Aesthetic of the Victorian Dramatic Monologue

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This study aims to show that the aesthetic of the dramatic monologue and the experience for the reader is neither empirical nor relativistic, but an exercise in faith that follows romanticism in creating a poetry which attempts to reaffirm a moral world though an artistic product in which poet and reader jointly come to a common judgment.


"Megan Painter’s study performs an admirable service in first describing the characteristic kinds of criticism which have been directed at the Dramatic Monologue, but then deepening our understanding of the genre both as an aesthetic form and more significantly as a tool for ethical analysis. . . . The present volume, thus, is not only an admirable guide to that fundamental transition from the Romantic literary world to the Victorian, but also offers a trenchant analysis of the moral role of literature in a confused and confusing modern world." Howard Fulweiler

Table of Contents

Table of contents:
1.Tennyson’s Ulysses and How Do We Read a Dramatic Monologue
2. A Review of Criticism and a New Approach
3. The Romantic Poet-I Form: Empiricism, Experience, and the Creation of an Organic Form
4. From the Romantic Narrative Lyric to the Dramatic Monologue
5. Romanticism, Human Nature, and the Aesthetic of the Dramatic Monologue
6. The Aesthetic of the Dramatic Monologue and Ironic and Dramatic Form
7. Relativism and the Aesthetic of the Dramatic Monologue: Ulysses Revisited
Bibliography; Index

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