Neo-Surrealism’s Forked Tongue: Reflections on the Dramatic Monologue, Politics, and Community in the Recent Poetry of Will Alexander and John Yau

2014 ◽  
Vol 55 (3) ◽  
pp. 501-533
Author(s):  
Michael Leong
Keyword(s):  
Dramatic Monologue ◽  
John Yau

The Dramatic Monologue

PMLA ◽  
1947 ◽  
Vol 62 (2) ◽  
pp. 503 ◽  
Author(s):  
Ina Beth Sessions
Keyword(s):  
Dramatic Monologue

Tennyson’s ‘Tithonus’ and the Revision of Wordsworth’s ‘Tintern Abbey’

2019 ◽  
pp. 163-187
Author(s):  
Jayne Thomas
Keyword(s):  
The Self ◽  
Dramatic Monologue ◽  
Tintern Abbey ◽  
The Relationship

This chapter examines the Wordsworthian echoes and borrowings in the 1860 dramatic monologue ‘Tithonus’, revealing ‘Tithonus’, and, in part the earlier ‘Tithon’ on which it is based, as a rewriting of the relationship between mind and nature, of the self reencountering itself in time, as it appears in Wordsworth’s ‘Tintern Abbey’ (1798). In reworking Wordsworth’s interaction between mind and nature, ‘Tithonus’ is consolidating a new poetic alongside revising what has ostensibly become an outdated poetic trope. The revisions, in part, free Tennyson from the universal subjectivity of the lyric speaker, thereby strengthening the strategies of the monologue. Yet, Tennyson’s borrowings and echoes create effects that the poet cannot fully control, feeding, compromising, directing, and, ultimately, supporting the poem.

A. C. Swinburne in the Round: Drama, Personae and Lyric Subjectivity

2016 ◽  
Author(s):  
Marion Thain
Keyword(s):  
Oscar Wilde ◽  
Poetic Form ◽  
Dramatic Monologue ◽  
First Case ◽  
Poetic Community

The first case study of this part of the book teases out of Swinburne’s metrical masochism a perversely chaste account of lyric community, in which poetic form works to imagine a chorus of voices. Starting with poem ‘Anactoria’, one of the best known poems of Poems and Ballads (1866), the chapter analyses the questions of genre and poetic community posed in Swinburne’s early work. Reading on through his oeuvre this impulse might find a natural outlet within Swinburne’s politically-engaged work of the 1870s, but what about the more Parnassian ‘A Century of Roundels’ (1883)? Close reference to this volume, enables the chapter to demonstrate models of lyric collectivity in poems that are far from any ’dramatic monologue’ model—and ultimately provides the tools to offer a fresh engagement with ‘Anactoria’. Comparison with the poems of Oscar Wilde helps focus the issues of poetic subjectivity and connect with Wilde’s infamous d commentary on Swinburne’s poetic subjectivity.

Book IV

2020 ◽  
pp. 117-138
Author(s):  
Colleen Jaurretche
Keyword(s):  
Speech Act ◽  
Dramatic Monologue ◽  
Logical Conclusion ◽  
Theory Of Language

This chapter contextualizes the lyrical and poignant ending of the Wake as both dramatic monologue and speech act. Expanding upon the tradition of the aubade set forth in Chapter 3 by considering Jacques Derrida’s thoughts on the god Thoth and Ludwig Wittgenstein’s mysticism, it looks at the intimate, domestic, and elegiac tone of the ending of the Wake as the logical conclusion to the book’s larger framing of prayer and theory of language.

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