my last duchess essay summary

My Last Duchess Summary & Analysis by Robert Browning

• Line-by-Line Explanation & Analysis
• Poetic Devices
• Vocabulary & References
• Form, Meter, & Rhyme Scheme
• Line-by-Line Explanations

“My Last Duchess” is a dramatic monologue written by Victorian poet Robert Browning in 1842. In the poem, the Duke of Ferrara uses a painting of his former wife as a conversation piece. The Duke speaks about his former wife's perceived inadequacies to a representative of the family of his bride-to-be, revealing his obsession with controlling others in the process. Browning uses this compelling psychological portrait of a despicable character to critique the objectification of women and abuses of power.

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The Full Text of “My Last Duchess”

      FERRARA

1 That’s my last Duchess painted on the wall, 

2 Looking as if she were alive. I call 

3 That piece a wonder, now; Fra Pandolf’s hands 

4 Worked busily a day, and there she stands. 

5 Will’t please you sit and look at her? I said 

6 “Fra Pandolf” by design, for never read 

7 Strangers like you that pictured countenance, 

8 The depth and passion of its earnest glance, 

9 But to myself they turned (since none puts by 

10 The curtain I have drawn for you, but I) 

11 And seemed as they would ask me, if they durst, 

12 How such a glance came there; so, not the first 

13 Are you to turn and ask thus. Sir, ’twas not 

14 Her husband’s presence only, called that spot 

15 Of joy into the Duchess’ cheek; perhaps 

16 Fra Pandolf chanced to say, “Her mantle laps 

17 Over my lady’s wrist too much,” or “Paint 

18 Must never hope to reproduce the faint 

19 Half-flush that dies along her throat.” Such stuff 

20 Was courtesy, she thought, and cause enough 

21 For calling up that spot of joy. She had 

22 A heart—how shall I say?— too soon made glad, 

23 Too easily impressed; she liked whate’er 

24 She looked on, and her looks went everywhere. 

25 Sir, ’twas all one! My favour at her breast, 

26 The dropping of the daylight in the West, 

27 The bough of cherries some officious fool 

28 Broke in the orchard for her, the white mule 

29 She rode with round the terrace—all and each 

30 Would draw from her alike the approving speech, 

31 Or blush, at least. She thanked men—good! but thanked 

32 Somehow—I know not how—as if she ranked 

33 My gift of a nine-hundred-years-old name 

34 With anybody’s gift. Who’d stoop to blame 

35 This sort of trifling? Even had you skill 

36 In speech—which I have not—to make your will 

37 Quite clear to such an one, and say, “Just this 

38 Or that in you disgusts me; here you miss, 

39 Or there exceed the mark”—and if she let 

40 Herself be lessoned so, nor plainly set 

41 Her wits to yours, forsooth, and made excuse— 

42 E’en then would be some stooping; and I choose 

43 Never to stoop. Oh, sir, she smiled, no doubt, 

44 Whene’er I passed her; but who passed without 

45 Much the same smile? This grew; I gave commands; 

46 Then all smiles stopped together. There she stands 

47 As if alive. Will’t please you rise? We’ll meet 

48 The company below, then. I repeat, 

49 The Count your master’s known munificence 

50 Is ample warrant that no just pretense 

51 Of mine for dowry will be disallowed; 

52 Though his fair daughter’s self, as I avowed 

53 At starting, is my object. Nay, we’ll go 

54 Together down, sir. Notice Neptune, though, 

55 Taming a sea-horse, thought a rarity, 

56 Which Claus of Innsbruck cast in bronze for me!

“My Last Duchess” Summary

“my last duchess” themes.

The Objectification of Women

• See where this theme is active in the poem.

Social Status, Art, and Elitism

Control and Manipulation

Line-by-line explanation & analysis of “my last duchess”.

That’s my last Duchess painted on the wall,  Looking as if she were alive. I call  That piece a wonder, now; Fra Pandolf’s hands  Worked busily a day, and there she stands.  Will’t please you sit and look at her?

I said  “Fra Pandolf” by design, for never read  Strangers like you that pictured countenance,  The depth and passion of its earnest glance,  But to myself they turned (since none puts by  The curtain I have drawn for you, but I)  And seemed as they would ask me, if they durst,  How such a glance came there; so, not the first  Are you to turn and ask thus.

Lines 13-19

Sir, ’twas not  Her husband’s presence only, called that spot  Of joy into the Duchess’ cheek; perhaps  Fra Pandolf chanced to say, “Her mantle laps  Over my lady’s wrist too much,” or “Paint  Must never hope to reproduce the faint  Half-flush that dies along her throat.”

Lines 19-24

Such stuff  Was courtesy, she thought, and cause enough  For calling up that spot of joy. She had  A heart—how shall I say?— too soon made glad,  Too easily impressed; she liked whate’er  She looked on, and her looks went everywhere.

