
Lost Mistress, 106
Tray, 143
One Way of Love, 150
Italian in England, 152
Wanting is—What? 157
Memorabilia, 160
A Tale, 164
In a Year, 201
Lost Leader, 212
Evelyn Hope, 216
Appearances, 265
Andrea del Sarto, 265
Muléykeh, 272
Count Gismond, 275
By the Fireside, 277
Pheidippides, 281
Prospice, 284
Bishop orders his Tomb, 285
Sibrandus Schafnaburgensis, 288
Abt Vogler, 290
Saul, 293
Why not appreciated, 1-2
Invented monologue, 1-2
his art form, 7
dramatic, 9-10
compared with Leigh Hunt, 25-26
influence of, 48
compared with Tennyson, 52
compared with Shakespeare, 55-61
soliloquies are monologues, 58-61
obscurity of, 71-81
master of monologue, 131-132
grotesque, element in, 229
variety of his themes, 263-264
Burns, monologues in, 117-120
O wert thou in the cauld blast, 118
By the Fireside, 277
Caliban upon Setebos, character of, 24
speaker in, 24
Caudle, Mrs., On the Umbrella, 139
Character of speaker must be realized, 138
Chesterton, on personal element in story-telling, 86
on Clive and Muléykeh, 125
justifies Browning’s grotesque language, 229
Churchill, J. W., rendering of Sam Lawson, 16
Cleon, monologue or letter, 18
Clive, illustrates person spoken of, 54
why a monologue, 126
Confessions, 7
Connection, importance of first words to the, 79-80
Consistency, law of, 235-237
Conversation, elements of, 159
Count Gismond, 275
speaker in, 16
Cushman, Charlotte, her rendering of monologue, 236-237
Definition of monologue, 7
Delivery
nature of, 134
important in monologue, 133-136
three languages in, complementary, 135-136
DIALECT, 222-230
must be dramatic, 222-223
in Riley, Burns, Tennyson, 223
not literal, 224-225
dramatic, 225-226
results from assimilation, 227
must express character, 228-229
part of grotesque, 229-230
Didn’t know Flynn, Bret Harte, 173
Dieudonné, Dr. Drummond, 225
Dobson, Austin,
Before Sedan, 84
change of situation in, 84-86
Dooley monologues, 42
Hennessey in, 42-43
Dowden, Edward, on static dramatic, 110-111
on Muléykeh, 111
Dramatic art, important, 11
Dramatic instinct, overlooked, 31
necessary in human life, 30
listener in, 31
definition of, 103-104
illustrated by, 103-113
static dramatic, 110-111
nature of, 111-112
interprets odd moments, 156
Drayton, Michael
Come, let us kiss and part, 116
Drummond, Dr.
French Canadian dialect, 129
Dieudonné, 225
Duchess, My Last, 96
Epic spirit, nature of, 102
in Tennyson’s Ulysses, 102-103, 123
in Sir Galahad, 124
Evelyn Hope, 216
Expression, vocal, necessity of, 133-146
nature of, in the monologue, 147-172
FAULTS IN RENDERING A MONOLOGUE, 241-247
staginess, 241
monotony, cause of, 241-242
tameness, 242
declamation, 242-243
indefiniteness, 243
exaggeration, 244
cause of, false, 244-246
Field, Eugene, Monologues in, 44
Fireside, By the, 277
Flexibility
illustrated by A Tale, 164
Flight of the Duchess, as illustration of monologue, 108-109
FORM OF LITERATURE, THE MONOLOGUE AS A, 100-115
not invented, 11-12, 100-101
Monologue, one, 100-113
Foss, Sam Walter, monologues by, 48
Fra Lippo Lippi, connection in, 81-83
Freytag’s definition of drama, 103-104
Grammarian’s Funeral, A, situation in, 72-73
Grigsby’s Station, a monologue, 47
Grotesque, nature of, 226
dramatic, importance of, 30-31
illustrations of, 33-39
HEARER, THE, 30-64
implied in dramatic art, 30-31
in monologue, necessary, 32
