Role of Speaker in Browning's Soliloquy of the Spanish Cloister
The speaker in any poem is significant because he enables the reader to aquire information necessary in order to enter the imaginary world of the work. In Browning's Soliloquy of the Spanish Cloister, the solitary speaker, who is a monk overwhelmed with hatred toward a fellow monk, plays an important role as the guide in the world of the poem. The diction, structure, and tone of the entire poem communicate the speaker's motives, perceptions, emotions, and behavior.
The narrator in Browning's poem proves that the speaker is not always a reliable guide because his thoughts reflect anger and hatred instead of giving the reader an unbiased view of Brother Lawrence. His speech is motivated by hatred so intense that it could kill his "heart's abhorrence" and in line 8, he wishes that "hell would dry [Brother Lawrence] up with its flames." The speaker is overcome with emotion, wishing death upon his fellow monk. His emotions interfere with the reader's perception of the o...
The informal language and intimacy of the poem are two techniques the poet uses to convey his message to his audience. He speaks openly and simply, as if he is talking to a close friend. The language is full of slang, two-word sentences, and rambling thoughts; all of which are aspects of conversations between two people who know each other well. The fact that none of the lines ryhme adds to the idea of an ordinary conversation, because most people do not speak in verse. The tone of the poem is rambling and gives the impression that the speaker is thinking and jumping from one thought to the next very quickly.
From the very first word of the poem, there is a command coming from an unnamed speaker. This establishes a sense of authority and gives the speaker a dominant position where they are dictating the poem to the reader rather than a collaborative interacti...
“Lead me not into temptation. I can find the way myself,” Rita Mae Brown once remarked. Temptation is all around, no matter where one might be, there is no use in going out and looking for it. For some individuals, the enticement is so strong that it has caused them to break away from the ties that once bound them to their upbringing, such as faith, but for others, it has brought them even closer to their faith. There is no questioning whether or not one would be strong enough to deny the temptation in order to remain pure, but, rather one’s faith is strong enough to go through the test that has been taking place since the very beginning when Adam and Eve were tempted in the Garden of Eden. Tone and symbolism throughout Nathaniel Hawthorne’s
The speakers and audience in poem are crucial elements of the poem and is also the case in these poems. In the poem Untitled, it can be argued that the poem is being written by Peter based on what his father might say to him...
The poem's speaker mistreated,gloomy and being isolated. She is a person who loss and assimilation if not loose your self. “That this
There are warning signs but they are not always predicative of a lone wolf terrorist or another criminal act of violence. The law has safeguards for the citizens of America for freedom of speech which also makes the task more difficult for law enforcement. Due to each lone attackers’ individual belief structure there are not any singular profile to match the Lone wolf. Profiling these lone attackers has not been an effective method in catching the Lone wolf terrorist. However, there are some similarities that do match a generalized profile, which leads to the different types of the Lone wolf terrorist
Humbert's main strength is his sense of humor. Nabokov is sure to throw Humbert's way all the American kitsch he can handle - mostly in the form of Charlotte Haze. His sly insults sail over her head, but Humbert wins our approval by making sure we understand them. Similarly, we admire him be...
The poem told the story of a man who is inhibited by language, and has never quite had the ability to articulate his thoughts and feeling through words. It is said that his family members have tried
Though most of the poem is not dialogue, from what little speaking there is between the...
Henley establishes the sense of suffering that the speaker is experiencing through the use of multiple literary devices. By beginning the poem with images of darkness and despair, Henley sets the tone for
The speaker opens up the poem by speaking in first person and saying “In the privacy of my mind/ I give vent to rage, lies, / envy, and vices of every kind”. (1-3) The speaker’s mind is like a safe haven and she can go there to be free and private with her thoughts without anyone knowing her true identity, almost as if she is trying to hide from the public’s eye. In the second tercet she mentions that she is filled with joy and is safe because the forbidden part of her nature is explored and no one can see or knows. In Duality the speaker also mentions that her mind is a wall that conceals her. This statement represents the speaker’s secrecy to keep her thoughts guarded and protected. Throughout the poem the speaker goes back and forth contradicting her façade with her inner thoughts. This technique makes the reader not only confused about the true identity of the speaker but also hungry for more information as the character in the poem isn’t thoroughly revealed and brought to light. The lack of information from the speaker and the nature of her thoughts can make her seem as a dishonest and evil
Thus, the monologue form is essential in both explaining and dramatising the actions of Browning’s narrators. In using the monologue form so frequently, Browning develops an intimate relationship with his readers through the narrators. The reader acts as ‘confidant’ to the narrators’ crimes, and as witness to their frailties. Further, the action is dramatised by the monologues’ ability to draw out the poems’ most crucial moments.
Browning’s works were the primary model for the basic form of the standard Victorian dramatic monologue which was based around a speaker, listener, and a reader. Browning’s poem “My Last Duchess” became a model for the dramatic monologue form primarily because of the strict approach he took while developing the poem. One of the aspects characteristic of this work is the authors level of consciousness. Each element in “My Last Duchess” is thoughtfully constructed with form and structure in mind. This poem is filled with dramatic principle that satisfied the Victorian period’s demand for an action and drama that were not overtly apparent in the work. In the case of “My Last Duchess” the drama of the poem is how his character, the Duke, is introduced. In dramatic monologues the character’s self is revealed through thoug...
Robert Browning frequently wrote dramatic monologues to enhance the dark and avaricious qualities in his works. Browning's use of this particular style is to "evoke the unconstrained reaction of a person in aparticular situation or crisis" (Napierkowski 170). A poem may say one thing, but when mixed with dramatic monologue, it may "present a meaning at odds with the speaker's intention"(Napierkowski 170). This change may show the reader more insight into the poem without directly stating the underlying facts. The reader is allowed to "isolate a single moment in which the character reveals himself more starkly" (Napierkowski 171). Browning's use of dramatic monologue "disposes the reader to suspend moral judgement" (Napierkowski 171) causing a haughtiness to hover over many of his works.
In Vladimir Nabokov's Lolita, the overruling drive of the narrator, Humbert Humbert, is his want to attest himself master of all, whether man or woman, his prime cravings, all-powerful destiny, or even something as broad as language. Through the novel the reader begins to see Humbert’s most extreme engagements and feelings, from his marriage to his imprisonment, not as a consequence of his sensual, raw desires but rather his mental want to triumph, to own, and to control. To Humbert, human interaction becomes, or is, very unassuming for him: his reality is that females are to be possessed, and men ought to contest for the ownership of them. They, the women, become the very definition of superiority and dominance. But it isn’t so barbaric of Humbert, for he designates his sexuality as of exceptionally polished taste, a penchant loftier than the typical man’s. His relationship with Valerie and Charlotte; his infatuation with Lolita; and his murdering of Quilty are all definite examples of his yearning for power. It is so that throughout the novel, and especially by its conclusion, the reader sees that Humbert’s desire for superiority subjugates the odd particularities of his wants and is the actual reason of his anguish.