Drama: July 10, 2024 Issue [#12636]
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 This week: Dramatic Poetry
  Edited by: Lilli 🧿 ☕ Author IconMail Icon
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Table of Contents

1. About this Newsletter
2. A Word from our Sponsor
3. Letter from the Editor
4. Editor's Picks
5. A Word from Writing.Com
6. Ask & Answer
7. Removal instructions

About This Newsletter

My Last Duchess
A Dramatic Poem by Robert Browning

That’s my last Duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now; Fra Pandolf’s hands
Worked busily a day, and there she stands.
Will’t please you sit and look at her? I said
“Fra Pandolf” by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain I have drawn for you, but I)
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, ’twas not
Her husband’s presence only, called that spot
Of joy into the Duchess’ cheek; perhaps
Fra Pandolf chanced to say, “Her mantle laps
Over my lady’s wrist too much,” or “Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat.” Such stuff
Was courtesy, she thought, and cause enough
For calling up that spot of joy. She had
A heart—how shall I say?— too soon made glad,
Too easily impressed; she liked whate’er
She looked on, and her looks went everywhere.
Sir, ’twas all one! My favour at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool
Broke in the orchard for her, the white mule
She rode with round the terrace—all and each
Would draw from her alike the approving speech,
Or blush, at least. She thanked men—good! but thanked
Somehow—I know not how—as if she ranked
My gift of a nine-hundred-years-old name
With anybody’s gift. Who’d stoop to blame
This sort of trifling? Even had you skill
In speech—which I have not—to make your will
Quite clear to such an one, and say, “Just this
Or that in you disgusts me; here you miss,
Or there exceed the mark”—and if she let
Herself be lessoned so, nor plainly set
Her wits to yours, forsooth, and made excuse—
E’en then would be some stooping; and I choose
Never to stoop. Oh, sir, she smiled, no doubt,
Whene’er I passed her; but who passed without
Much the same smile? This grew; I gave commands;
Then all smiles stopped together. There she stands
As if alive. Will’t please you rise? We’ll meet
The company below, then. I repeat,
The Count your master’s known munificence
Is ample warrant that no just pretense
Of mine for dowry will be disallowed;
Though his fair daughter’s self, as I avowed
At starting, is my object. Nay, we’ll go
Together down, sir. Notice Neptune, though,
Taming a sea-horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for me!


Summary:
This poem is loosely based on historical events involving Alfonso, the Duke of Ferrara, who lived in the 16th century. The Duke is the speaker of the poem, and tells us he is entertaining an emissary who has come to negotiate the Duke’s marriage (he has recently been widowed) to the daughter of another powerful family. As he shows the visitor through his palace, he stops before a portrait of the late Duchess, apparently a young and lovely girl. The Duke begins reminiscing about the portrait sessions, then about the Duchess herself. His musings give way to a diatribe on her disgraceful behavior: he claims she flirted with everyone and did not appreciate his “gift of a nine-hundred-years- old name.” As his monologue continues, the reader realizes with ever-more chilling certainty that the Duke in fact caused the Duchess’s early demise: when her behavior escalated, “[he] gave commands; / Then all smiles stopped together.” Having made this disclosure, the Duke returns to the business at hand: arranging for another marriage, with another young girl. As the Duke and the emissary walk leave the painting behind, the Duke points out other notable artworks in his collection.


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Letter from the editor

*Questionw* What is the meaning of dramatic poetry?

Dramatic poetry is poetry that is meant to be read or performed aloud in front of an audience and requires some amount of acting.

Dramatic poetry is a form of poetry that is written in verse and meant to be recited in public or acted out. Dramatic poetry is often in the form of long speeches either to another actor, the audience, or oneself by musing aloud. When a person directs this form of dramatic poetry at another person, we call it a dramatic monologue, and when they think aloud, we call it a soliloquy. Dramatic poetry uses a meter pattern, which is a rhythmic pattern of stressed and unstressed syllables. This sets it apart from prose and lends itself admirably to being performed aloud or sung.

*Questionw* What are the different types of dramatic poetry?

