SP Publications International Journal Of English and Studies (IJOES) An International Peer-Reviewed Journal ; Volume-2, Issue-7, 2020 www.ijoes.in ISSN: 2581-8333 RESEARCH ARTICLE INSIGHT MEETS JUDGEMENT: EXPLORING DISTORTED SUBJECTIVITY IN BROWNING’S DRAMATIC MONOLOGUES ____________________________________________________________________________ Dr. Lisha Sinha Academician Central University of Bilaspur Email.Id: [email protected] Address: Flat-401,Ashok Tower,V.I.P Colony,Jamui,Bihar,India ____________________________________________________________________________ Abstract Dramatic monologues stand unique in the arena of poetry. This perhaps becomes Keywords: Robert Browning, Dramatic more intense when it comes to Robert Monologue, Subjectivity, My Last Browning’s dramatic monologues. They are Duchess, Porphyria’s Lover particularly interesting as they act like the mirror of both inner and outer image of an individual. This research paper will try to Whenever we come across the name delve deeper into the complex dramatic monologue, the name Robert understanding of Speaker’s persona. The Browning never stops ringing. It is not that first section of the paper will thus evidence he has invented the genre; rather he is the that how dramatic monologue of the one who has given deeper level of meaning. Victorian age has gradually developed from And such meaning always incorporates the poetry of romantic age and then double meaning at the heart of the poem. gradually establish that how Browning’s Even though the poems of Browning reflect comes up with own concept and purpose of the usual definition of dramatic monologue writing dramatic monologue. The second by M.H. Abram’s in his eponymous work A section will further move to explore that Glossary of Literary Terms (1956) yet the how the subjectivity of the speaker is poems mysteriously explore that how self distorted which will be again evidenced in Browning is critically judged both in its through different ways. The paper will also interior and exterior form. And strangely try to indulge into the crucial factor of within such critical judgement of insight insight and judgment where they cross their often a distorted portrait of subjectivity is paths at various situations. The research revealed. The current research thus mainly paper will thus cater mainly to “My Last intend to start with the development of Duchess” and “Porphyria’s Lover” during Browning’s poetry which is a way farther thematic discussion. than his predecessors from Romantic age ISSN: 2581-8333 Copyright © 2020 SP Publications Page 32 SP Publications International Journal Of English and Studies (IJOES) An International Peer-Reviewed Journal ; Volume-2, Issue-7, 2020 www.ijoes.in ISSN: 2581-8333 RESEARCH ARTICLE and then gradually move to Robert the self inwards towards assimilation with Browning’s concept of distorted the inner self. Wordsworth’s “Tintern subjectivity in his dramatic monologues. Abbey” (1798), Coleridge’s “The Eolian And then taking cue from there the paper Harp” (1796), Shelley’s “Ode to the West will thus elaborately discuss that how there Wind” (1820), Keats’s “Ode to a is exploration of such distorted subjectivity Nightingale” (1819) are such poems where and also how insight meets judgement, lyric speaker appear descriptive or mainly pertaining to two case studies: “My meditative and thus presents, Last Duchess” and “Porphyria’s Lover”. “… a determinate speaker in Dramatic monologue has its a particularized, and usually a influences from Romantic poetry like localized, outdoor setting, Tzvetan Todorov mentions in his ‘The whom we overhear as he carries on, in a Origin of Genres’, “a new genre is always fluent vernacular which the transformation of one or several old rises easily to a more formal speech, a genres: by inversion, by displacement, by sustained colloquy, sometimes combination” (161). This very line seems to with himself or with the outer scene, but support the study of development of more frequently with a silent dramatic monologue which is also the human auditor, present or absent”( Abrams, hybrid between lyric, drama and narrative 527-60) .As such it makes dramatic monologue as a transitional genre from the lyrical poetry of However, unlike in lyric poetry, the Romantic age and also a variation of later dramatic monologue foregoes the unitary modernist experimentations. So, the bond between the poet and the speaker. A Romantic lyric subjectivity often becomes break from the romantic poetry is visibly the direct expression of the poet’s feelings clear where there a clear line between the and thoughts. This give a situation where personal and subjective lyric. The focus is there is elevation and autobiographical mainly an attempt to establish a relationship identification of the lyric poet and thus between self and historical/social contexts. “gradually produces” an emotion, similar to Secondly, there is also a clear distinction the original in his mind (756). This further between the speaker’s character and that of allows the