First published in 1977, this book looks at the versatile literary
form of dramatic monologue. Although it is often associated with
Browning and other poets writing between 1830 and 1930, the concept
has been employed by diverse poets of multiple periods such as
Ovid, Chaucer, Donne, Blake, Wordsworth, Philip Larkin and Ted
Hughes. In this study, Alan Sinfield demonstrates and analyses the
range and adaptability of the form through detailed examples. He
shows that the technique maintains a shifting and uncertain balance
between the voices of the poet and of his created speaker; when
extended, as in Maud, Amours de Voyage, The Ring and the Book, and
The Wasteland, the use of dramatic monologue raises questions of
personality and perception. In the second part of the text, the
author discusses the origins of Victorian and Modernist dramatic
monologue in the dramatic complaint and the Ovidian verse epistle
of earlier periods, offering a new interpretation of the value of
dramatic monologue to Browning and Tennyson. Through his writing,
Alan Sinfield successfully highlights the eternal vibrance of the
form.
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