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Poetry is one of the most popular literary forms since it allows authors to express vast ideas in a short form. Whether written with rhymes or as blank verse, poems can have a profound effect on the reader. In modern artistic ways of expression, songwriting is probably the most popular means of poetry. One of the most famous singers, Eminem, performs in the genre of rap, thus creating lengthy pieces of lyrics.
In his song Stan, Eminem employs the monologue format created by a Victorian-era poet, Robert Browning. Brownings monologue has some peculiarities that make it stand out in a variety of other literary pieces. Using the lyric voice, focusing on the speaker, and setting specific goals of ones speech are the features making up the character of Brownings monologues. Eminems Stan contains all of these elements, so it is viable to consider this song as an example of Brownings monologue.
A monologue is one of the most popular ways of expressing ones opinion on some issue without the need for listening to counterarguments immediately. Although there is a tendency to consider that dialogue is superior to monologue, the latter is a one-to-many form of communication that allows sharing someones thoughts or views (Kvernbekk 966). Kvernbekk argues that there exist values in monologues that are overlooked in modern educational discourse (966). Thus, it is crucial to pay more attention to monologue as a form of communication and education.
Brownings idea of a monologue contained such an element as involving the audience in the speakers private life. As Gregory remarks, Brownings monologues create a dynamic of forced intimacy (496). The person who is addressing others as if invites them to participate in his or her intimate life and see it in detail. In this respect, Eminems Stan is the embodiment of Brownings approach. In the song, a deranged fan, Stan, is addressing the singer, Slim, whose music he adores.
Stan lets Slim know the minutest facts about his personal life. He shares that his girlfriends pregnant too and that he is bout to be a father (Eminem 1:7). Also, Stan refers to Slims personal experiences and expresses his sympathy for the loss of his uncle. The young man notes that he had a friend kill himself over some bitch who didnt want him (Eminem 1:11). He mentions other close people in his monologue, such as his little brother Matthew who is only six years old (Eminem 2:5).
Stan tries to make a connection with his idol by remarking that he never knew his father neither (Eminem 2:14). Finally, Stans engagement in forced intimacy leads to his revealing very personal information: I even got a tattoo of your name across the chest (Gregory 496; Eminem 2:20). Also, he admits cutting himself to see how much it bleeds (Eminem 2:21). All of these examples are indications of correspondence with Brownings demand that his readers identify with the morally monstrous I of his voice (Gregory 498). Hence, this is the first connection one can draw between Brownings monologue and Eminems Stan.
Another peculiarity introduced by Browning is that in a monologue, the speaker should have clear goals along with tacit or less proximate aims (Pearsall 23). In Eminems song, the speaker declares his aims toward the addressee. Stan says that he is Slims biggest fan and that he merely wants to communicate with his role model (Eminem 1:17). He mentions that the singer didnt have to talk to him after the concert if he did not feel like it (Eminem 2:4).
Stan emphasizes that he only wants to receive some response to his letters and some gratitude for being such an ardent fan. Even his little brother considers Slim as his <&> idol (Eminem 2:9). These are the clearly stated goals that the speaker shares with his listener, which constitutes another connection between Eminems song and Brownings monologue.
Apart from the straightforward purposes of Stans writing, there are also some less explicit intentions behind the lines. The fan remarks that his girlfriends jealous because he talks about his idol 24/7 (Eminem 2:24).
Also, he expresses some queer implications about desiring to meet his favorite singer: P.S.: We should be together too (Eminem 2:29). Taking into consideration that both the fan and the singer are males, the hints expressed by the speaker seem to presuppose some homosexuality. Moreover, it is not clear why Stan wants to be with his role model so much if he has a pregnant girlfriend who is about to give birth to their child. Unfortunately, by the end of the story, these questions do not receive any answers since the speaker kills both himself and the girlfriend.
Finally, it is relevant to discuss the roles of the speaker and the listener in Eminems song and compare them to Brownings definition. As Wagner-Lawlor remarks, Brownings typical listener recognizes the speakers superior position of power (289). Frequently, the speaker is aggressive or even menacing, so the listeners silence is both remarkable and understandable (Wagner-Lawlor 289). Gregory shares this opinion and adds that Brownings monologue serves as the revelation of the psychology of sexual violence (491). In Eminems song, the role division is precisely correspondent with these characteristics.
In the first three verses, Stan expresses his feelings and intentions toward Slim. In verses one and two, he behaves like a disappointed but ardent and loyal fan. In the third verse, his tone changes dramatically due to his feelings being hurt by the singers silence. While in the first two verses, Stan addresses his listener with the words Dear Slim, the third part begins with Dear Mr. Im-Too-Good-to-Call-or-Write-My-Fans (Eminem 1:1, 2:1, 3:1).
It is obvious that the speaker has become more aggressive, and the listener remains silent. In the last part, though, the singer finally replies to his fans letters. In this response, there is no connection to Brownings monologue format, but it is important to mention this part. Slim provides a detailed explanation of why he did not answer earlier. However, by the end of his letter, he realizes that Stan is no longer alive and is not waiting for his acknowledgment anymore: it was you, damn (Eminem 4:29). Throughout the singers reply, one can still track the fans violence, which draws a connection to Brownings monologue format.
Although Eminem wrote his song much later than Browning defined the elements of a dramatic monologue, Stan perfectly corresponds to these requirements. The speaker involves the listener in his personal life, expresses clear goals of his monologue, and demonstrates evil character. Through a variety of features, the speaker reaches the purpose of creating a violent and threatening atmosphere. Due to containing all of these elements, Stan may be viewed as an example of Brownings monologue.
Works Cited
Eminem. Stan. Genius, n.d. Web.
Gregory, Melissa Valiska. Robert Browning and the Lure of the Violent Lyric Voice: Domestic Violence and the Dramatic Monologue. Victorian Poetry, vol. 38, no. 4, 2000, pp. 491-510.
Kvernbekk, Tone. Revisiting Dialogues and Monologues. Educational Philosophy and Theory, vol. 44, no. 9, 2012, pp. 966-978.
Pearsall, Cornelia. Tennysons Rapture: Transformation in the Victorian Dramatic Monologue. Oxford University Press, 2008.
Wagner-Lawlor, Jennifer A. The Pragmatics of Silence, and the Figuration of the Reader in Brownings Dramatic Monologues. Victorian Poetry, vol. 35, no. 3, 1997, pp. 287-302.
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