Summary and Analysis of, "The Pragmatics of Silence, and the Figuration of the Reader in Browning's Dramatic Monologues," By Jennifer A. Wagner-Lawlor

            It is the age old phrase, “Silence is golden,” that so many individuals have heard their grandparents, their parents, and their teachers say. It is a phrase that you either agree with; believing that an individual whom is quiet may be the most powerful—holding all of the answers to so unbelievable sequence. Or for some it is a phrase that they disagree with whole-heartedly; believing that if someone has nothing to say about something than they really have no true and thoughtful opinion. Yet, in the end we must wonder what our parents’, grandparents’, and teachers’ reasoning behind using this statement was? Is silence really golden?

            Within Jennifer A Wagner-Lawlor’s article, “The Pragmatics of Silence, and the Figuration of the Reader in Browning’s Dramatic Monologues,” she explores the reasoning behind the silence of the auditor (the listener) within some of Browning’s major works. She argues throughout much of her article that silence is a key concept to not only Browning’s work, but also most dramatic monologues. “Silence under such circumstances indicates consensus, and indeed more than consensus—absolute faith, awe, recognition of an ineffability before which there is no need to talk” (Wagner 576).  This statement shows that in this case, the case of the auditor, his/her silence may actually be considered golden. Lawlor explores the meaning behind the silence of the auditor and gives the meaning an importance to the dramatic monologue. Without the silence of the auditor it comes to question whether or not the same meaning would arise from the dramatic monologue. Although silent the auditor plays a key role within the dramatic monologues.

            One of the main monologues that Lawlor used within her article was Browning’s, My Last Duchess. Within this monologue the Duke, who is the main character/ the narrator if you will, is talking about his last duchess. The duchess whom he could not control, whom he did not believe was his best choice because she did not ever pay any mind to his power, and the duchess whom in the end caused him to lose his mind, thus having her killed. Throughout much of the monologue we, as readers, have no real idea who the Duke is talking to or if he is actually talking to anyone, but himself. The auditor is identified towards the end of the monologue as the Duke claims, “Oh sir, she smiled, no doubt…” (Browning 84). Here the Duke is directly calling to the individual whom he is talking to, yet the auditor still remains silent. However, Lawlor would claim that this is Browning’s main intention. Lawlor claims that keeping the auditor silent allows readers to place his/herself in the position of the auditor; allowing readers to listen solely to what the speaker, the Duke in this case, has to say (Wagner 578). “The body of the shadowy listener, the text’s implied listener, that “you,” is intentionally kept out of the spotlight by the speaker, whose sole purpose is an often narcissistic self-delineation” (Wagner 578). In My Last Duchess, we are able to discover a lot about the Duke’s character just by how he relays his information to the auditor, as well as what information he is relaying. The reader, “you,” is the implied listener of the story!

            Placing the speaker at the center of attention, while placing the reader in the auditor’s position allows readers to sympathize and judge the speaker without any input from an outside source (the auditor). Lawlor believes that the silence is not just coming from the second party, but also from the Duchess herself, who is a third party within this monologue (Wagner 587). It is amazing everything we can hear and see from a character who has not spoken at all throughout the entire monologue. So, it may seem that silence is really golden. “The discernment of the second-person auditor is only possible through the reader’s own more distant, objective, and possibly resistant response to the speaker” (Wagner 589). The silence played out in Browning’s monologues is purposeful and it is placed into the monologue with meaning; it is meant to create a story for the reader that he/ she can actually become a part of.

Works Cited:

Browning, Robert.“My Last Duchess.” Robert Browning's Poetry.Ed. James F. Loucks and Andrew M.
            Stauffer. second ed. New York: W.W. Norton & Company,2007. 523-42. Print.

Wagner-Lawlor, Jennifer A. “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.
             second ed. New York: W.W. Norton & Company,2007. 523-42.  Print.

© [Mykenzie Fox] [http: // COUNTGISMOND.blogspot.com/ ], [2013]. Unauthorized use and/ or duplication of this material without express and written permission from this blog's author and/ or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to [Mykenzie Fox] and [http: // COUNTGISMOND.blogspot.com/ ] with appropriate and specific direction to the original content.

Here's to Robert Browning

(Robert 1)

            Robert Browning was born in 1812 in Camberwell, London. Robert was the only son born to Robert and Sarah Browning (Poetry 1). Robert’s parents were both respected individuals, especially his father whom was an “artist, scholar, antiquarian, and collector of books” (Academy 1). Robert’s education came from his father and at the age of twelve Robert and his parents tried to have his first works published, entitled Incondita, which was unfortunately unsuccessful (Academy 1). As Robert continued in his education he found the collection of Shelley’s poetry fascinating and with that his inspiration for his own works began to surface. In 1828 Robert began school at the University of London, but did not stay long because he wanted to be able to learn at his own pace. “The random nature of his education later surfaced in his writing, leading to criticism of his poems' obscurities” (Academy 1).
            In 1833 Robert published his first major works, entitled Pauline, but did not give any credit to his name, publishing it anonymously. After Pauline Robert published Sordello in 1840, which to his dismay was considered to be a major failure (Academy 1). After the failure of Sordello Robert decided to try his hand at drama and he began to write plays. Unfortunately, just like Sordello his plays were experienced no success.  
            After reading Elizabeth Barrett’s poetry in 1844, Robert became entranced. The two wrote to each other for quite a while and in 1845 finally were able to meet. In 1846 the two ran off to Florence, Italy and were married. Three years later Elizabeth gave birth to their son Robert “Pen” Browning (Academy 1).
            The same year as the birth of their son, Robert published his Collection Poems. Robert’s next work was dedicated and inspired by Elizabeth, entitled Men and Women, the work was published in 1855 (Academy 1). At the same time of his publications Elizabeth was also publishing her own work. However, unlike his wife Robert’s poetry was not receiving much publicity. While Men and Women is “now regarded as one of Browning's best works, the book was received with little notice at the time; its author was then primarily known as Elizabeth Barrett's husband” (Academy 1).
            Sadly, Robert’s wife died in 1861 and he and his son moved to London. Nonetheless, with the death of his wife Robert’s next works began to gain the publicity he had wanted. He published Dramatis Personae in 1863 and then The Ring and the Book in 1868. With the current respect gained from his recent works “The Browning Society was  founded in 1881” and Robert was awarded “honorary degrees by Oxford University in 1882 and the University of Edinburgh in 1884” (Academy 1). Robert died in 1889. He died on the day that his work Asolando was published.
            “Although the early part of Robert Browning’s creative life was spent in comparative obscurity, he has come to be regarded as one of the most important poets of the Victorian period” (Poetry 1).

Works Cited:

Academy of American Poets. "Robert Browning." Poetry.Org. N.p., 2013. Web. 24 Aug. 2013.
               <http://www.poets.org/poet.php/prmPID/182>.

Poetry Foundation. "Robert Browning." Poetry Foundation. N.p., 2013. Web. 24 Aug. 2013.
                <http://www.poetryfoundation.org/bio/robert-browning>.

"Robert Browning Quotes ." WUGU: The Most Comprehensive Blog. MixBook, 5 Nov. 2012. Web.
                24 Aug. 2013. <http://www.rugusavay.com/robert-browning-quotes/>. 


 © [Mykenzie Fox] [http: // COUNTGISMOND.blogspot.com/ ], [2013]. Unauthorized use and/ or duplication of this material without express and written permission from this blog's author and/ or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to [Mykenzie Fox] and [http: // COUNTGISMOND.blogspot.com/ ] with appropriate and specific direction to the original content.