Dramatic Monologue:
Love, Death and Ambition
Lord Alfred Tennyson
and Robert Browning
Outline
• Dramatic Monologue: Definition
• Contemporary Voice: Bruce
Springsteen “Nebraska” (681) (6;
5)
• “Ulysses” (1; 9)
– Lord Alfred Tennyson
– Response: Miriam Waddington
“Ulysses Embroidered” (988) (2; 10)
• “My Last Duchess” (8; 7)
• Robert Browning
– “Porphyria’s Lover” (3; 4)
Ulysses
Embroide
r-ed
Husband &
Wife
Ulysses
Murder
My Last
Duchess
Murder
Porphyria’
s lover
Lovers
Serial Killer
Nebraska
AntiSocial
Ask the Poet or Defend the
Monologist/Narrator
Why? Guilty or Not?
Dramatic Monologue
• [Who] A poem which involves a
speaker speaking alone to an
implied auditor.
• Through his speech, the following is
revealed:
– what, when, where and how of “the
story”;
– “a gap between what that speaker says
and what he or she actually reveals”
(reference).
Dramatic Monologue
& the Reader
• Browninesque dramatic monologue
has three requirements:
• The reader takes the part of the
silent listener.
• The speaker uses a case-making,
argumentative tone.
• We complete the dramatic scene
from within, by means of inference
and imagination.
(Glenn Everett reference).
Image source: A-Piece-ofMonologue
General Questions
1. Leader
1. What are the 4 W’s & 1 H
of the poem?
2. Who: the monologist, the
silent listener, the subject
and their interrelations
3. What & How: what does
the story reveal and how?
4. When: what has the story,
and its revelation, to do
with the time and ours?
5. Connector
9. Investigator
• Why are there differences
and/or murders? [3.
Commentator]
2. Summarizer &
Vocabulary
4. Figurative/Good
Language
6. Recorder
7. Illustrator/Performer
Dramatic Monologue
in Historical Context
• Need for Story: The poets’ meeting
the readers’ need for stories in
Victorian society, when novel was a
popular genre.
• Social Alienation & Psychopathy: A
device to explore the depth of human
psychology and the theme of
alienation– by assuming a personae
(often quite alien to the poet’s own
values and beliefs)
• e.g. The Waste Land, The Love Song
of J. Alfred Prufrock.
“Nebraska” by Bruce
Springsteen
• Inspired by the film Badlands and
Flannery O’Connor’s “A Good Man
is Hard to Find” (Wikipedia)
• monologist: Charles Starkweather*
• A few examples: a
documentary (21:36; 49:40),
interview of Fugate, the film
Badlands (trailer)
“Nebraska” by Bruce
Springsteen (2): Questions
1. When is the speech made? To whom?
What are the characters
involved/presented in the song?
2. How are they related to the monologist
C. Starkweather?
3. What/Who sits on his lap?
4. What does the ending mean? How is
the overall meaning of the poem
supported by the musical
accompaniment?
5. Do you agree that “there is meanness
in the world”?
"Nebraska“
I saw her standin' on her front lawn just twirlin' her baton
Me and her went for a ride sir and ten innocent people died
From the town of Lincoln, Nebraska with a sawed off .410* on
my lap
Through to the badlands of Wyoming I killed everything in my
path
I can't say that I'm sorry for the things that we done
At least for a little while sir me and her we had us some fun
"Nebraska“ (2)
The jury brought in a guilty verdict and the judge he
sentenced me to death
Midnight in a prison storeroom with leather straps
across my chest
Sheriff when the man pulls that switch sir and snaps my
poor head back
You make sure my pretty baby is sittin' right there on
my lap
They declared me unfit to live said into that great void
my soul'd be hurled
They wanted to know why I did what I did
Well sir I guess there's just a meanness in this world.
Ulysses*
Ulysses Returns Chryseis to her Father
1648 (source)
Ulysses
1. The who, where, when and why of the
poem? The listener”s”?
2. Ulysses– What does he think about his
present life (ll. 1-5), his past experience (ll.
7-21), and future goals (ll. 22-32). Are
there contradictions in his self-perception?
3. Ulysses vs. Telemachus: "He works his
work, I mine." Do you find Ulysses
irresponsible or a-social?
4. HOW do the poetic form and sound
convey the meanings? a) blank verse -rhythm (e.g. iambic pentameter),
b) the arrangement of explosive and
mellifluous sounds in the poem.
5. Do you see the poem as an inspirational
poem, or one that deals with U’s selfcenteredness?
Ulysses (1833)
It little profits that an idle king,
By this still hearth, among these barren crags,
give out by measure
Match'd with an aged wife, I mete and dole
Unequal laws unto a savage race,
That hoard, and sleep, and feed, and know not me.
