A comparison of how two Victorian poets approach their art, including an analysis of two dramaticmonologues: Robert Browning's 'My Last Duchess' and Alfred Lord Tennyson's 'Ulysses'.
Abstract This essay describes how Robert Browning in 'My Last Duchess' reveals his theory of art in a more complex manner than the more obvious presentation of Alfred Lord Tennyson as he reveals his poetic pleasures in 'Ulysses.' Both diction and images in both dramaticmonologues are closely explored and analyzed.
From the Paper "In delineating the theory of art of these poets, this paper will concentrate primarily on what one dramatic monologue of each of the two poets, Browning and Tennyson, reveals. Both poets are concerned with bringing the feelings and truths of their experience into the hearts and minds of others. A central difference in their theories of art is that Browning puts a greater burden on the reader, while Tennyson feels it vital to be more obvious in expressing his feelings to others. A basic question to consider as we explore their theories of art is: How and why do we enjoy the poems? Understanding our own responses helps us understand their assumptions about art. The aim of both poets is that we lose ourselves within the poem, forgetting for the moment our real surroundings in favor of total immersion in the poetic situation."
Abstract The quest for identity marks the central movement in Robert Browning's dramaticmonologue, ?Fra Lippo Lippi.? This paper looks at how, during the course of the poem, Lippi depicts his patrons and, particularly the Church, as entities that wish to solidify their respective identities through artistic representation. Conversely, it explains how Lippi utilizes painting to point out his personal distance from the Church and to solidify his own identity as an individual who privileges body over soul.
From the Paper "What he had thought was free artistic expression was little more than a critical assessment of his surroundings through art. The art itself offered no insights to Lippi's personality or identity; rather it allowed him to avoid self-scrutiny. The Prior's criticism of Lippi's work acts as a catalyst for self-evaluation because it creates and highlights a division between Lippi's social obligations and his belief system. However, Lippi's self-evaluation is as meaningless as his art until he verbalizes it. The form of the dramatic monologue indicates that identity exists and has meaning only insofar as it is a response to social context."
Abstract This paper explains that Robert Browning's peerless reputation among Victorian poets is linked primarily to four volumes of poetry he published over a period of twenty years during the mid-19th century. The author points out that Browning's most famous poetic form of choice is the dramaticmonologue, which is a poem that is written in the voice of another person, as exemplified in poems such as "My Last Duchess" . The paper relates that Browning's poems are portraits of individuals, rather than searching self-explorations; however, these portraits tackle critical issues, which concerned the poet, such as political corruption, religious intolerance and outmoded conceptions about women.
From the Paper "Interestingly enough, although "the central problem in Browning's love poetry is invariably one of communication between the sexes", Browning's own marriage to a fellow poet was quite happy. He married the (at the time) more famous Elizabeth Barrett Browning, after admiring her poetry, and encouraging her to elope from what was an oppressive relationship with a domineering father. The two of them escaped to Italy, making the words of one of Browning's few lyrics, "Home," written in the voice of an evident expatriate, ironic and poignant."
Abstract This paper discusses the dramaticmonologue "My Last Duchess" and the short story "The Yellow Wallpaper" which both deal with issues of mental ill-health. The paper explains that while the Duke in the poem "My Last Duchess" is prone to bouts of megalomania, the woman in "The Yellow Wallpaper" is beset with depression, post-pregnancy. The paper then looks at how both these texts are self-narrative, thus allowing the reader to explore individual and universal predicaments through the sufferer's psyche. The writer points out that the purposes of the two pieces also vary. Browning's poem is intended to chill the reader and narrate a loosely historical story that ends with the gory implication that the Duke is unchecked and might continue to murder other people. Gilman, on the other hand, wrote her short story "The Yellow Wallpaper" to instruct what should not be done in cases of depression, to create awareness of the complexity and seriousness of mental ill health and to disturb the reader out of his/her sphere of comfort and provoke productive thought.
