Again the theme is dominance, the Roman god of the sea managing to control the tiny sea-horse, just as the duke controls the picture by being the only one allowed to move the curtain. There she stands As if alive. Here is a full metrical analysis line by line: Or did she die in sorrow, informing the artist to paint that spot of joy in defiance of her pretentious jealous husband?
He is in total control of the situation, however casual he may pretend to be. It is through the expressions of the Duke that we get a glimpse of how the Duchess was in real life. Upper Saddle River, NJ: Lines 5 - 21 The duke asks the as yet unknown second person if he'd care to sit and study the portrait.
As he shows the visitor through his palace, he stops before a portrait of the late Duchess, apparently a young and lovely girl.
My favor at her breast, The dropping of the daylight in the West, The bough of cherries some officious fool Broke in the orchard for her, the white mule She rode with round the terrace — all and each Would draw from her alike the approving speech, Or blush, at least.
Perhaps he is pointing a refined finger as the first line starts. It seems the broker emissary also wanted to ask this same question but the duke got in there first with his slick answer.
His ego and vanity cannot be suppressed - the poem ends with the words for me - how apt.
As they descend, the duke points out another work of art, this time a sculpture of Neptune taming a sea-horse. Conflict A well-defined conflict is visible between the aristocratic and reserved behavior of the elite upper class, as represented by the Duke and the carefree and spontaneous demeanor of the upcoming nobility, as delineated by the Duchess.
I call That piece a wonder, now: The lines are extremely concentrated. Structure of the poem The poem is written in free verse. The woman in question is no longer alive but looks alive in the painting.
It's a chilling statement to end what has been an avalanche of pitiful, snobbish complaint from the duke. He was very much at home in Italian culture, living there frombut, for this poem he wasn't seeking to use fact as the basis for the work. This is one of the most popular poems of Robert Browning.
We are forced to consider, Which aspect of the poem dominates: During the climax of his lecture, the duke reveals that he has killed her. The Renaissance was a time when morally dissolute men like the Duke exercised absolute power, and as such it is a fascinating study for the Victorians: Throughout the ambiguous monologue there is no moral judgement made; the audacious nature of the duke isn't questioned, we don't know if he's creating more untruths by pretending to reveal the truth.
As the Duke and the emissary walk leave the painting behind, the Duke points out other notable artworks in his collection. Spondees, a foot of two stressed syllables, bring energy and punch.
Retrieved 16 December The debate goes on and will likely never end. We have to take into account his rhetoricspeech patterns, and syntax to understand his character. Over the years, since its first publication in in Dramatic Lyrics, many have questioned the character of the fictional speaker, loosely based on a historical figure, the duke of Ferrara.
The Duke begins reminiscing about the portrait sessions, then about the Duchess herself.
But the truth could well be one extended lie - the duke being a pathological liar - an excuse for the continuation of control over his unfortunate first wife.
She thanked men, — good! Note the pregnant pause between the lines. The tone of this poem shows excessive arrogance and a sense of power over others.
The duke takes him upstairs and shows him several objects in his art gallery. He wants his wife to smile for him only. There she stands As if alive. Or he might have had her shut up in a convent. Lines 47 - 56 The duke repeats what he said in lines 2 and The lines do not employ end-stops; rather, they use enjambment—gthat is, sentences and other grammatical units do not necessarily conclude at the end of lines.
Or maybe the portrait was done too well, was too lifelike and so he felt compelled to put it behind a curtain?"My Last Duchess" is narrated by the duke of Ferrara to an envoy (representative) of another nobleman, whose daughter the duke is soon to marry.
These details are revealed throughout the poem, but understanding them from the opening helps to illustrate the irony that Browning employs. My Last Duchess Analysis “My Last Duchess” is a poem loosely based on historic events and historic figures written by Robert Browning.
We are to gather that the figure speaking in “ My Last Duchess ” is Alfonso, the Duke of Ferrara who lived in the 16th century. The poem is preceded by "Ferrara:", indicating that the speaker is most likely Alfonso II d'Este, the fifth Duke of Ferrara (–), who, at the age of 25, married Lucrezia di Cosimo de' Medici, the year-old daughter of Cosimo I de' Medici, Grand Duke of Tuscany, and Eleonora di Toledo.
Historical Context in My Last Duchess. Robert Browning loosely based this poem on the life of Alfonso II d’Este, the Duke of Ferrara from to Ferrara married Lucrezia di Cosimo Medici when he was twenty-five. Become a Reader Member to unlock in-line analysis of character development, literary devices, themes, and more!
In My Last Duchess, Robert Browning takes poetic license with a real historical character from within the Italian Renaissance: Alfonso II, the last Duke of Ferrara. The Duke married a young bride, Lucrezia de’ Medici; however, their marriage ended mysteriously after just three years (Bloom 16).
Underneath the title “My Last Duchess” is the name Ferrara, and the poem’s sole speaker is the Duke of Ferrara, a character based in part on Alfonso II, Duke of Ferrara (in Italy) in the sixteenth century.
Alfonso’s wife, a young girl, died inand Alfonso used an agent to negotiate a second marriage to the niece of the Count of Tyrol.Download