illustrated by Rabbi Ben Ezra, 36
in Bishop Blougram, 41-42
by Dooley and Hennessey, 43
in Riley’s Nothin’ to Say, 46-47
in Tennyson’s Lady Clara, 50
Hervé Riel, metre in, 203
Higginson, Col. T. W., story of Carlyle, 226
HISTORY OF THE MONOLOGUE, 113-132
in early literature, 113-116
in Burns, 117-118
Hood, Thomas, Bridge of Sighs, 209
Hunt, Leigh, Browning’s method differs from, 25-26
Imitation, danger of, in High Tide, 171
IMPORTANCE OF MONOLOGUE, 248-264
illustrated by Saul, 248-252;
by Job, 253
by Ninetieth Psalm, 253-254;
by Prophets, 255
has educational value, 255
speakers, 255-256
proves necessity of voice to literature, 256
gives new course in speaking, 256;
illustration, 257
prevents students of art from being
mechanical, 258
shows necessity of art, 261
of any length or theme, 262
requires an artist, 263
requires no expensive scenery, 262
has limitations, 262
its range, 264
In a Tunnel, Bret Harte, 173
In a Year, 201
Incident of the French Camp, 33
Inflection, function of, 151
importance of, 149-150, 157
Interpreter of monologue must command natural languages, 136
Interpretation of monologue difficult, 139
necessary, 133
unites three languages, 135
must be dramatic, 138-142
Italian in England, The, 152
Jerrold, Douglas, situation in his monologues, 75
on Sordello, 1
Mrs. Caudle and the Umbrella, 139
its spirit, 141-143
John Anderson, my Jo, Burns, 62
Kipling, dramatic spirit in, 127-129
Mandalay lyric or monologue, 128-129
dialect of results from dramatic spirit, 228
Lady Clara Vere de Vere, Tennyson, 50
Language, threefold, 135-138
La Saisiaz, situation of, 78
Last Ride Together, 205
Letters and monologues compared, 17-18
LITERARY FORM, A NEW, 1-12
not invented, 100
monologue, as a, 100-113
monologue, a true, 124, 259-264
LITERATURE, THE MONOLOGUE AS A FORM OF, 100-113
implies unprinted elements, 133-134
suggests life, 135-136
Lost Leader, The, 212
Lost Mistress, The, 106
Lyric, nature of, 14
compared with monologue, 14-15
Macbeth, story of, compared to monologue, 105-107
Memorabilia, 160
illustrates vocal expression of monologue, 161-162
Mental actions modulate voice, 147-172
Mermaid, At the, passage from, 73-74
METRE AND THE MONOLOGUE, 195-222
mistakes regarding, 195
appreciation of, 196
part of vocal expression, 196-197
meaning of, 196, 204-205
relation to length of line, 198-199
in Woman’s Last Word and In a Year, 201
study of, 213
Mistress, The Lost, 106
Mitchell, D. G., on letters, 17
Modulations of voice, 147-172
Monologue contrasted with the play, 105-109
“Invention” of Browning, 2
One end of conversation, 7
study of, centres in, 10
speaker in, 12-30, 41-43
dramatic, 32
person spoken of, in, 54-55
compared with soliloquy, 55-61
situation in, 64-78
connection, 78-86
argument of, 86-94
as literary form, 100-113
compared with play, 105-109
before Browning, 113
common in English poetry, 113-132
common in modern literature, 127-132
needs delivery, 133-146
vocal expression of, 147-172
rhythm of thinking in, 148
action in, 172-195
metre in, 195-222
dialect in, 222-229
use of properties, 231-240
faults in rendering, 241-246
IMPORTANCE OF, 248-264
Movement illustrated by High Tide, 168-171
Mrs. Jim, a series of monologues, 130
Muléykeh, 272
Chesterton on, 125
as a monologue, 125-126
My Last Duchess, 96
illustrates elements of monologue, 96-99
