I call That piece a wonder, now:
I call That piece a wonder, now: She had A heart—how shall I say? 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.
This grew; I gave commands; Then all smiles stopped together. There she stands As if alive. Notice Neptune, though, Taming a sea-horse, thought a rarity, Which Claus of Innsbruck cast in bronze for me! Summary This poem is loosely based on historical events involving Alfonso, the Duke of Ferrara, who lived in the 16th century.
As he shows the visitor through his palace, he stops before a portrait of the late Duchess, apparently a young and lovely girl. The Duke begins reminiscing about the portrait sessions, then about the Duchess herself.
His musings give way to a diatribe on her disgraceful behavior: As the Duke and the emissary walk leave the painting behind, the Duke points out other notable artworks in his collection.
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.
The Duke is quite a performer: Indeed, the poem provides a classic example of a dramatic monologue: Commentary But Browning has more in mind than simply creating a colorful character and placing him in a picturesque historical scene.
Rather, the specific historical setting of the poem harbors much significance: Thus the temporal setting allows Browning to again explore sex, violence, and aesthetics as all entangled, complicating and confusing each other: The desperate need to do this mirrors the efforts of Victorian society to mold the behavior—gsexual and otherwise—gof individuals.
For people confronted with an increasingly complex and anonymous modern world, this impulse comes naturally: 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: Browning forces his reader to become involved in the poem in order to understand it, and this adds to the fun of reading his work.
It also forces the reader to question his or her own response to the subject portrayed and the method of its portrayal. We are forced to consider, Which aspect of the poem dominates:Robert Browning’s “My Last Duchess,” written in , is an intriguing poem that reveals an unexpected interpretation when closely analyzed.
The poem is based upon actual incidents that occurred in the life of Alfonso II, Duke of Ferrara. Browning himself described this poem as a "dramatic lyric" – at least, Dramatic Lyrics was the title he gave to the book of poems in which "My Last Duchess" first appeared.
The "dramatic" part of the poem is obvious: it has fictional characters who act out a scene. My Last Duchess Robert Browning, - That’s my last Duhess painted on the wall, Looking as if she were alive.
I call That piee a wonder, now: Frà Pandolf’s hands.
In Robert Browning's dramatic monologue "My Last Duchess," the speaker, Duke Ferrara, is shown to be an extremely jealous man whose jealousy has led him to commit murder.
Dec 02, · Robert Browning’s My Last Duchess is a dramatic monologue uttered by the Duke of Ferrari which highlights the jealous and sadistic nature of his character and the mysteriousness which surrounds his late wife’s demise.
Although at first glance, Robert Browning’s monologue My Last Duchess seems the story of a deep love articulated by the speaker, Duke of Ferrera, of the woman on a painting, Browning’s use of literary elements in the poem reveals differently and reinforces themes of jealousy, power, self-predominance and control, including Marxist and feminist readings into a story that culminates with the.