Browning and the Dramatic Monologue Part 2

In the first place, we must decide who the speaker is, what is his character, and the specific att.i.tude of his mind. It is not merely the thought uttered that makes the impression. As a picture is something between a thought and a thing, not an idea on the one hand nor an object on the other, but a union of the two, so the monologue unites a truth or idea with the personality that utters it. An idea, a fact, may be valuable, but it becomes clear and impressive to some human consciousness only by being united with a human soul, and stated from one point of view and with the force of an individual life.

The story of Count Gismond, for example, is told by the woman he saved from disgrace, who loves him of all men, and who is now his wife. We feel the whole story colored by her grat.i.tude, devotion, and tenderness. The reader must conceive the character of the speaker, and enter into the depths of her motives, before understanding the thought; but after he has done so, he receives a clearer and more forcible impression than is otherwise possible.

The stories of Sam Lawson by Mrs. Harriet Beecher Stowe are essentially monologues. In Professor Churchill's rendering of them the peculiarities of this Yankee were truly shown to be the chief centre of interest. As we realize the spirit of these stories, we easily imagine ourselves on the "shady side of a blueberry pasture," listening to Sam talking to a group of boys, or possibly to only one boy, and our interest centres in the revelation of the working of his mind. His repose, his indifference to work, his insight into human nature, his quaint humor and sympathy, are the chief causes of the pleasure given by these stories.

Possibly the letter is the literary form nearest to the monologue. We can easily see why. A good letter writer is dominated by his attention to one individual. The peculiar character of that individual is ever before him.

The intimacy and abandon of the writer in pouring out his deepest thoughts is due to the sympathetic, confidential, conversational att.i.tude of one human being to another.

"Blessed be letters!" said Donald G. Mitch.e.l.l. "They are the monitors, they are also the comforters, they are the only true heart-talkers." There is, however, a great difference between letters and conversation. In conversation "your truest thought is modified during its utterance by a look, a sign, a smile, or a sneer. It is not individual; it is not integral; it is social, and marks half of you and half of others. It bends, it sways, it multiplies, it retires, it advances, as the talk of others presses, relaxes, or quickens."

This effect of others upon the speaker is especially expressed in the monologue, particularly in examples of a popular and humorous character.

While the monologue is the accentuation of some specific att.i.tude of one human being as modified by contact with another, in a letter the att.i.tude toward the other person is usually prolonged, due to past relationship; is more subjective, and expressed without any change caused by the presence of the person addressed. In some very animated letters, however, the att.i.tude of the future reader's mind is antic.i.p.ated or realized by the writer, and there is more or less of an approximation to the monologue. At any rate, this realization of what the other will think colors the composition. Letters are animated in proportion as they possess this dramatic character, and are at times practically monologues.

The skilful writer of a monologue omits obscure references in words to the sneers and looks of the hearer, except those which directly change the current of the speaker's thought. All must centre in the impression made upon the character speaking. In conversation, at times, a talker becomes more or less oblivious of his companion, yet the presence of his listener all the time affects the att.i.tude of his mind.

If we render a letter artistically to a company of people, we necessarily turn it into a monologue. We read the letter with the person in our mind, as a listener, to whom it is directed. We do not give its deeper ideas and personal or dramatic suggestions to a company as a speech.

It is not surprising to find many monologues in epistolary form.

Browning's "Cleon," in which is so truly presented the spirit of the Greeks,--to whom Paul spoke and wrote and among whom he worked,--is a letter written by Cleon, a Greek poet, to King Protus, his friend. Protus has written to Cleon concerning the opinions held by one Paulus, a rumor of whose preaching of the doctrine of immortality has reached him. "An epistle containing the strange Medical Experiments of Karshish, the Arab Physician," is a letter from Karshish to his old teacher describing the strange case of Lazarus with an account of an interview with him after he had risen from the dead.