From the Paper "The story is narrated by a woman who's come for a holiday, with her husband and her infant. She writes how her husband, who is a doctor, refuses to believe what she tells him, regarding her mental ill health. He instead, attributes it to a mild form of 'feminine' hysteria and highly sensitive nerves and brings her on a holiday, hoping that the change of scene will do her good. She is advised not to read or write (two things that she enjoys doing), or take walks in the fresh air for it might tire her. She is forced in a loving way to 'recuperate', cooped up in a room that is given to her. The woman becomes obsessed with the peeling wallpaper in the room, her subtle pleas of someone believing her unhappiness and depression going unheard; she consequently becomes mad at the end of the story."
Abstract The paper discusses how Robert Browning considers his poem "Pippa Passes" as both a play and poem. The paper explains that as a play, "Pippa Passes" consists of a series of rather disjointed dramatic scenes held together largely by being part of the same work. The paper shows how as a poem, "Pippa Passes" involves a number of poetic experiments and different poetic forms, using elements that would be characteristic of the dramaticmonologue style Browning would further develop in later works.
From the Paper "As a drama, "Pippe Passes" has a setting in which the characters interact and to which they react. That setting is a small Italian mill town. The situation is expressed at the beginning of the opening section, entitled "Day!" Specifically, it is New Year's day at Asolo in the Trevisan. The main character is Pippa, the first person introduced in the piece, a girl who works in the silk mills of the town. She is cheerful and philosophical and speaks directly to the reader in the manner that will become traditional in Browning's dramatic monologues."
Abstract This paper explains that Robert Browning's poems "My Last Duchess" and "The Bishop Ordering His Tomb at Saint Praxed's Church", both dramaticmonologues that take in the 16th century, portray a large discrepancy between the outer images and the inner character. The author points out that Browning, who was interested in how people lived during the Renaissance, supposedly a period of great artistic and spiritual enlightenment saw that people in the 16th century were just as greedy, egotistical and materialistic as people in the 19th century. The paper reveals that, the dark truth behind both the paintings is, that regardless of their station in life or how good, kind or saintly they portray themselves, a beautiful object may conceal an ugly truth.
Long quotes.
From the Paper "In the first poem, My Last Duchess it is believed that Robert Browning based the Duke on a real person who was accused of killing his wife. According to critical experts, My Last Duchess" is Browning's extraordinary portrait of a Renaissance murderer who would have been astonished had anyone called his conduct criminal. In actuality, the person speaking in this poem is the Duke of Ferrara (b. 1533), who, following the death of his first wife, is now seeking the hand of the niece of the Count of Tyrol. The Duke asks his visitor to stop and look at this perfect picture of his Last Duchess, but although the picture is perfect, the Duke really believes that his Last Duchess was a less than perfect wife."
This paper discusses, stanza by stanza, Robert Browning's poem "Abt Vogler" in which he expresses the way the imperfect art of music acts as a symbol for man's life.
Abstract This paper explains that Robert Browning, one of the most prevalent poets of the Victorian period that was characterized by the search for self-definition, mastered the art of the dramaticmonologue and used that style of poetry to convey themes to his readers through the personalities about whom he wrote. The author points out that, in the poem "Abt Vogler", Browning expressed the way the short-lived, imperfect art of music acts as a symbol for man's life--flawed and always seeking resolution. The paper relates that the opening stanza introduced the protagonist Vogler, who was contemplating whether his newly improved organ will be a structure that will be able to brave the varieties of music that he will "build".
From the Paper "As the poem resolves toward the end, Browning uses his poem to express the importance for man to reach to his full potential. This idea, as also expressed in Browning's "Andrea del Sarto", is the main initiative in "Abt Vogler". As man does when he struggles to grasp his full potential, Vogler asks, "Therefore to whom turn I but to thee, the ineffable Name?" Thinking that he may never be able to play such music ever again, Vogler's faith in music suddenly returns when he prays to God. He says, "There shall never be one lost good! What was, shall live as / before...""
