My paper explores the formal elements within Doris Lessing’s The Grass Is Singing (1950), emphasizing its connection to the concept of the dramatic monologue commonly associated with poets like Robert Browning and Alfred, Lord Tennyson. Despite the traditional separation between prose and poetry, my analysis posits that the dramatic monologue, originally tied to poetry, exhibited resilience and adaptability. This adaptability is showcased in the way the dramatic monologue extended its influence beyond poetry, finding a home in emerging literary forms like the short-story, a genre that began developing in the United Kingdom around the end of Browning’s life. My examination underscores the enduring and versatile impact of the dramatic monologue as a narrative tool, showcasing its ability to transcend specific literary genres and traditions.
A Dramatic Monologue in Doris Lessing’s The Grass Is Singing: the Voice of Silence
Miriam Sette
2024-01-01
Abstract
My paper explores the formal elements within Doris Lessing’s The Grass Is Singing (1950), emphasizing its connection to the concept of the dramatic monologue commonly associated with poets like Robert Browning and Alfred, Lord Tennyson. Despite the traditional separation between prose and poetry, my analysis posits that the dramatic monologue, originally tied to poetry, exhibited resilience and adaptability. This adaptability is showcased in the way the dramatic monologue extended its influence beyond poetry, finding a home in emerging literary forms like the short-story, a genre that began developing in the United Kingdom around the end of Browning’s life. My examination underscores the enduring and versatile impact of the dramatic monologue as a narrative tool, showcasing its ability to transcend specific literary genres and traditions.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