Natural languages, function of, 134-137
Nothin’ to Say, Riley, 46
Obscurity, chief cause of Browning’s, 81
Old Boggs’ Slarnt, Day, 188
One Way of Love, 150
Oratory and acting compared, 13, 179-181
Jefferson on, 179-180
Palgrave on Sally in our Alley, 120-122
Patriot, The, 3
Pause, Importance of, 149
Personal element in art, Chesterton on, 86
found in all conversation and expression, 81-88
Pheidippides, 281
Play, a monologue, 10-12
Poetry, Aristotle on, 128
dramatic, not invented, 100
epic, 122-123
PROPERTIES, 230-247
use of, in play and monologue, 230-231
significance of, 230-231
need of generalizing, 232
Irving, Sir Henry, scenery in unity, 233
consistency in, 235
use of scenery, 236-240
must not be literal, 237
when dramatic, 238-240
Prospice, 284
metre of, 209
Psalm Ninetieth, 253
a monologue, 253-255
Rabbi Ben Ezra, 36
Rendering of monologues, 236-237
RENDITION, NECESSITY OF, 133-147
Rhythm, first element in interpretation, 148
Riley, James Whitcomb, Hoosier monologue, 129-131
Knee-deep in June, a monologue, 45
situation in, 53
Nothin’ to Say, 46
Ring and the Book, The, proves value of monologue, 26-29
extract from, on art, 40
Sally in our Alley, Carey, 120
Sam Lawson, stories of, Mrs. Stowe, monologues, 16
illustrates nature of monologue, 248-252
Saul, 293
Shakespeare compared with Browning, 112
his soliloquies compared to monologues, 55-57
Sibrandus Schafnaburgensis, 288
SITUATION, PLACE AND, 64-78
dramatic, 64
monologue implies, 65
Up at a Villa—Down in the City, 65
in Browning, always definite, 71-72
changes in Grammarian’s Funeral, 72
in Douglas Jerrold, 75
Andrea del Sarto (Poem, 265)
Soliloquy of the Spanish Cloister, 58
soliloquy compared with monologue, 56-57
Shakespeare’s, 55
difference between Browning and
Shakespeare, 57-61
SPEAKER, THE, in monologue, 12-30
speech and monologue compared, 101-102
Suckling, Sir John, Why so pale and wan, 116
Tale, A, 163
Tennyson’s Lady Clara Vere de Vere, 50
a monologue, 52
many monologues, 49
not master of, 53
TIME AND CONNECTION, 78-86
abrupt beginning, 79-80
tone-color explained, 157-160
Tray, 143
Up at a Villa—Down in the City, 65
Vagabonds, The, Trowbridge, 190
Vocal Expression
nature of, 134
reveals processes of mind, 147-172
unprintable, 136
in play and monologue, 167-168
VOICE, ACTIONS OF MIND AND, 147-172
Wanting is—What? 157
Whitman, dramatic element in his “O Captain,” 120
Why so pale and wan, Suckling, 116
Woman’s Last Word, A, 6
Words complemented by tone and action, 135
Wyatt, Sir Thomas, The Lover’s Appeal, lyric in form of monologue, 114
Youth and Art, 21
metre of, 216
The University Press Cambridge, U. S. A.
Footnotes:
[1] Freytag, Technik des Dramas, chap. i, sec. 2, p. 16 (Leipzig, 1881). Translation by Prof. H. B. Lathrop.
[2] To emphasize the nature and importance of poetic form (see pp. 211, 213), “Count Gismond” and “By the Fireside” are here printed as prose. Find the length of line, the stanzas, and the metre, the meaning and appropriateness of all these. How should they be paragraphed?
Transcriber’s Notes:
Several of the poems appear in the middle of a paragraph. They are presented here as in the original text.
Other than the corrections noted by hover information, inconsistencies in spelling and hyphenation have been retained from the original.