Blog 4:Summary and analysis of “The Pragmatics of Silence, and the Figuration of the Reader in Browning’s Dramatic Monologues"

In this blog I will be summarizing and analyzing Jennifer A. Wagner-Lawlor's essay "The Pragmatics of Silence, and the Figuration of the Reader in Browning's Dramatic Monologues."

Summary
In the first section of her essay Wagner-Lawlor discusses the observation made by Alberto Schon that discusses the absence of personified silence. He says that "there scarcely exists a silence 'made man' (576). She points out that men often observe silence in situations mostly related to faith. In the body of her essay Wagner-Lawlor talks about how Browning in particular 'fully exploited' the genre of dramatic monologue and that his speakers were aggressive, threatening, and superior to the listener in some form.  This idea leads her into the discussion of the auditor in Browning's dramatic monologues. This character is a silent figure, 'a silent receptor', and importantly is consensually silent (576). A large portion of the essay then continues on to discuss how new tools have allowed a larger exploration of the silent figure to occur. The second figure in dramatic monologue creates the tension that is the main characteristic of this genre and through both figures the reader is able to connect with both characters.  This idea contradicts her previous observation of faith related silences and celebrates Browning's success of creating a silent man, as well as, the dramatic monologues functions.

Analysis
I was struck at realizing the importance of the auditor in the dramatic monologue. After reading this essay I was able to have a better understanding of how active you are as a reader. Each character in Browning's dramatic monologue functions in perfect accordance with one another to create the perfect balance allowing the reader to connect with both figures. In the article she discusses some of the not so positive aspects of Browning's work as well. She says, "From this violation too may stem the negative response of actual contemporary readers to Browning's work; some readers supposed that the speaker's characteristic pragmatic hostility toward his auditor paralleled Browning's disdain toward the reader" (582). I disagree with this idea because I feel as though Browning is using the form to his advantage and is able to create tension through the listener and is able to reveal the flaws of the speaker this way. I don't feel as though Browning's personal agenda bleeds through onto the reader.

Wagner-Lawlor, Jennifer. “The Pragmatics of Silence, and the Figuration of the Reader in Browning’s    Dramatic Monologues."Robert Browning's Poetry. Ed. James F. Loucks and Andrew M. Stauffer. 2nd Edition. New York: W.W. Norton, 2007. 578-587. Print.

Richard Langbaum's essay on the dramatic monologue begins with his observation that there has been very few pieces written on the subject. He believes that people just are not quite sure about what to do with the dramatic monologue. They typically classify it simply and these classifications cause the complexities of the genre to be ignored. He wants the dramatic monologue to be seen as a poetry of sympathy and he thinks this will allow the readers to connect to it and therefore have a much better understanding of the form. He continues on with his essay and gives a brief history of the dramatic monologue. Browning and Tennyson created the dramatic monologue in a reaction against the romantics and their confessional style. However, Browning's name is associated with dramatic monologue over Tennyson's based on his style, even though Tennyson actually came first. Another note that Langbaum really brings home is that dramatic monologue is perfect tool for expressing many different points of view. It can project a historical point of view, moral viewpoints, and emotional viewpoints but it also allows the reader to understand the character. Langbaum explains this by using "My Last Duchess," as an example. Even though as readers we know the bishop is bad and has committed an evil act we are able to suspend our moral judgements in order to get to know the bishop. Overall the dramatic monologue requires sympathy to function and this sympathy connects the reader to the characters.