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Collection of essays on dramatic monologue
Collection of essays on dramatic monologue
Essay about dramatic monologue
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Tithonus and the Eternal Consequences of Decisions
"Tithonus" was written by Alfred, Lord Tennyson. The poem's setting is the ancient story of Tithonus. Tithonus fell in love with Eos, goddess of the dawn, and asked her for immortality. Unfortunately for Tithonus he did not ask for eternal youth, only eternal life. He, therefore, grows old but never dies while Eos not only never dies but also never grows old. What makes Tithonus's situation worse is that "the gods themselves cannot recall their gifts" (49). This dramatic monologue is characteristic of Tennyson.
Tithonus is an excellent example of a dramatic monologue. There is a speaker, Tithonus, who is not the poet. There is an audience-the gods. Another characteristic of a dramatic monologue found in Tithonus is an exchange between the speaker and the audience: "I asked thee, 'Give me immortality?'" (15). A character study is when the speaker speaks from an extraordinary perspective: Tithonus is looking back on his decision, a decision which the reader will never be able to make but can only dream of making. His portrayal of his decision causes the common response to be rejected: most people would want eternal life, but Tithonus proves this short-sighted. Tithonus proves the wish for immortality vain by stating that:
Why should a man desire in any way
To vary from the kindly race of men,
Or pass beyond the goal of ordinance
Where all should pause, as is most meet for all? (29-31).
Another trait of the dramatic monologue is the dramatic, or critical, moment. In Tithonus this moment is when Tithonus decides that he does not want immortality: "take back thy gift" (27). "Tithonus" has all of the basic traits of a dramatic monologue: a speaker who is not the poet, an identifiable audience, an exchange between the two, a critical moment, and a character study of the speaker.
One other trait of a dramatic monologue is a dramatic tension. This tension is between harsh judgment and sympathy. This tension makes the audience see objectively rather than subjectively. The audience has sympathy for Tithonus, because he suffers: "strong hours indignant worked their wills, and beat me down and marred and wasted me" (50) His telling the story also bring sympathy from the audience. The audience must judge Tithonus negatively, because he has made an error. His error was his will "to vary from the kindly race of men" (29).
Insuring the portrayal of his theme, Sophocles targets the tension of his tragic play, Oedipus Rex, through the growth of the main character, Oedipus, rather than the mystery. Utilizing literary devices such as dramatic irony, soliloquies, and foreshadowing, Sophocles reveals to the audience the conclusion to the mystery of Oedipus before the hero has solved it himself; forcing the audience’s attention towards character growth of the hero, over the actual development of the mystery.
Dramatic monologue often pertains to the narrator talking to and addressing the audience (1063). Fife uses dramatic monologue form, without any particular rhyme schemes, as well as no typical line or stanza count ordinarily given for regular verse poetry. Along with not using rhyme or line count norms, Fife has a lack of grammatical use throughout her poems. There is no punctuation or capital letters
The tradition of the tragedy, the renowned form of drama based on human suffering that invokes an accompanying catharsis, has principally become a discontinued art. Plays that evoke the sense of tragedy-the creations of Sophocles, Euripides, and William Shakespeare-have not been recreated often, nor recently due to its complex nature. The complexity of the tragedy is due to the plot being the soul of the play, while the character is only secondary. While the soul of the play is the plot, according to Aristotle, the tragic hero is still immensely important because of the need to have a medium of suffering, who tries to reverse his situation once he discovers an important fact, and the sudden downturn in the hero’s fortunes. Arthur Miller’s Death of a Salesman is the modern tragedy of a common man named Willy Loman, who, like Oedipus from Oedipus Rex by Sophocles, exhibits some qualities of a tragic hero. However, the character Willy Loman should not be considered a full-on tragic hero because, he although bears a comparable tragic flaw in his willingness to sacrifice everything to maintain his own personal dignity, he is unlike a true tragic hero, like Oedipus, because he was in full control of his fate where Oedipus was not.
Sophocles’ Oedipus Rex introduced the one of the most important tragic heroes of Greek literature. First performed in the fifth century B.C.E., the play is centered around Oedipus, the king of the Greek city-state Thebes, and his struggle to conquer his emotions as he seeks out the true story of his life. This work, inspired by a well-known Greek myth, scrutinizes both the tragic flaws of Oedipus and his heroism. Examples of Oedipus’ tragic flaws abound in the play. In his condemnation of Tiresias and Creon, Oedipus is controlled by his emotions. However, the heroism of Oedipus is also an essential theme of the drama, though it is often downplayed. Despite this, careful analysis can uncover many instances in which Oedipus exhibits his heroism by attempting to control his emotions and discover the truth of his origins. In his finest moments, Oedipus is in complete command of his emotions as he searches for the truth, while at his nadir, Oedipus is completely controlled by his emotions and is absolutely unpredictable. This contrast is, in large part, what makes Oedipus a tragic hero. Oedipus, King of Thebes, is among the greatest Hellenistic tragic heroes because of his fight to overcome his greatest flaw, his uncontrollable anger, as he heroically searches for the truth.
The great Sophoclean play, Oedipus Rex is an amazing play, and one of the first of its time to accurately portray the common tragic hero. Written in the time of ancient Greece, Sophocles perfected the use of character flaws in Greek drama with Oedipus Rex. Using Oedipus as his tragic hero, Sophocles’ plays forced the audience to experience a catharsis of emotions. Sophocles showed the play-watchers Oedipus’s life in the beginning as a “privileged, exalted [person] who [earned his] high repute and status by…intelligence.” Then, the great playwright reached in and violently pulled out the audience’s most sorrowful emotions, pity and fear, in showing Oedipus’s “crushing fall” from greatness.