I cannot rest from travel; I will drink
Life to the lees. All times I have enjoy'd
Greatly, have suffer'd greatly, both with those The Hyades = sisters,
That loved me, and alone; on shore, and when daughters of Atlas,
who were turned into
Thro' scudding drifts the rainy Hyades
a constellation of stars
Vext the dim sea. I am become a name;
by Zeus. They vexed,
or tormented, the sea
For always roaming with a hungry heart
with blowing sheets of
Much have I seen and known,-- cities of men
rain ("scudding drifts"),
And manners, climates, councils, governments, just as the
constellation can
Myself not least, but honor'd of them all,-influence the sea and
And drunk delight of battle with my peers,
weather.
Far on the ringing plains of windy Troy.
Ulysses
I am a part of all that I have met;
Yet all experience is an arch wherethro'
Gleams that untravell'd world whose margin fades
For ever and for ever when I move.
How dull it is to pause, to make an end,
To rust unburnish'd, not to shine in use!
unpolished
As tho' to breathe were life! Life piled on life
Were all too little, and of one to me
Little remains; but every hour is saved
From that eternal silence, something more,
A bringer of new things; and vile it were
For some three suns to store and hoard myself,
And this gray spirit yearning in desire
To follow knowledge like a sinking star,
Beyond the utmost bound of human thought.
Ulysses –Stanza 2
This is my son, mine own Telemachus,
to whom I leave the sceptre and the isle,-Well-loved of me, discerning to fulfill
This labor, by slow prudence to make mild
A rugged people, and thro' soft degrees
Subdue them to the useful and the good.
Most blameless is he, centred in the sphere
Of common duties, decent not to fail
In offices of tenderness, and pay very proper
Meet adoration to my household gods,
When I am gone. He works his work, I
mine.
Ulysses –Stanza 3
There lies the port; the vessel puffs her sail;
There gloom the dark, broad seas. My mariners,
Souls that have toil'd, and wrought, and thought
with me,-That ever with a frolic welcome took
The thunder and the sunshine, and opposed
Free hearts, free foreheads,-- you and I are old;
Old age hath yet his honor and his toil.
Death closes all; but something ere the end,
Some work of noble note, may yet be done,
Not unbecoming men that strove with Gods.
The lights begin to twinkle from the rocks;
The long day wanes; the slow moon climbs; the
deep
Moans round with many voices. Come, my
friends.
'T is not too late to seek a newer world.
Ulysses –Stanza 3
Push off, and sitting well in order smite
The sounding furrows; for my purpose holds
To sail beyond the sunset, and the baths
Of all the western stars, until I die.
It may be that the gulfs will wash us down;
It may be we shall touch the Happy Isles,
And see the great Achilles, whom we knew.
Tho' much is taken, much abides; and tho'
We are not now that strength which in old days
Moved earth and heaven, that which we are, we
are,-One equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield.
Ulysses: young and old
Ulysses at an old age—
first speaking in his palace to no
one (the wife does not seem to
listen) and then ("There lies the
port" ), to the mariners by the port.
2. Ulysses: a. present – a boring life in
“barren crags” with an aged wife
and tedious duties (mete and dole;
not known);
past: -- seen the world, well
known, a lot of experience;
change – action, to strive with god,
to find something new.
destiny – dark broad sea  death
(Happy isle=Elysium)
1. Time/Place:
Ulysses: ambition/freedom
vs. duty/domesticity
Ulysses//mariners vs. his wife,
people and Telemachus  Is he
irresponsible? (“hoard, and sleep,
and feed”; “offices of tenderness”)
4. More question: Jerome H. Buckley
asserts that the poem does not in
fact convey
• a will to go forward . . . but a
determined retreat, a yearning,
behind allegedly tired rhythms, to
join the great Achilles (or possibly
Arthur Hallam) in an Elysian retreat
from life's vexations. [64]  Do you
agree?
Ulysses with Three Desires—and
three possible readings
• Desire (1): for meaningful “living” but not mere
breathing; an eventful life, but not dull routine; to
“follow knowledge like a sinking star / Beyond
the utmost bond of human thought”; for being a
hero as he was before; --one "braving the
struggle of life."
• Desire (2): to be a wanderer and break away
from the status quo (now known, or "I am
become a name“), in which he sees his wife
”aged,” his people “savage” (sleeping, eating
and hoarding), and his son, Telemachus, who is
“soft” (or "discerning," "prudent," "soft," "good,"
"blameless," "centered," and "tender“) --one
dissatisfied with mundane life and thus
irresponsible
• Desire (3): for “"There gloom the dark, broad
seas" and the Happy Isle.” – one yearning for
rest and death.
