INDEX
Titles of complete monologues are printed in Italics; authors of these in SMALL CAPITALS; subjects of lessons are printed in CAPITALS; ordinary topics in Roman.
Abrupt beginning, cause of Browning’s obscurity, [81]
Abt Vogler, [290];
theme in, [88-89]
ACTION, [172-195]
importance at opening, [172-173]
precedence of, [173]
significance of, in a monologue, [174]
in Italian in England, [174]
in Mrs. Caudle, [174]
in Up at a Villa, [174-175]
in A Tale, [175-176]
caused by change in thinking and feeling, [175-176]
by struggle for idea, [176]
in quotations, [177-178]
transitions and, [178]
pivotal, shows attention and politeness, [181-186]
locations of objects, [182-183]
monologue must not be declaimed, [183]
descriptive and manifestative, [187-189]
in Old Boggs’ Slarnt, Day, [188]
in Vagabonds, Trowbridge, [190-193]
dangers of, [194]
attitude, importance of, [195]
Andrea del Sarto, [265]
Appearances, [265]
ARGUMENT OF MONOLOGUE, [86-100]
Illustrated by A Death in the Desert, [89]
Illustrated by Bishop orders his Tomb, [91-94]
(Poem, [285])
Illustrated by Memorabilia, [160-162]
Art, function of, [7]
dramatic, important, [11]
forms of, not invented, necessary, [11-12]
Browning on, [40]
indirect, [63]
composed of few elements, [87-88]
theme of, [110]
social, [258]
At the Mermaid, [73-74]
extract from, [74]
Attention, key to dramatic, [181]
shown by pivotal action, [182-186]
Attitude, importance of, [195]
Barrack-Room Ballads are monologues, [128]
Before Sedan, Dobson, [84]
Biglow Papers are monologues, [19]
Bishop Blougram’s Apology, listener in, [41-42]
Bishop orders his Tomb, [285]
listener in, [53]
dramatic argument of, [91-94]
BODY, ACTIONS OF MIND AND, [172-195]
Bret Harte’s, In a Tunnel, [173]
Bridge of Sighs, Hood, [209]
metre of, [211]
Browning
Patriot, The, [3]
Woman’s Last Word, A, [6]
Confessions, [7]
Youth and Art, [21]
Incident of the French Camp, [33]
Rabbi Ben Ezra, [36]
Soliloquy of the Spanish Cloister, [58]
Up at a Villa—Down in the City, [65]
A Grammarian’s Funeral, [72]
At the Mermaid, [74]
My Last Duchess, [96]
Lost Mistress, [106]
Tray, [143]
One Way of Love, [150]
Italian in England, [152]
Wanting is—What? [157]
Memorabilia, [160]
A Tale, [164]
In a Year, [201]
Lost Leader, [212]
Evelyn Hope, [216]
Appearances, [265]
Andrea del Sarto, [265]
Muléykeh, [272]
Count Gismond, [275]
By the Fireside, [277]
Pheidippides, [281]
Prospice, [284]
Bishop orders his Tomb, [285]
Sibrandus Schafnaburgensis, [288]
Abt Vogler, [290]
Saul, [293]
Why not appreciated, [1-2]
Invented monologue, [1-2]
his art form, [7]
dramatic, [9-10]
compared with Leigh Hunt, [25-26]
influence of, [48]
compared with Tennyson, [52]
compared with Shakespeare, [55-61]
soliloquies are monologues, [58-61]
obscurity of, [71-81]
master of monologue, [131-132]
grotesque, element in, [229]
variety of his themes, [263-264]
Burns, monologues in, [117-120]
O wert thou in the cauld blast, [118]
By the Fireside, [277]
Caliban upon Setebos, character of, [24]
speaker in, [24]
Caudle, Mrs., On the Umbrella, [139]
Character of speaker must be realized, [138]
Chesterton, on personal element in story-telling, [86]
on Clive and Muléykeh, [125]
justifies Browning’s grotesque language, [229]
Churchill, J. W., rendering of Sam Lawson, [16]
Cleon, monologue or letter, [18]
Clive, illustrates person spoken of, [54]
why a monologue, [126]
Confessions, [7]
Connection, importance of first words to the, [79-80]
Consistency, law of, [235-237]
Conversation, elements of, [159]
Count Gismond, [275]
speaker in, [16]
Cushman, Charlotte, her rendering of monologue, [236-237]
Definition of monologue, [7]
Delivery
nature of, [134]
important in monologue, [133-136]
three languages in, complementary, [135-136]
DIALECT, [222-230]
must be dramatic, [222-223]
in Riley, Burns, Tennyson, [223]
not literal, [224-225]
dramatic, [225-226]
results from assimilation, [227]
must express character, [228-229]
part of grotesque, [229-230]
Didn’t know Flynn, Bret Harte, [173]
Dieudonné, Dr. Drummond, [225]
Dobson, Austin,
Before Sedan, [84]
change of situation in, [84-86]
Dooley monologues, [42]
Hennessey in, [42-43]
Dowden, Edward, on static dramatic, [110-111]
on Muléykeh, [111]
Dramatic art, important, [11]
Dramatic instinct, overlooked, [31]
necessary in human life, [30]
listener in, [31]
definition of, [103-104]
illustrated by, [103-113]
static dramatic, [110-111]
nature of, [111-112]
interprets odd moments, [156]
Drayton, Michael
Come, let us kiss and part, [116]
Drummond, Dr.