Tags: potential, monologue, flawed, resolution, organ
Abstract This paper examines how quite a fuss has been raised over Eve Ensler's production of "The Vagina Monologues" (V Monologues) because of its overt and explicit depiction of the female genitalia. It looks at how the appropriateness of the subject matter is questioned, as is the necessity for it to be circulated, mass produced, and performed. It shows how there are proponents for both sides of the issue, arguing equally as fiercely that the monologues are either essential to the liberation and independence of women or abominable to traditional standards of morality and modesty, and how both sides see this work as a key artifact, either to identify with or protest against. The paper is written from an anti-feminist viewpoint and picks apart the "Vagina Monologues", citing the play as an example of societal decay. It also looks at the play as a part of pop culture, contrasting the play from the vantage points of feminism vs. anti-feminism.
From the Paper "One primary goal of the monologues was to circulate the word vagina making it commonplace as a part of everyday conversation. An example of this is Ensler's admittedly common use of the word vagina. Ensler says vagina because she fears what we do not speak we forget and the thought of forgetting about vagina scares her (xx, 3). The question arises as to whether or not the term vagina is even important. Is the word vagina important because Ensler tells us it is important? While she drills through her monologues how important the word vagina is in reclaiming ourselves as women, can she get past the cultural biases which have been in place for so long by simply saying her work is important? Those identifying with her stance would agree based upon the thought circulating the word "vagina" is liberating."
Abstract The paper provides a thorough investigation of the presentation of Beckett's philosophical themes within the dramatic genre in order to determine whether meaning is indissolubly connected to innovation in dramatic technique. The paper shows how meaning is not indissolubly linked; Beckett allows his plays meaning outside of the dramatic arena. The paper does note, however, that Beckett's unconventional dramatisation of his philosophy contributes greatly to the plays.
From the Paper "In his essay, 'Beckett Out of His Mind: The Theatre of the Absurd', William Haney asserts that '[b]y dispensing with narrative sequence, character development, and psychology in the conventional sense, Beckett portrays the process by which awareness moves from the qualia of a historically mediated experience to a state beyond linguistic and cultural boundaries'. This statement has two key implications: firstly that that Beckett's plays do have an intrinsic meaning, and secondly that this meaning lies beyond linguistic boundaries and is thus inseparably linked to Beckett's unconventional dramatic technique. This perspective on meaning itself, however, is problematised when placed into Beckett's cultural context. Indeed, that 'Beckett actually encouraged critics to adopt a philosophical perspective on his work' seems to indicate that this is a useful approach."
Abstract This paper presents a research proposal that explores the role of socio-dramatic play within the modern educational settings and explores how it affects the daily lives of children. The research paper also aims to explore how socio dramatic play in early childhood education enhances student performance. The paper discusses how socio-dramatic play compels children to use their imagination, thoughts and creativity.
Table of Contents:
Introduction
Statement of the Problem
Purpose Statement
Significance of the Study
Literature Review
Research Questions
Sub Questions
Methodology
Research Objectives
Research Method
Participants
Sampling Frame
Method of Selecting the Sample Elements
Data Collection
Scale Development for the Questionnaire
Data Analysis
Questionnaires
Reliability and Validity of the Results
Ethical Issues
Conclusion
From the Paper "Piaget, who is a cognitive theorist, believed that play can help children develop several cognitive and emotional stages and it is a key instrument in the early mental growth of children. Piaget believed that people change and adapt according to the conditions around them and this change and adaptation is the ultimate weapon for personal growth and development. Tsao (2002) writes, "Children who play over and over again with the same object, such as repeatedly pretending to drink from an empty cup, actually are practicing eye-hand coordination and developing sensory-motor skills. At the same time, children practice the behaviors that are acceptable to society so that they can act appropriately in different situations. Different kinds of play require different levels of cognitive sophistication, and that is why each different type of play is found at a specific stage of cognitive development (Tsao, 2002; pg 230)" Similarly, Vygotsky, who is a socio-cultural theorist, conceptualized play as a tool, which assists children develop self-control. It helps children in mastering their behavior and allows them to understand the difference between thought and action. According to Vygotsky, play also helps in the development of advanced cognitive skills and abstract thinking (Tsao, 2002)."
