Part 2 — 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.