1. RVP Term 2 Week 4 Robert Browning

2. Class Plan “My Last Duchess”: instructor“My Last Duchess”: instructor Andrea del Sarto: classAndrea del Sarto: class (Time permitting): “Caliban Upon Setebos”: instructor(Time permitting): “Caliban Upon Setebos”: instructor

3. implied addressee, ideal recipient See Booth, Rhetoric of Fiction (1961)See Booth, Rhetoric of Fiction (1961) Not useful for all poems, and you do not have to use this vocabulary; nevertheless, something to notice when present, but not to always look forNot useful for all poems, and you do not have to use this vocabulary; nevertheless, something to notice when present, but not to always look for Implied addresseeImplied addressee Is the speaker talking to someone?Is the speaker talking to someone? Is that person present? Absent?Is that person present? Absent? How is that person reacting? Are they talking back, doing something to the surface of the poem; or are they silent?How is that person reacting? Are they talking back, doing something to the surface of the poem; or are they silent? Ideal recipientIdeal recipient The poem may be addressed to one person but intended for anotherThe poem may be addressed to one person but intended for another An ideal recipient “gets” the poem’s references, and may even share its aesthetic/ethical philosophyAn ideal recipient “gets” the poem’s references, and may even share its aesthetic/ethical philosophy

4. Dramatic monologue Comparison: “Now, what news on the Rialto?” ( MoV, I.i.1)Comparison: “Now, what news on the Rialto?” ( MoV, I.i.1) Particularly characteristic of C19Particularly characteristic of C19 “Drama” in implication of speech taking place within larger world, which poem contains“Drama” in implication of speech taking place within larger world, which poem contains What to read for:What to read for: Details of surrounding worldDetails of surrounding world Implied audience of poemImplied audience of poem Potential ironies (difference of knowledge between speaker and audience, reader and speaker, reader and audience)Potential ironies (difference of knowledge between speaker and audience, reader and speaker, reader and audience) ““The dramatic m. gains additional force from the fact that a silent auditor often constrains or controls the speaker's words, contributing to complex levels of irony within the poem.” (“Dramatic Monologue,” Princeton Encyclopedia of Poetry and Poetics )

5. “Andrea del Sarto” Groups: 1-40, 51-71, 90-115, (244-end)Groups: 1-40, 51-71, 90-115, (244-end) 1.Summarize what happens in these lines. 2.Discuss the relationship between the speaker and the addressee, and in turn how the reader is implicated in this relationship. 3.Pick up one figure in these lines that recurs throughout the poem. Talk about what this recurrence means, in any sense. 4.This poem gives one philosophical account of the role of the artist. Describe a philosophical idea that appears in these lines.