Ulysses: Historical
Contexts
• In this poem Tennyson is
elaborating upon a conviction
he formed at his closest friend,
Arthur Hallam's death "that life
without faith leads to personal
and social dislocation"
(Chiasson 165). (source)
• In Memoriam (1850)
Alfred Tennyson (1809-1892)
As a “twilight poet”
• Worried about poverty and contracting
epilepsy (a family disease) a twilight poet
• Deeply saddened by the death of his friend
Hallam. (1833)
• Shorted sighted and with keen interest in
sound effects, he created his poems in his
head, memorizing lines and then creating their
contexts.
• Many narrative poems about suspension and
languidness; e.g. "The Lotos-Eaters"
“Mariana” (a waiting woman); about dullness
of immortality: dramatic monologue:
"Tithonus.“
As a a poet Laureate (1850)
– a philosopher-poet, dealing with contemporary
concerns with science vs. God: ’Nature, Red in tooth
and claw’
– a narrative poet catering to popular taste
Alfred, Lord Tennyson (1809–
1892)
25
Norton
Ulysses
26
Norton
“Ulysses Embroidered”
Yea, Verily, thou art Odysseus
(source)
Penelope Weaving
28
Norton
Questions for Discussion
• How are Penelope and her
relationship with and to Ulysses
depicted in “Ulysses Embroidered”?
• How does the poem use and
elaborate on the story of
Penelope's weaving?
• How does Waddington change the
Ulysses story by narrating it from
Penelope's point of view, or what
does she encourage you to notice
about the story by doing so?
29
Norton
“Ulysses Embroidered”
Miriam Waddington (1917 –2004)
You’ve come
at last from
all your journeying
to the old blind woman
in the tower
Ulysses
After all adventurings
through seas and
mountains through
giant battles
storms and death
from pinnacles
to valleys,
Past sirens
naked on rocks
between Charybdis
and Scilla from
dragons’ teeth
and sleep in
stables choking
on red flowers
walking through
weeds and shipwreck.
“Ulysses Embroidered” (2)
Miriam Waddington (1917 –2004)
And now you are
climbing the stairs
taking shape
a figure in shining
thread rising from
a golden shield,
A medallion
emblazoned on
tapestry you grew
from the blind hands
of Penelope.
Her tapestry
saw everything
her stitches
embroidered the
painful colours
of her breath the
long sighing touch
of her hands.
She made
many journeys
My Last Duchess
(image)
“My Last Duchess”:
Starting Question
1. The "who, where, when, and why" of
the poem?
2. The role the listener plays in this
poem?
2. What is the last duchess like? (See ll.
21-34) Why is she called the “last”
duchess? Is she a flirt or one with
genuine kindness to all creatures?
3. What is the duke's attitude to his
duchess? What happened to her?
4. What kind of person is the duke?
What does the ending reveal about
him?
“My Last Duchess” (1)
Ferrara
That's my last Duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now: Frà Pandolf's hands
Worked busily a day, and there she stands.
Will't please you sit and look at her? I said
"Frà Pandolf" by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain I have drawn for you, but I)
“My Last Duchess” (2)
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, 'twas not
Her husband's presence only, called that spot
Of joy into the Duchess' cheek: perhaps
Frà Pandolf chanced to say "Her mantle laps
Over my Lady's wrist too much," or "Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat": such stuff
Was courtesy, she thought, and cause enough
“My Last Duchess” (3)
For calling up that spot of joy. She had
A heart -- how shall I say? -- too soon made glad,
Too easily impressed; she liked whate'er
She looked on, and her looks went everywhere.
Sir, 'twas all one! My favour at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool 過分殷勤
Broke in the orchard for her, the white mule
She rode with round the terrace -- all and each
Would draw from her alike the approving speech,
“My Last Duchess” (4)
Or blush, at least. She thanked men, -- good! but
thanked
Somehow -- I know not how -- as if she ranked
My gift of a nine-hundred-years-old name
With anybody's gift. Who'd stoop to blame
This sort of trifling? Even had you skill
In speech -- (which I have not) -- to make your will
Quite clear to such an one, and say, "Just this
Or that in you disgusts me; here you miss,
Or there exceed the mark" -- and if she let
Herself be lessoned so, nor plainly set
“My Last Duchess” (5)
indeed
Her wits to yours, forsooth, and made excuse,
--E'en then would be some stooping, and I choose
Never to stoop. Oh sir, she smiled, no doubt,
Whene'er I passed her; but who passed without
Much the same smile? This grew; I gave commands;
Then all smiles stopped together. There she stands
As if alive. Will't please you rise? We'll meet
The company below, then. I repeat,
The Count your master's known munificence
Is ample warrant that no just pretence
Of mine for dowry will be disallowed;
“My Last Duchess” (6)
Though his fair daughter's self, as I avowed
At starting, is my object. Nay, we'll go
Together down, sir. Notice Neptune, though,
Taming a sea-horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for
me!