This poem ill.u.s.trates also the fact that a monologue may not be on the personal plane. Browning is seemingly the only writer in English who has been able to present a character completely negative, or one without personal relations to the events. The character in this poem has a purely scientific attribute of mind and looks upon this event from a purely neutral point of view. It is only to him a curious case. By this method, the deeper significance may be given to the events while at the same time accentuating a peculiar type of mind, or it may be a rare moment in the life of nearly every individual. This poem is accordingly very interesting from a psychological point of view. It ill.u.s.trates the scientific temper.

The French have many examples of such writers, but Browning gives the best,--in fact almost the only ill.u.s.tration in English literature.

"The Biglow Papers," by Lowell, though in the form of letters, are really dramatic monologues. Each character is made to speak dramatically or in his own peculiar way. The chief interest of every one of these poems centres in the character speaking. The mental action is sustained consistently; the dramatic completeness, the definite point of view, and the dialect, enable us to picture the peculiar characters who think and feel, live and move, talk and act for our enjoyment.

The monologue, accordingly, is nearer to the dialogue than to a letter.

The differences between the dialogue and the monologue are the chief differences between the monologue and the play. In a dialogue there is a constant and immediate effect of another personality upon the speaker. The same is true of the monologue. The speaker of the monologue must accentuate the effect of his interlocutor as flexibly and freely as in the case of the dialogue. In the dialogue, however, the speaker and the listener change places; the monologue has but one speaker, and can only suggest the views or character of a listener by revealing some impression produced upon the speaker while in the act of speaking. This makes pauses and expressive modulations of the voice even more necessary in the monologue than in the dialogue.

Yet the mere fact that a poem or literary work has but one speaker does not make it a monologue; it may be a speech. Burns's "For A' That and A'

That" is a speech. Matthew Arnold may not be quite fair when he says that it is mere preaching, that Burns was not sincere, and that we find the real Burns in "The Jolly Beggars." Still, all must feel in reading it that Burns is exhorting others and railing a little at the world, but not revealing a character unconsciously or indirectly, through contact with either a man of another type, or through the exigencies of a given situation. Burns is boasting a little and a.s.serting his independence.

The monologue demands not only a speaker, but a speaker in such a situation as will cause him to reveal himself unconsciously and indirectly, and such a moment as will lay bare his deepest motives. He must speak also in a natural, lifelike way. There must be no suggestion of a platform, no conscious presentation of truth for a definite end, as with the orator.

It is a peculiar fact that the most difficult of all things is to tell the truth. Every man "knows a good many things that are not so." For every affirmation of importance, we demand witnesses. Whenever a man speaks, we look into his character, into the living, natural languages which are unconscious witnesses of the depth of his earnestness and sincerity. Even in every-day life men judge of truth by character. What a man is, always colors, if it does not determine, what he says. But the essence of the monologue is to bring what a man says and what he is into harmony.

The interpreter of a monologue must be true to the character of the speaker. He must faithfully portray, not his own, but the att.i.tude and bearing, feelings and impression, of this character. Every normal person would greatly admire the beauties of "the villa," but the "Italian person of quality," in Browning's monologue, feels for it great contempt.

In Browning's "Youth and Art" we feel continually the point of view, the feeling, and the character of the speaker.

YOUTH AND ART

It once might have been, once only: We lodged in a street together, You, a sparrow on the housetop lonely, I, a lone she-bird of his feather.

Your trade was with sticks and clay, You thumbed, thrust, patted, and polished, Then laughed, "They will see, some day, Smith made, and Gibson demolished."

My business was song, song, song; I chirped, cheeped, trilled, and twittered, "Kate Brown's on the boards ere long, And Grisi's existence imbittered!"

I earned no more by a warble Than you by a sketch in plaster: You wanted a piece of marble, I needed a music-master.

We studied hard in our styles, Chipped each at a crust like Hindoos, For air, looked out on the tiles, For fun, watched each other's windows.

You lounged, like a boy of the South, Cap and blouse--nay, a bit of beard, too; Or you got it, rubbing your mouth With fingers the clay adhered to.