"To be, or not to be: that is the question" (Shakespeare 1750). "Human beings have no part in the craft of prophecy" (Sophocles 1582). Both quotes are part of famous plays. Although the plays appear to be completely different they do have some similarities such as containing a tragic hero. A tragic hero is a character that makes a mistake and eventually leads to their defeat. A tragic hero usually contains at least 5 characteristics such as a flaw (hamartia), reversal of fortune (peripetia), character 's actions leads to a reversal, excessive pride, and the character 's fate is greater than what they truly deserved. Hamlet and Oedipus are both great examples of what a tragic hero is because they both contain flaws, reversal of fortune, and
The mind-body problem has kept philosophers busy ever since Descartes proposed it in the sixteenth century. The central question posed by the mind-body problem is the relationship between what we call the body and what we call the mind—one private, abstract, and the origin of all thoughts; the other public, concrete, and the executor of the mind’s commands. Paul Churchland, a proponent of the eliminative materialist view, believes that the solution to the mind-body problem lies in eliminating the single concept that allows this problem to perpetuate—the folk psychological concept of mental states. Churchland argues that the best theory of mind is a materialistic one, not a folk psychological one. Unlike other materialist views such as identity theory, Churchland wants to remove the idea of mental states from our ontology because mental states cannot be matched 1:1 with corresponding physical states. This is why Churchland’s view is called eliminative materialism—it is a materialistic account of the mind that eliminates the necessity for us to concern ourselves with mental events. At first this eliminative materialism appears to be a good solution to the mind-body problem because we need not concern ourselves with that problem if we adopt Churchland’s view. However, there is a basic flaw in his argument that raises the question of whether we should actually give up folk psychology. In this paper, we will first walk through the premises of Churchland’s argument, and then we will explore whether Churchland does a suitable job of justifying our adoption of eliminative materialism.
Hume distinguishes two categories into which “all the objects of human reason or enquiry” may be placed into: Relations of Ideas and Matters of Fact (15). In regards to matters of fact, cause and effect seems to be the main principle involved. It is clear that when we have a fact, it must have been inferred...
Imagine a single spotlight focus solely on you as you say exactly what you feel. Everybody wants to get their point of view heard. One of the most effective ways for an individual to solely get their point across is a dramatic monologue. A dramatic monologue is a type of poetry written in the form of a speech of an individual character. Dramatic monologue can also be known as a persona poem. Robert Browning was known for his dramatic monologues. “My Last Duchess” and “Porphyria’s Lover” are two well-known poems by him. From these two poems I am going to compare the theme, use of imagery, and tone.
Greek politician and playwright, Sophocles, in his play, Oedipus the King, depicts a series of chronological events of the consequences of Oedipus’ downfall caused by his excessive pride. Sophocles’ purpose is to instruct readers that too much pride can dismally lead to unfortunate events. Sophocles illustrates an effective tone in order to inform the readers of the negative outcomes of stubbornness and denial.
Sophocles explores the psychology of humans through the aristotelian elements of tragedy, in his play, Oedipus Rex. These elements have effectively allowed Sophocles to communicate the idea of fate overpowering intellect. Oedipus and Tiresias are key characters in developing this concept. Tiresias, a divine being, possesses heavenly knowledge whereas Oedipus, a mortal individual, relies heavily on his reasoning and intellect to make sense of his world. Sophocles pairs these characterizations with motifs about blindness and sight as well as truth and ignorance, allowing for the theme to come forth. Tyrone Guthrie’s extraordinary costuming and staging only enhances Sophocles’s message about destiny conquering human judgement.
The characters in a novel or play are attributed certain characteristics by the author. The opinions one might form of a character are based on these; therefore, the characteristics suggested by an author are intrinsic to the reader having a complete and subjective understanding of a work. Characteristics are often displayed through a character s actions, in what is said about them, and what they themselves say, which shall be the focus of this essay. Both Oedipus, in Sophocles' King Oedipus and Odysseus, in The Odyssey of Homer, oftenare spoken of by others, but their own words are telling, as certain emotions and traits can be seen. Traits of a character can often be masked or distorted by favorable or unfavorable descriptions by others, but their own speech, however calculated or controlled, often clearly shows character flaws and attributes that one might not come across otherwise. Strict narration often polarizes a character, casting them as black or white, good or evil. However, in most writings, and certainly in The Odyssey and King Oedipus, the speech of a characterallows us to see the various shades of grey, thus portraying the character more fairly. One might see Oedipus and Odysseus as being in some ways quite similar, but their speech and the characteristics revealed therein is what sets them apart.
Throughout history, drama has been a vehicle to entertain, instruct, and inform the general public. Dramatic irony, when the audience understands what will transpire but the characters do not, create suspense that enthrals the audience. Universal characters, those which mirror the average person, further enhance the reader’s understanding. The transmission of universal themes, age-old messages, entertains the audience through learning. A drama’s entertainment value is its capability to hold an audience’s attention and impart meaningful messages. In Sophocles’s Oedipus the King, dramatic irony, universal characters, and universal themes are integral in affirming the entertainment value of the drama.
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.
Gilbert Ryle’s The Concept of Mind (1949) is a critique of the notion that the mind is distinct from the body, and is a rejection of the philosophical theory that mental states are distinct from physical states. Ryle argues that the traditional approach to the relation of mind and body (i.e., the approach which is taken by the philosophy of Descartes) assumes that there is a basic distinction between Mind and Matter. According to Ryle, this assumption is a basic 'category-mistake,' because it attempts to analyze the relation betwen 'mind' and 'body' as if they were terms of the same logical category. Furthermore, Ryle argues that traditional Idealism makes a basic 'category-mistake' by trying to reduce physical reality to the same status as mental reality, and that Materialism makes a basic 'category-mistake' by trying to reduce mental reality to the same status as physical reality.