Poets and Personal Pronouns

For our Nov. 9 morning meeting, we’ll focus on poems that may or may not comport with our contemporary definition of the dramatic monologue.  Does this genre exist?  How do we know it when we see it?  When was the dramatic monologue recognized as such, and what are its near cousins, body doubles or evil twins?  How does the history of this poetic genre change when viewed through a transatlantic lens?

We’ll convene at 10:30 am at Rutgers in Murray 302;  all are welcome to join us.  Please do email Lauren Kimball, however (lauren.ann.kimball@gmail.com) to let us know you will be coming.  We’ll order sandwiches for everyone who registers;  let us know if you have dietary restrictions.  We’ll talk for a a few hours then break for lunch around 12:30 pm.

Below is the list of poems we’ll discuss at our morning meeting.  Check back here soon for links to pdfs of these materials.

From the British side:

Augusta Webster, “Poets and Personal Pronouns” (1878)

Robert Browning,  “Fra Lippo Lippi,” “An Epistle Containing the Strange Medial Experience of Karshish” (1855) and “Caliban upon Setebos” (1864)

Elizabeth Barrett Browning, “Runaway Slave at Pilgrim’s Point” (1848) and “A Curse for a Nation” (1857)

From the American side:

John Pierpont, “The Fugitive Slave’s Apostrophe to the North Star” (1839); “Slave Holder’s Address to the North Star” (1840)

Walt Whitman, “The Wound Dresser” (1865)

Ada Isaacs Menken, “Judith” (1868)

Sarah Piatt, “Giving Back the Flower” (1867), “Death Before Death” (1870), “Paris” (1871), “Shoulder Rank (1871)

Frances Ellen Watkins Harper, “Aunt Chloe’s Politics,” “Learning to Read”(1872)

Henry Wadsworth Longfellow, “Belisarius” (1875)

And, For Those Who Want More:   read as much of MEN AND WOMEN as you can!

[The link is to the Boston (Ticknor and Fields) edition of Browning’s text, since Google favors the culture of reprinting!]

[Readings for our (closed) afternoon session can be found here:]


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