Browning and the Dramatic Monologue

by S. S. Curry

Metre can be revealed only by the human voice. As a printed word is only a sign, so print can afford a hint only of the nature of metre. Its study, accordingly, must be associated with the living voice and the vocal interpretation of literature.

The mastery of metre requires first of all a development of the sense of rhythm, a realization especially of the subjective aspects of rhythm, a consciousness of the rhythm of thinking and feeling and the power we have of controlling or accentuating this. There must be developed in addition a sense of form and a realization of the nature of all expression, and of the necessity that ideas and feelings be revealed through natural and objective means.

Another step not to be despised is the training of the ear. At the basis of every specific problem of education will be found the necessary training of a sense. How can a painter be developed without education of the eye as well as control of the hand. So metre must be recognized by the ear before it can be revealed by the voice. Last of all, the imagination must recreate the poem and the reader must realize the specific language of every foot and feel its hidden meaning.

All these aims will be developed, more or less together, and be in direct relation to all the elements of expression.

Metre is a difficult subject in which to lay down general principles, lest they become artificial rules. Every poem that is really great shows something new in the way of combining imperfect feet, and the student must study the movement for himself.

Many will be tempted to ask, “What has metre to do with the monologue?” It is true that metre belongs to all poetry, but the monologue has some specific and peculiar uses of metre, and, more than any other form of poetry except the poetic drama, demands the living voice. Hence a few suggestions are necessary at this point upon this much neglected and misconceived subject.

To understand the relation of metre to the monologue, it should be held in mind that metre is far more flexible and free in dramatic than in lyric poetry. In lyric poetry it is usually more regular and partakes of the nature of song; but in dramatic poetry it is more changeable and bears more resemblance to the rhythm of speech. In the lyric, metre expresses a mood, and mood as a permanent condition of feeling necessitates a more regular rhythm; but in dramatic poetry, metre expresses the pulse-beat of one character in contact with another. It must respond to all the sudden changes of thought and feeling.

The difference between the metre of Keats or Shelley or Chaucer and that of Shakespeare or of Browning is not wholly one of personality. It is often due to a difference in the theme discussed and in the spirit of their poetry.

So important is the understanding of metre to the right appreciation of any exalted poetic monologue, that in general, unless the interpreter thoroughly masters the subject of metre, he is unprepared to render anything but so-called monologues on the lowest plane of farce and vaudeville art.

Very close to the subject of metre is length of line. A long line is more stately, a short line more abrupt, passional, and intense. A short line in connection with longer lines, generally contains more weight, and such an increase of intensive feeling as causes its rendering to be slow, requiring about as much time as one of the longer lines. The short line suggests the necessity of a pause. It is usually found in lyric poetry; rarely in dramatic.