Dramatic poetry usually appears in four recognized types. A soliloquy, for instance, involves a character reflecting on their troubles in a personal monologue. In the second type, a dramatic monologue is used, where a character addresses someone else and reveals something about themselves in the process. The third type of dramatic poetry is a character sketch where the writer invites the audience to form an opinion of the character delivering their lines. The fourth type of dramatic poetry is a dialogue between at least two characters. There are also two other kinds of dramas where dramatic poetry is used, known as closet dramas and drawing-room plays.

*Bullet* Dramatic Monologue
Dramatic monologue is a poem written in the form of a speech of an individual character; it compresses into a single vivid scene a narrative sense of the speaker's history and psychological insight into his character.

*Bullet* Soliloquy
A soliloquy is when a character in a dramatic work speaks directly to the audience, expressing their inner thoughts. A soliloquy is a literary device that allows audience members to know what a character thinks or believes, providing an audience with a way to better understand a character.

*Bullet* Character Sketch
With a character sketch, a writer’s main goal is to make the audience feel something for the character, rather than to move the plot along. The feeling can be sympathy, hatred, or anything in between, but the result is usually that a person watching the play becomes emotionally connected to what is going on, creating a more memorable theater experience. The individual delivering the lines serves the main role of observer.

*Bullet* Dialogue
Dialogue takes at least two people who exchange lines to direct action, give information, or tell something about themselves. The benefit of this form is that actors can play off each other, responding naturally to what the other person does so that the play doesn’t seem overly rehearsed. The challenge in using it in dramatic poetry, however, is that a writer has to maintain some similarity between the rhythm and meter of the text for both speakers, even as he tries to make each one seem to have a separate personality. Changing the meter or rhyme scheme dramatically as each person talks can make the overall flow of the scene seem too choppy or disconnected.

There aren’t any established guidelines for determining what exactly makes text poetic, and sometimes, the distinction between straight prose and structured writing is very subtle. What technically can be called a dramatic poem, therefore, is up to interpretation. To make things even more complex, often people adapt “regular” poems to the stage, so when trying to categorize different works, what a person does with the text is as important as what is in the writing itself.





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Ask & Answer

Comments received from my last Drama Newsletter, "ArticlesOpen in new Window.:

Write_Mikey_Write! Author Icon said:
Regarding #3: While I don't disagree with the answer given, I would 'argue' that "b. the / the" could also be correct. If you substitute, say, shoplifter for pan, you would get "Hey, Officer! "There is the shoplifter. The same shoplifter I saw in the market." A specific person (item) is being identified in reference to two different locations.

Of course, that example may work better, if the sentences were connected by a comma, rather than separated by a period. My skill level regarding the proper use of commas is fairly well known. *Bigsmile*

*Rolling* Thank you, Mike!


Prezzo Author Icon said:
Nice article.

Thank you!


Bikerider Author Icon said:
Great June 11th Newsletter. I got them all correct; however, I did struggle a bit with #5 before I chose the right answer. (to save you the trouble, I gave myself a gold star) I'd like to see more newsletters like this one. Thanks so much for sharing.

Thank you, Bikerider! Well done and I'll see if I can come up with some others!


brom21 Author Icon said:
So, I only missed one. Glad to know I'm up to par. lol. Thanks for the reinforcement and great NL!

Well done and thank you!


s Author Icon said:

Got them all right... But, yeah. I like to think I'm helping with my writing blog as well. Looking professional and first impressions are vital if you want people to take you seriously. Not just as a writer but as an anythinger. And that cover letter is a big part of that. And if you use Grammarly et al., it looks like someone else wrote it for you. Sorry.

Thanks for sharing your thoughts, Steven!


oldgreywolf on wheels Author Icon said:
I disagree with number 6. While the first section is general, the second section seems specified to me. "Here's a blade, and there's yer letter from the IRS. Rip'er open." (I'm assuming the knife is from a kitchen drawer, so it's really just a flat spoon with a point on it, and probably an edge banged up like a rough saw blade.) I once worked for a grammarian with a Boston accent; educational.

There is something charming and unique about the Boston accent, lol.


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