The dramatic monologue verse form allowed Browning to explore and probe the minds of specific characters in specific places struggling with specific sets of circumstances. In The Ring and the Book, Browning tells a suspenseful story of murder using multiple voices, which give multiple perspectives and multiple versions of the same story. Dramatic monologues allow readers to enter into the minds of various characters and to see an event from that character’s perspective. Understanding the thoughts, feelings, and motivations of a character not only gives readers a sense of sympathy for the characters but also helps readers understand the multiplicity of perspectives that make up the truth. In effect, Browning’s work reminds readers that the nature of truth or reality fluctuates, depending on one’s perspective or view of the situation. Multiple perspectives illustrate the idea that no one sensibility or perspective sees the whole story and no two people see the same events in the same way. Browning further illustrated this idea by writing poems that work together as companion pieces, such as “Fra Lippo Lippi” and “Andrea del Sarto.” Poems such as these show how people with different characters respond differently to similar situations, as well as depict how a time, place, and scenario can cause people with similar personalities to develop or change quite dramatically.
Browning wrote many poems about artists and poets, including such dramatic monologues as “Pictor Ignotus” (1855) and “Fra Lippo Lippi.” Frequently, Browning would begin by thinking about an artist, an artwork, or a type of art that he admired or disliked. Then he would speculate on the character or artistic philosophy that would lead to such a success or failure. His dramatic monologues about artists attempt to capture some of this philosophizing because his characters speculate on the purposes of art. For instance, the speaker of “Fra Lippo Lippi” proposes that art heightens our powers of observation and helps us notice things about our own lives. According to some of these characters and poems, painting idealizes the beauty found in the real world, such as the radiance of a beloved’s smile. Sculpture and architecture can memorialize famous or important people, as in “The Bishop Orders His Tomb at Saint Praxed’s Church” (1845) and “The Statue and the Bust” (1855). But art also helps its creators to make a living, and it thus has a purpose as pecuniary as creative, an idea explored in “Andrea del Sarto.”
Throughout his work, Browning tried to answer questions about an artist’s responsibilities and to describe the relationship between art and morality. He questioned whether artists had an obligation to be moral and whether artists should pass judgment on their characters and creations. Unlike many of his contemporaries, Browning populated his poems with evil people, who commit crimes and sins ranging from hatred to murder. The dramatic monologue format allowed Browning to maintain a great distance between himself and his creations: by channeling the voice of a character, Browning could explore evil without actually being evil himself. His characters served as personae that let him adopt different traits and tell stories about horrible situations. In “My Last Duchess,” the speaker gets away with his wife’s murder since neither his audience (in the poem) nor his creator judges or criticizes him. Instead, the responsibility of judging the character’s morality is left to readers, who find the duke of Ferrara a vicious, repugnant person even as he takes us on a tour of his art gallery.