This chapter examines the scope and use of soliloquies in Shakespeare’s late plays (tragi-comic romances) along with their rhetoric and poetics. It does so in relation to recent critical interest in the phenomena of lateness, including Shakespeare’s own late plays. The conventional critical and performative view of the soliloquy is that they provide insight into character and the inner life. The soliloquies of the late plays pose a critical paradox. Considered as a chronological grouping, these plays contain the largest number of self-addressed speeches of any other similar grouping, including the tragedies. Yet they generally eschew character development in favour of fantastical plot and poetry, moving from mimesis to poesis. At the same time, the higher frequency of soliloquies in the late plays does not produce drama that is more mimetic. In theorizing their function within Shakespeare’s late style, the chapter argues for the usefulness of what George Puttenham termed ‘auricular figures’ (The Arte of English Poesie, 1589), which ‘work alteration in th’eare’.