Here we start to get a hint of the answer to what the duke's relationship to his wife might be. And the 'she thanked men' part tells us it's not just about her being happy. It engages the reader on a number of levels — historical, psychological, ironic, theatrical, and more. I can even relate my story but time is running out I need to sleep because my eyes really hurts and I need to shut my computer before its too late. We also don't really know how the 'favor at her breast' manifested itself. 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. His irony goes even further when he reminds the envoy that he truly wants only the woman herself, even as he is clearly stressing the importance of a large dowry tinged with a threat of his vindictive side.
Kind Regards Jim Clark All rights are reserved on this video recording copyright Jim Clark 2013. The most engaging element of the poem is probably the speaker himself, the duke. Even had you skill In speech - which I have not - to make your will Quite clear to such an one, and say, 'Just this Or that in you disgusts me; here you miss, Or there exceed the mark' - and if she let Herself be lessoned so, nor plainly set Her wits to yours, forsooth, and made excuse, --E'en then would be some stooping; and I choose Never to stoop. He's a servant of this count, whose daughter the Duke of Ferrara is planning on marrying next. What is he talking about? The duke's life seems to be made of repeated gestures. The woman and the painting and the artist are all the same thing. As poet, he attempts to capture contradiction and movement, psychological complexity that cannot be pinned down into one object, and yet in the end all he can create is a collection of static lines.
But in a monologue, part of the fun is figuring out who is this guy? There was a strong suspicion of poisoning. So the guy's just a genius. Commentary But Browning has more in mind than simply creating a colorful character and placing him in a picturesque historical scene. Objectively, it's easy to identify him as a monster, since he had his wife murdered for what comes across as fairly innocuous crimes. There she stands As if alive.
After all, the duke has no interest in talking to her himself, as we have learned! My favour 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. It totally is, and it's because Browning is a master of speech. Browning and Dramatic Monologues 'My Last Duchess' is an amazingly, terrifyingly creepy poem by Robert Browning, who was a Victorian poet born in 1812 and died in 1889. She came with a sizeable , and the couple married in 1558. Another element of the aristocratic life that Browning approaches in the poem is that of repetition. Oh sir, she smiled, no doubt, Whene'er I passed her; but who passed without Much the same smile? The statue is of Neptune taming a sea-horse.
If you have a portrait of your dead wife, why would you cover it up behind a curtain? The count was in charge of arranging the marriage; the chief of his entourage, Nikolaus Madruz, a native of , was his courier. The other characters named in the poem, painter Frà Pandolf and sculptor Claus of Innsbruck, are fictional. There she stands As if alive. The Duke did not like that she would blush at the flirtations of another man. I call That piece a wonder, now: Fra Pandolf's hands Worked busily a day, and there she stands.
He now keeps her painting hidden behind a curtain that only he is allowed to draw back, meaning that now she only smiles for him. It's all about the the duke's selfishness and pride. The Duke then resumes an earlier conversation regarding wedding arrangements, and in passing points out another work of art, a bronze statue of taming a sea-horse by Claus of Innsbruck, so making his late wife but just another work of art. We already know he's not a nice guy. Who'd stoop to blame This sort of trifling? The artists - Fra Pandolf and Claus of Innsbruck - are named with equal importance as their work, which even further reduces the significance of the actual subject of the work his wife or Neptune in favor of the resulting object, which is crafted by the artist. In the poem the last duchess was killed by her husband the duke who finds himself jealous for her the duchess seducing men by her image and likeness. Instead, when she transgresses his sense of entitlement, he gives commands and she is dead.
Though we're not positive the commands led to her death, we might be able to assume it from context. He does not answer that question, but the fact that he notes this gives a little bit of insight into why he was the only one who was allowed to open the curtain. Notice Neptune, though, Taming a sea-horse, thought a rarity, Which Claus of Innsbruck cast in bronze for me! The reader can immediately sense that the Duke is controlling. So the painting captures her true joy and beauty because she reveals it to just about anyone, including the painter. The first contradiction to consider is how charming the duke actually is. The duke's appreciation of art reveals the control he has over the artists that produce his works of art; the portrait of his last duchess and the statue of Neptune.
Summary This poem is loosely based on historical events involving Alfonso, the Duke of Ferrara, who lived in the 16th century. The Duke talks to an unnamed person and shows off a picture of his last duchess. His favors - some stupid cherries, the mule she rode around on - all of these things make her happy and make her smile and make her heart 'glad. I deny the fact that love is the most good thing to happen but the real thing its not true. The portrait was painted by Fra Pandolf, a monk and painter whom the duke believes captured the singularity of the duchess's glance. Nay, we'll go Together down, sir.