I showed my hands on my wedding day. One thing is certain, this dramatic monologue is a masterpiece of the genre. This suggests that the real Duchess is no longer alive. I always tell the truth. Browning reveals that this mentality was widespread during this time. All of these traits are exhibited by the Duchess if we assume that allowing herself to be married to a creep in order to please her family is an act of self-sacrifice. However, the husband might very well patronize one of London's many prostitutes, thereby obliterating the sanctity of the marriage and endangering his innocent wife with a frightening variety of incurable diseases.
The Duke views himself as a god, and he wishes to tame his wife to do whatever he wishes her to do, and even to feel whatever he wishes her to feel. The Duke, though a wealthy and proud character, is not seen in a good light. Thus violence became a sort of aesthetic choice for many writers, among them Robert Browning. So, the Duke craftily walks him through to create an impression about him. This also further reveals his true character.
But the duke first mentions that this listener's boss, The Count, is known for his wealth so he expects to get a decent dowry. Not My Best Side is broken up into three distinct verses, all of which are monologues. Miller points out that the audience is mislead to believe that the Duchess was impel-minded and unfaithful. The of this poem shows excessive arrogance and a sense of power over others. The duke is talking about the painting on the wall while preparing to go down to meet the Tyrol, the father of the proposed girl, and other people who have come to finalize the new marriage proposal. One of those aspects, of course, being the treatment of wives by their husbands. The duke speaks his thoughts about the girl, and as the poem progresses we begin to realize that his last duchess had been murdered.
Yet, perhaps Browning was observing fellow members of when he crafted the devious lines of Duke Ferrera. Objectively, it's easy to identify him as a monster, since he had his wife murdered for what comes across as fairly innocuous crimes. Browning takes up a moment and makes the character speak of something that reveals so much behind what is being said. Critical analysis The themes Power Throughout the poem, the Duke gives ample instances of the enormous power he exercises. The Duke, like the stale Victorian husband, thinks that by bringing the Duchess into his establishment like any other commodity, he had secured a monopoly over her into the bargain.
The bronze statue was made by Claus of Innsbruck. A remarkably amoral man nevertheless has a lovely sense of beauty and of how to engage his listener. The portrait was painted by Fra Pandolf, a monk and painter whom the duke believes captured the singularity of the duchess's glance. The duke takes him upstairs and shows him several objects in his art gallery. From the speaker's indirect allusions to the death of his wife the reader might easily think that the speaker committed a vengeful crime out of jealousy. By no means can we justify the idea that the duke is willing to transcend class, but at the same time he does allow a transgression of the very hierarchy that had previously led him to have his wife murdered rather than discuss his problems with her.
He does not reveal whether she is deceased or put away in a convent somewhere. Well, the duke seems to think that it should have been only him who could have made the duchess blush but what if the artist had wanted her to show a little more flesh Her mantle, - or cloak - covers too much of her wrist or hinted that such a blush could never be adequately reproduced in paint. It's quite obvious that she got his goat and it seems that he had to do something drastic to stop it. He feels that communication with his own wife is beneath his class. Thus this temporal setting gives Browning a good analogue for exploring issues of art and morality and for looking at the ways in which social power could be used and misused: the Victorian period saw many moral pundits assume positions of social importance. Instead of presenting an unfaithful wife in the eyes of duke, the reader notices the egotistical and jealous mind of the duke himself. The reader has to decide whether or not this man has done away with the duchess, still behind the curtain with that passionate glance, perhaps showing her true nature? He feels that the image is alive and remarks the painting as a remarkable achievement.
To the Duchess, according to the Duke, his expensive gift at her breast, setting sun, cherries presented by a fool, riding on her mule, etc. This implied audience distinguishes the dramatic monologue from the soliloquy—a form also used by Browning—in which the speaker does not address any specific listener, rather musing aloud to him or herself. But the lens of aristocracy undercuts the wonderful psychological nature of the poem, which is overall more concerned with human contradictions than with social or economic criticism. This demand for control is also reflected in his relationship with the envoy. He explores the mental processes of the characters, and invites readers… 1721 Words 7 Pages in Browning's Porphyria's Lover and My Last Duchess The death of the female beloved is the only way deemed possible by the insecure, possessive male to seize her undivided attention. The Duke believes that he should be shown complete respect and be the center of attention while in his home.
Wives, like precious art objects, are to be collected, still and silent, until they can be exchanged for a newer or better one. He points to a statue and tells his guest that it is his own statue in the form of god Neptune training the sea horse. In these latter considerations Browning prefigures writers like Charles Baudelaire and Oscar Wilde. The brilliant conclusion by Robert Browning clears the fog about the true nature of the Duke. Unaware, he gives us a clear vision of the open-hearted Duchess: She had A heart—how shall I say? Now that she was put away somewhere, and her life-size painting was on the wall, he could be the only one to ever see that look of joy on her face, because he would allow no one else to look at the painting without his permission. 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.
However, while the absence of family and community ties meant new-found personal independence, it also meant the loss of a social safety net. It seems the broker emissary also wanted to ask this same question but the duke got in there first with his slick answer. Notice Neptune, though, Taming a sea-horse, thought a rarity, Which Claus of Innsbruck cast in bronze for me! The other characters mentioned are, Fra Pandolf, and Claus of Innsbruck. She exceeds his mark and captivates us yet. The whole poem is but the visible part of the iceberg, but the submerged invisible part is not a matter of vague suggestiveness; it is both psychologically and historically defined. However, from the description of her actions, it can be seen that she did nothing to have caused the husband to kill her. The poem is a great example of dramatic dialogue, a poetic form used to narrate and dramatize.
He reveals all the truths about his devilish character when he is trying to prove himself a great man. 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. This causes the reader to feel sorry for the Duchess, and rightly so. All describe Robert Browning's poem, 'My Last Duchess'. Hanawalt, Oxford University Press, 1986 a little obscure reading for a long winter's night. He mentions that he expects a high dowry, though he is happy enough with the daughter herself. How vigilant, he was under the provocation of jealousy, is proved by the example that he gives.