“My Last Duchess”
1. Time: the Italian Renaissance,
when the duke is negotiating with
an envoy over the dowry of his
next marriage.
2. Place: the grand staircase in the
ducal palace at Ferrara, in
northern Italy
3. His purpose: to boast and/or to
threaten.
4. silence of the listener = awe,
alertness?
“My Last Duchess”
•
•
•
•
The duchess – jovial and loving
equally to everyone and every being.
last – 1) not late; she may be killed,
but she may also be put in a convent.
2) will be another one.
The duke: 1) possessive and
arrogant, he treats the duchess and
the next one as “objects” to possess;
2) proud—choose not to stoop
His language: 1) implicit demand; 2)
uses grand rhetoric to assert his
power, disguising his lack of power.
“My Last Duchess”—
Dramatic Irony
•
Contradiction between what he says
and what he means:
–
–
–
•
•
•
double negative
says he has no skills in speech
says he refuses to stoop (Isn’t the
command a compromise of his
humanity?)
Between assertion of power and
powerlessness
Power -- none but me draws the
curtain
Powerlessness– repetitions of “all”
“not alone,” “it was all one.”
Robert Browning
(1812-1889)
• Eloped with and married the poet
Elizabeth Barrett (1806-1861, writer of
Sonnets from the Portuguese), and settled
with her in Florence. He produced
comparatively little poetry during the next
15 years.
• After Elizabeth Browning died in 1861, he
returned to England.
• DRAMATIS PERSONAE (1864)
• THE RING AND THE BOOK (1869),
based on the proceedings in a murder trial
in Rome in 1698. (source)
“Porphyria’s Lover”
Starting Question
• How would you describe the
speaker? From which details can
you tell the way his mind works?
• How about Porphyria? How are
the two set in contrast with each
other?
• Where is the turning point in this
poem? How are the two changed,
or not changed, before and after the
turning point?
• Who is the listener? Why is the
listerner silent?
“Porphyria’s Lover” (1)
THE rain set early in to-night,
The sullen wind was soon awake,
It tore the elm-tops down for spite,
And did its worst to vex the lake:
I listen'd with heart fit to break.
When glided in Porphyria; straight
She shut the cold out and the storm,
And kneel'd and made the cheerless
grate
Blaze up, and all the cottage warm;
“Porphyria’s Lover” (2)
Which done, she rose, and from her form
Withdrew the dripping cloak and shawl,
And laid her soil'd gloves by, untied
Her hat and let the damp hair fall,
And, last, she sat down by my side
And call'd me. When no voice replied,
She put my arm about her waist,
And made her smooth white shoulder bare,
And all her yellow hair displaced,
And, stooping, made my cheek lie there,
And spread, o'er all, her yellow hair,
Murmuring how she loved me—she
Too weak, for all her heart's endeavour,
To set its struggling passion free
From pride, and vainer ties dissever,
And give herself to me for ever.
“Porphyria’s Lover” (3)
But passion sometimes would prevail,
Nor could to-night's gay feast restrain
A sudden thought of one so pale
For love of her, and all in vain:
So, she was come through wind and rain.
Be sure I look'd up at her eyes
Happy and proud; at last I knew
Porphyria worshipp'd me; surprise
Made my heart swell, and still it grew
While I debated what to do.
That moment she was mine, mine, fair,
Perfectly pure and good: I found
A thing to do, and all her hair
In one long yellow string I wound
Three times her little throat around,
And strangled her. No pain felt she;
I am quite sure she felt no pain.
“Porphyria’s Lover” (4)
As a shut bud that holds a bee,
I warily oped her lids: again
Laugh'd the blue eyes without a stain.
And I untighten'd next the tress
About her neck; her cheek once more
Blush'd bright beneath my burning kiss:
I propp'd her head up as before,
Only, this time my shoulder bore
Her head, which droops upon it still:
The smiling rosy little head,
So glad it has its utmost will,
That all it scorn'd at once is fled,
And I, its love, am gain'd instead!
Porphyria's love: she guess'd not how
Her darling one wish would be heard.
And thus we sit together now,
And all night long we have not stirr'd,
And yet God has not said a word!
“Porphyria and her Lover”
• Porphyria –
– cares about the norms of society and
its "gay feast"
– dominates over him.
• The speaker – isolated; quiet;
gloomy, listens "with heart fit to
break.“
• His language: repetition, nasal
sound to show his sulkiness.
• The lack of communication: "no
voice replied."
Turning Point & the
Listener(s)
• turning point –When the
speaker believes that Porphyria
loves her, he takes the initiative
to “possess” her forever.
• The ending: an attempt to
‘rejuvenate’ her.
• the listener – Porphyria, God,
or us  sympathy + horror
Teach & Learn