French Canadian dialect, [129]
Dieudonné, [225]
Duchess, My Last, [96]
Epic spirit, nature of, [102]
in Tennyson’s Ulysses, [102-103], [123]
in Sir Galahad, [124]
Evelyn Hope, [216]
Expression, vocal, necessity of, [133-146]
nature of, in the monologue, [147-172]
FAULTS IN RENDERING A MONOLOGUE, [241-247]
staginess, [241]
monotony, cause of, [241-242]
tameness, [242]
declamation, [242-243]
indefiniteness, [243]
exaggeration, [244]
cause of, false, [244-246]
Field, Eugene, Monologues in, [44]
Fireside, By the, [277]
Flexibility
illustrated by A Tale, [164]
Flight of the Duchess, as illustration of monologue, [108-109]
FORM OF LITERATURE, THE MONOLOGUE AS A, [100-115]
not invented, [11-12], [100-101]
Monologue, one, [100-113]
Foss, Sam Walter, monologues by, [48]
Fra Lippo Lippi, connection in, [81-83]
Freytag’s definition of drama, [103-104]
Grammarian’s Funeral, A, situation in, [72-73]
Grigsby’s Station, a monologue, [47]
Grotesque, nature of, [226]
dramatic, importance of, [30-31]
illustrations of, [33-39]
HEARER, THE, [30-64]
implied in dramatic art, [30-31]
in monologue, necessary, [32]
illustrated by Rabbi Ben Ezra, [36]
in Bishop Blougram, [41-42]
by Dooley and Hennessey, [43]
in Riley’s Nothin’ to Say, [46-47]
in Tennyson’s Lady Clara, [50]
Hervé Riel, metre in, [203]
Higginson, Col. T. W., story of Carlyle, [226]
HISTORY OF THE MONOLOGUE, [113-132]
in early literature, [113-116]
in Burns, [117-118]
Hood, Thomas, Bridge of Sighs, [209]
Hunt, Leigh, Browning’s method differs from, [25-26]
Imitation, danger of, in High Tide, [171]
IMPORTANCE OF MONOLOGUE, [248-264]
illustrated by Saul, [248-252];
by Job, [253]
by Ninetieth Psalm, [253-254];
by Prophets, [255]
has educational value, [255]
speakers, [255-256]
proves necessity of voice to literature, [256]
gives new course in speaking, [256];
illustration, [257]
prevents students of art from being
mechanical, [258]
shows necessity of art, [261]
of any length or theme, [262]
requires an artist, [263]
requires no expensive scenery, [262]
has limitations, [262]
its range, [264]
In a Tunnel, Bret Harte, [173]
In a Year, [201]
Incident of the French Camp, [33]
Inflection, function of, [151]
importance of, [149-150], [157]
Interpreter of monologue must command natural languages, [136]
Interpretation of monologue difficult, [139]
necessary, [133]
unites three languages, [135]
must be dramatic, [138-142]
Italian in England, The, [152]
Jerrold, Douglas, situation in his monologues, [75]
on Sordello, [1]
Mrs. Caudle and the Umbrella, [139]
its spirit, [141-143]
John Anderson, my Jo, Burns, [62]
Kipling, dramatic spirit in, [127-129]
Mandalay lyric or monologue, [128-129]
dialect of results from dramatic spirit, [228]
Lady Clara Vere de Vere, Tennyson, [50]
Language, threefold, [135-138]
La Saisiaz, situation of, [78]
Last Ride Together, [205]
Letters and monologues compared, [17-18]
LITERARY FORM, A NEW, [1-12]
not invented, [100]
monologue, as a, [100-113]
monologue, a true, [124], [259-264]
LITERATURE, THE MONOLOGUE AS A FORM OF, [100-113]
implies unprinted elements, [133-134]
suggests life, [135-136]
Lost Leader, The, [212]
Lost Mistress, The, [106]
Lyric, nature of, [14]
compared with monologue, [14-15]
Macbeth, story of, compared to monologue, [105-107]
Memorabilia, [160]
illustrates vocal expression of monologue, [161-162]
Mental actions modulate voice, [147-172]
Mermaid, At the, passage from, [73-74]
METRE AND THE MONOLOGUE, [195-222]
mistakes regarding, [195]
appreciation of, [196]
part of vocal expression, [196-197]
meaning of, [196], [204-205]
relation to length of line, [198-199]
in Woman’s Last Word and In a Year, [201]
study of, [213]
Mistress, The Lost, [106]
Mitchell, D. G., on letters, [17]
Modulations of voice, [147-172]
Monologue contrasted with the play, [105-109]
“Invention” of Browning, [2]
One end of conversation, [7]
study of, centres in, [10]
speaker in, [12-30], [41-43]
dramatic, [32]
person spoken of, in, [54-55]
compared with soliloquy, [55-61]
situation in, [64-78]
connection, [78-86]
argument of, [86-94]