And I--soon managed to find Weak points in the flower-fence facing, Was forced to put up a blind And be safe in my corset-lacing.

No harm! It was not my fault If you never turned your eye's tail up As I shook upon E _in alt._, Or ran the chromatic scale up;

For spring bade the sparrows pair, And the boys and girls gave guesses, And stalls in our street looked rare With bulrush and water-cresses.

Why did not you pinch a flower In a pellet of clay and fling it?

Why did not I put a power Of thanks in a look, or sing it?

I did look, sharp as a lynx (And yet the memory rankles) When models arrived, some minx Tripped up stairs, she and her ankles.

But I think I gave you as good!

"That foreign fellow--who can know How she pays, in a playful mood, For his tuning her that piano?"

Could you say so, and never say, "Suppose we join hands and fortunes, And I fetch her from over the way, Her, piano, and long tunes and short tunes?"

No, no; you would not be rash, Nor I rasher and something over: You've to settle yet Gibson's hash, And Grisi yet lives in clover.

But you meet the Prince at the Board.

I'm queen myself at _bals-pares_, I've married a rich old lord, And you're dubbed knight and an R. A.

Each life's unfulfilled, you see; It hangs still patchy and sc.r.a.ppy; We have not sighed deep, laughed free, Starved, feasted, despaired,--been happy.

And n.o.body calls you a dunce, And people suppose me clever; This could but have happened once, And we missed it, lost it forever.

The theme is the dream and experience of two lovers. The speaker is married to a rich old lord, and her lover of other days, a sculptor, is "dubbed knight and an R. A." Stirred by her youthful dreams, or it may be by the meeting of her lover in society, or possibly in imagination,--as a queen of "_bals-pares_" would hardly talk to a "knight and an R. A." in this frank manner,--it is the woman who breaks forth suddenly with the dream of her old love--

"It once might have been, once only,"--

and relates the story of the days when they were both young students, she of singing and he of sculpture, and describes, or lightly caricatures, their experience. Is her laughter, as she goes on in such a playful mood describing the different events of their lives, an endeavor to conceal a hidden pain? Has she grown worldly minded, sneering at every youthful dream, even her own, or is she awakening from this worldly point of view to a realization at last of "life unfulfilled"?

Browning, instead of an abstract discussion, presents in an artistic form an important truth, that he who lives for the world does not live at all.

By introducing this woman to us in a serious att.i.tude of mind, reflecting on the one hand a worldly mood, on the other the deep, abiding love of a true woman, he makes the desired impression. The last line throbs with deep emotion, and we feel how slowly and sadly she would acknowledge the failure of life:

"And we missed it, lost it forever."

Browning's "Caliban upon Setebos" furnishes a forcible ill.u.s.tration of the importance of the speaker and the necessity of preserving his character and point of view in the monologue. "'Will sprawl" begins a long parenthesis which implies the first intention of Caliban to lie flat in "the pit's much mire." He describes definitely the position he likes "in the cool slush." The words express Caliban's feelings at his noonday rest and the position he takes for enjoyment. He has not yet risen to the dignity of the consciousness of the ego. He does not use the p.r.o.noun "I"

or the possessive "my." His verbs are impersonal,--"'Will sprawl," not "I will sprawl,"--and he

"Talks to his own self, howe'er he please, Touching that other whom his dam called G.o.d."

He lies down in this position to have a good "think" regarding his "dam's G.o.d, Setebos." Notice the continual recurrence of the impersonal "thinketh" without any subject. Here we have a most humorous but really profound meditation of such a creature with all the elements of "natural theology in the island." The subheading before the monologue, "Thou thoughtest that I was altogether such an one as thyself," indicates the current of Browning's ideas.

When we have once pictured Caliban definitely in our minds with his "saith" and "thinketh," we perceive the a.n.a.logy which he establishes after the manner of men between his own low nature and that of deity.