In Part 1, I explained the meaning of the term literary of point
of view (POV). I pointed out that: - Every character in a
literary work must have a POV. - A character’s POV is critical
for how a literary work turns out. - Only a small number of
possible POVs exist. - No complete consesus exists among
literary scholars on what the POVs are or on how to define each
of them. Different scholars disagree with one another. - I
identified the scholarly source I use for defining POVs. In Part
1, I expressed my intention to explain the ten scholarly POVs I
like to use in a series of postings to follow. To see Part 1
now, click here. In this posting, I’m going to cover the first
two of these ten literary POVs: 1) interior monologue, and 2)
dramatic monologue. A monologue a form of dramatic
entertainment, a comedic solo, or similar prolonged talk or
discourse by a single speaker, especially one dominating or
monopolizing a conversation. Or, it’s any composition, such as a
poem, essay, novel, play, or screenplay in whic