lyric speaker face the tragic loss the poet’s. It is the outpouring of the words wherein he either makes a moral decision, of the speaker that enables the or resolves an emotional problem. Thus ‘I’ listener/reader to perceive or get a moves inward by engaging with exteriority psychological insight of the speaker as well and thus finally subjecting the sameness of as his social nature. And this has been taken ISSN: 2581-8333 Copyright © 2020 SP Publications Page 33 SP Publications International Journal Of English and Studies (IJOES) An International Peer-Reviewed Journal ; Volume-2, Issue-7, 2020 www.ijoes.in ISSN: 2581-8333 RESEARCH ARTICLE altogether to a new experimental form by to question the authority and value of the Robert Browning. Romantic egotistical sublime. Even though the speaker in the poem boasts of his desire As we move towards the next for knowledge yet there always remains a section of the development of the genre of gap where this poetic genius remains dramatic monologue, one will gradually “Existing as centre to all things/Most potent come to terms that how Robert Browning to create and rule” (NP, ND). In his has come up with his own recipe of distinct “Paracelsus”, Browning almost succeeded and perhaps own variation of the dramatic to maintain a distance from the central monologue form. A closer look at early speaker. This is successfully done by works of Browning, similar to that of introducing other speakers thereby reducing Alfred Tennyson will clearly associate that the speaker’s voice to one voice among his works are reflection of Victorian many. By doing this, he successfully concerns and uncertainties where the establishes a connection between the poet speaker become the mouthpiece of and the reader. This eventually reveals changing social conditions. Browning’s purpose as he mentions: The confessional poem, “ Pauline: “It is certain. that a work A Fragment of a Confession” (1833), like mine depends more immediately [than Byronic closet drama in acted drama] on the intelligence “Paracelsus”(1835), Shakespearean tragedy and sympathy of the reader for its “ Strafford”(1837), epic narrative “ success—indeed were my Sordello”(1840) and even the closet drama, scenes stars it must be his co-operating narrative and lyric in “ Pippa Passes” fancy which, supplying all (1841)attempt to highlight various chasms, shall connect the scattered Victorian uncertainties. However, it is lights into a constellation—a Lyre or a Browning’s experimentation with the genre Crown” ( Woolford, which attempt to dissect the relation of the 55-75 ) In his next project “Sordello”, modern poet to the audience who is aware Browning appears to clearly forego the of “The vaunted influence poets have o’er authoritative coercive role of the poet. men”. This self-mocking statement of the However, there was failure in this shared speaker in Pauline also reveals Browning’s meaning making process. Perhaps he has concern over the tyrannical nature of poetic found that the real concern is not its imagination which “make/All bow obscure plot but rather its mediations on enslaved”. His “Pauline” can also serve as poetic authority. His onstage dramas like the first attempt of Browning who intends Strafford (1837), King Victor and King ISSN: 2581-8333 Copyright © 2020 SP Publications Page 34 SP Publications International Journal Of English and Studies (IJOES) An International Peer-Reviewed Journal ; Volume-2, Issue-7, 2020 www.ijoes.in ISSN: 2581-8333 RESEARCH ARTICLE Charles (1842), The Return of the Druses different from the poet’s choice and (1843), A Blot in Scutcheon (1843), organization. Speakers are thus presented at Colombe’s Birthday (1844) all failed on the moments of their self-depiction and stage because they were deficient in action unconscious self-revelation. So this leaves and clarity. Perhaps the reason of such us with egoist, jealous, possessive Duke in failure is his interest more in subtle and “My Last Duchess” (1842), a jealous lover complex motivations of individual of Porphyria in “Porphyria’s Lover” (1842). character than dramatic action. This single We also have a failed painter in “Pictor pattern of Browning’s “incidents in the Ignotus” (1845) who suffers identity crisis. development of a soul” (772-787) merges The dying Bishop uses his final moments to with his famous thought of ‘Action in brood over his animosities and his petty character’ (Petch, 37) and finally finds its vanities in “The Bishop Orders His Tomb at way in his dramatic monologues. This again Saint Praxed’s Church” (1845). Roland is calls for the distinction between objective projected as an exhausted, lonely, impotent and subjective poet. In a letter to Elizabeth character in “Childe Roland to the Dark Barrett Browning, Robert Browning Tower Came” (1855). The crux of the mentions his intention of separating poet discussion here is to highlight that the nature from subjective to objective, “You speakers not only voices from outside but speak out, you, - I only make men & women from the inside as well.