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...
Enregistré dans:
| Dans: | URI:https://journals.openedition.org/cve, |
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| Auteur principal: | |
| Format: | Article ou chapitre numérique |
| Langue: | Français |
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Cahiers victoriens et édouardiens
2015
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| Accès en ligne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Résumé: | 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. |
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