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įollowing the definition of the genre, the rest of the first chapter is devoted to a short survey of the origins and development of the dramatic monologue. Howe also claims that the “dramatic” quality of the dramatic monologue tends to be expressed, among other things, in the existence of strong tension and conflict, whether between the speaker and the external world or within the speaker himself or herself. Throughout the book, in the theoretical part as well as in the analyses of specific poems, Howe discusses a variety of ways the distance between poet and speaker in the dramatic monologue is established and contributes to the overall meaning of the poem.Īpart from the dramatic monologue’s double voicedness, Howe emphasizes what she terms its “novelistic qualities,” the presence of a strong narrative element (usually the gradual unfolding of the speaker’s life story), as well as a realistic setting particularized in both time and space. In this separation the dramatic monologue fundamentally differs from the lyric: the dramatic monologue embodies the phenomenon termed by Mikhail Bakhtin “double voicedness” because of the refraction of the poet’s voice through the speaker’s, resulting in a simultaneous presence of (at least) two different voices in the text. The basic criterion Howe employs in her definition of the dramatic monologue is common to various critical approaches she surveys, namely the separation between speaker and poet and the distance created between the two. The book’s first chapter is meant to provide an overview of the genre, and the three following chapters are devoted to a discussion of the corpus of dramatic monologues by individual poets and to a close analysis of representative poems with a view to illustrating the genre’s various characteristics and its development over the years. xix + 166 pp.Įlizabeth Howe characterizes her book on the dramatic monologue as “a guide to the genre for students and other interested readers” (ix). New Books at a Glance The Dramatic MonologueĮlizabeth A.
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