A review of Dryden's "All for Love" as an embodiment of the critical concepts of his "Of Dramatic Poesy: An Essay" and a discussion of how they are an imitation of William Shakespeare's "Anthony and Cleopatra".
1,150 words (approx. 4.6 pages), 7 sources, 2002, $ 44.95
Abstract This essay will examine Dryden's "All for Love" (1677) and his "Of Dramatic Poesy: An Essay" (1668). It will be argued that the former play may be seen as the embodiment of Dryden's critical reflections on the issues noted in the above passage. In "All for Love", as will be seen, Dryden attempts to assimilate the legacy of the Elizabethan stage - in this case, Shakespeare's "Anthony and Cleopatra" - into an age dominated by French critical theories. However, as will be seen, Dryden often contradicts his own earlier critical thinking, particularly with respect to the proper language of the theater. This suggests that a true analysis of Dryden's critical thinking must incorporate his dramatic practice into his critical theory.
Abstract In this article, the writer examines the way in which dramatic irony plays a role in Sophocles' drama "Oedipus the King." The writer discusses how arrogance and denial can contribute to a man's downfall. Further, the writer demonstrates the author's use of dramatic irony to illustrate flaws in Oedipus' character.
From the Paper "In Sophocles' "Oedipus The King", the playwright examines the way in which arrogance and denial can contribute to a man's downfall, as well as the notion that men truly are subject to the whims of fate. Indeed as a result of his own conceit, the play's titular character Oedipus, despite the fact that he has attempted to fight the prophecy that tells of his fate and exercise free will, willingly chooses to ignore what is true and this ultimately leads to his destruction. In order ... "
Abstract This natural science paper is comprised of three parts. The first part of the paper sets up the basic premise of a dramatic dialogue between Edison and Einstein. The second part is a dramatic dialogue between Edison and Einstein. The final part of the paper is an annotated bibliography.
From the Paper "Thomas Edison (1847-1931) was one of the most prolific and important inventors in the United States during the late 19th and early 20th Century. As a scientist Edison was more interested in designing products that would be useful for the average person. This means that Edison is a believer in technology and does not put a lot of stock in theory. As an inventor Edison is also a business man. "
Abstract This paper analyzes the definition of the outsider as discussed in two plays - "AlterNatives" by Drew Taylor and "Amigo's Blue Guitar" by Joan MacLeod. It explores how and why the various characters in the plays have constructed the outsider, while simultaneously fortifying their own position as outsider. The paper also analyzes the symbolism and language in both plays and discusses how this adds to the theme discussed.
Table of Contents:
Introduction
Dramatization of the Outsider
Outsider Constructing the Outsiders
Consequences of Dramatization by Characters
Symbolism in the Two Plays
Conclusion: The Nature of Experience
From the Paper "In both plays, language is the main route to understanding the presumed outsider. At the same time, language is the main avoidance strategy. Elias, for example, serves a practical end for Sander in that Sander "gets to cut out of Spanish and English class and hang out at immigration. Everyone thinks he's some kind of hero" (MacLeod 38). When Martha is speaking quite rapidly to Elias and he requests that she slow down, she does understand but ignores him. Martha even repeatedly mispronounces Elias' name. Elias points out to both Callie and Sander that the most formidable barrier to comprehending his reality is language. "If you want to know my story, then you can learn my language" (MacLeod 42)."
Abstract This essay examines three kinds of tragedy in the history of dramatic theatre. Greek, Shakespearean, and Modern tragedies are discussed here, and analyzed in relation to exemplary tragic plays. Antigone, Hamlet, and A Raisin in the Sun are considered in relation to the tragedy that describes their composition. The differences and similarities are discussed, and the social evolution of theatrical literature is explored in the conclusion.