as literary form, [100-113]
compared with play, [105-109]
before Browning, [113]
common in English poetry, [113-132]
common in modern literature, [127-132]
needs delivery, [133-146]
vocal expression of, [147-172]
rhythm of thinking in, [148]
action in, [172-195]
metre in, [195-222]
dialect in, [222-229]
use of properties, [231-240]
faults in rendering, [241-246]
IMPORTANCE OF, [248-264]
Movement illustrated by High Tide, [168-171]
Mrs. Jim, a series of monologues, [130]
Muléykeh, [272]
Chesterton on, [125]
as a monologue, [125-126]
My Last Duchess, [96]
illustrates elements of monologue, [96-99]
Natural languages, function of, [134-137]
Nothin’ to Say, Riley, [46]
Obscurity, chief cause of Browning’s, [81]
Old Boggs’ Slarnt, Day, [188]
One Way of Love, [150]
Oratory and acting compared, [13], [179-181]
Jefferson on, [179-180]
Palgrave on Sally in our Alley, [120-122]
Patriot, The, [3]
Pause, Importance of, [149]
Personal element in art, Chesterton on, [86]
found in all conversation and expression, [81-88]
Pheidippides, [281]
Play, a monologue, [10-12]
Poetry, Aristotle on, [128]
dramatic, not invented, [100]
epic, [122-123]
PROPERTIES, [230-247]
use of, in play and monologue, [230-231]
significance of, [230-231]
need of generalizing, [232]
Irving, Sir Henry, scenery in unity, [233]
consistency in, [235]
use of scenery, [236-240]
must not be literal, [237]
when dramatic, [238-240]
Prospice, [284]
metre of, [209]
Psalm Ninetieth, [253]
a monologue, [253-255]
Rabbi Ben Ezra, [36]
Rendering of monologues, [236-237]
RENDITION, NECESSITY OF, [133-147]
Rhythm, first element in interpretation, [148]
Riley, James Whitcomb, Hoosier monologue, [129-131]
Knee-deep in June, a monologue, [45]
situation in, [53]
Nothin’ to Say, [46]
Ring and the Book, The, proves value of monologue, [26-29]
extract from, on art, [40]
Sally in our Alley, Carey, [120]
Sam Lawson, stories of, Mrs. Stowe, monologues, [16]
illustrates nature of monologue, [248-252]
Saul, [293]
Shakespeare compared with Browning, [112]
his soliloquies compared to monologues, [55-57]
Sibrandus Schafnaburgensis, [288]
SITUATION, PLACE AND, [64-78]
dramatic, [64]
monologue implies, [65]
Up at a Villa—Down in the City, [65]
in Browning, always definite, [71-72]
changes in Grammarian’s Funeral, [72]
in Douglas Jerrold, [75]
Andrea del Sarto (Poem, [265])
Soliloquy of the Spanish Cloister, [58]
soliloquy compared with monologue, [56-57]
Shakespeare’s, [55]
difference between Browning and
Shakespeare, [57-61]
SPEAKER, THE, in monologue, [12-30]
speech and monologue compared, [101-102]
Suckling, Sir John, Why so pale and wan, [116]
Tale, A, [163]
Tennyson’s Lady Clara Vere de Vere, [50]
a monologue, [52]
many monologues, [49]
not master of, [53]
TIME AND CONNECTION, [78-86]
abrupt beginning, [79-80]
tone-color explained, [157-160]
Tray, [143]
Up at a Villa—Down in the City, [65]
Vagabonds, The, Trowbridge, [190]
Vocal Expression
nature of, [134]
reveals processes of mind, [147-172]
unprintable, [136]
in play and monologue, [167-168]
VOICE, ACTIONS OF MIND AND, [147-172]
Wanting is—What? [157]
Whitman, dramatic element in his “O Captain,” [120]
Why so pale and wan, Suckling, [116]
Woman’s Last Word, A, [6]
Words complemented by tone and action, [135]
Wyatt, Sir Thomas, The Lover’s Appeal, lyric in form of monologue, [114]
Youth and Art, [21]
metre of, [216]
The University Press Cambridge, U. S. A.
Footnotes:
[1] Freytag, Technik des Dramas, chap. i, sec. 2, p. 16 (Leipzig, 1881). Translation by Prof. H. B. Lathrop.
[2] To emphasize the nature and importance of poetic form (see pp. [211], [213]), “Count Gismond” and “By the Fireside” are here printed as prose. Find the length of line, the stanzas, and the metre, the meaning and appropriateness of all these. How should they be paragraphed?
Transcriber’s Notes:
Several of the poems appear in the middle of a paragraph. They are presented here as in the original text.
Other than the corrections noted by hover information, inconsistencies in spelling and hyphenation have been retained from the original.