Lines 25-31

Sir, ’twas all one! 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.

Lines 31-34

She thanked men—good! but thanked  Somehow—I know not how—as if she ranked  My gift of a nine-hundred-years-old name  With anybody’s gift.

Lines 34-43

Who’d stoop to blame  This sort of trifling? 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.

Lines 43-47

Oh, sir, she smiled, no doubt,  Whene’er I passed her; but who passed without  Much the same smile? This grew; I gave commands;  Then all smiles stopped together. There she stands  As if alive.

Lines 47-53

Will’t please you rise? We’ll meet  The company below, then. I repeat,  The Count your master’s known munificence  Is ample warrant that no just pretense  Of mine for dowry will be disallowed;  Though his fair daughter’s self, as I avowed  At starting, is my object.

Lines 53-56

Nay, we’ll go  Together down, sir. Notice Neptune, though,  Taming a sea-horse, thought a rarity,  Which Claus of Innsbruck cast in bronze for me!

“My Last Duchess” Symbols

The Painting

• See where this symbol appears in the poem.

The Statue of Neptune

“my last duchess” poetic devices & figurative language.

• See where this poetic device appears in the poem.

Personification

“my last duchess” vocabulary.

Select any word below to get its definition in the context of the poem. The words are listed in the order in which they appear in the poem.

• Fra Pandolf
• Countenance
• Munificence
• See where this vocabulary word appears in the poem.

Form, Meter, & Rhyme Scheme of “My Last Duchess”

Rhyme scheme, “my last duchess” speaker, “my last duchess” setting, literary and historical context of “my last duchess”, more “my last duchess” resources, external resources.

Robert Browning's Answers to Some Questions, 1914 — In March of 1914, Cornhill Magazine interviewed Robert Browning about some of his poems, including "My Last Duchess." He briefly explains his thoughts on the duchess.

Chris de Burgh, "The Painter" (1976) — Chris de Burgh (a Northern Irish singer-songwriter, best known for "Lady in Red") wrote a song from the perspective of the Duke of Ferrara about his former wife, in which the duchess was having an affair with Fra Pandolf.

My Last Duchess Glass Window — The Armstrong Browning Library and Museum at Baylor University has a stained glass window inspired by "My Last Duchess."

Julian Glover performs "My Last Duchess" — Actor Julian Glover performs "My Last Duchess" with a suitably dramatic tone of voice. Note how he emphasizes the conversational quality of the poem.

Nikolaus Mardruz to his Master Ferdinand, Count of Tyrol, 1565 by Richard Howard, 1929 — This poem by American poet Richard Howard provides the Ferrara's guest's perspective on the meeting between himself and the duke.

LitCharts on Other Poems by Robert Browning

A Light Woman

Among the Rocks

A Toccata of Galuppi's

A Woman's Last Word

Confessions

Home-Thoughts, from Abroad

How they Brought the Good News from Ghent to Aix

Life in a Love

Love Among the Ruins

Love in a Life

Meeting at Night

Pictor Ignotus

Porphyria's Lover

Soliloquy of the Spanish Cloister

The Bishop Orders His Tomb at Saint Praxed's Church

The Laboratory

The Last Ride Together

The Lost Leader

The Lost Mistress

The Patriot

The Pied Piper of Hamelin

Women and Roses

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• My Last Duchess

Read below our complete notes on the poem “My Last Duchess” by Robert Browning. Our notes cover My Last Duchess summary, themes, and literary analysis.

Introduction

“My Last Duchess” is a famous poem written by Robert Browning.  It was published in a book of poems named “Dramatic Lyrics” in 1842. As the name “Dramatic Lyrics” suggests, Browning tried to produce new trends in poetry after some experiments. He tried to combine some features of stage plays with some Romantic verses to produce the new type of poetry in the Victorian era. 

Robert Browning alarmed his readers with his unique characteristic of adding psychological and psychopathic realism and use of harsh language in his poetry. These traits can also be observed in the poem “My Last Duchess”. He got inspired to write this poem by the history of Alfonso II of Ferrara, who was a Renaissance duke, whose young wife died mysteriously in 1561 under suspicious circumstances. After her death, the duke got married to the niece of the Count of Tyrol.

Historical Background

In the Victorian era, women were not given equal rights as men. Even in their marital life, they were not given the place of a partner or not even thought to be worthy of love. Their identities were just like the objects that men could possess and control according to their wishes. Women were treated as a property in marriage and men were in charge in a relationship. When Browning wrote this poem, he had this thing in mind so, through this poem, he tried to explore the injustice of the male dominant society.

About the poem

This poem is a dramatic monologue. In a dramatic monologue, the speaker addresses alone at the stage in the presence of a silent listener. In “My Last Duchess”, the poet doesn’t address the readers himself. The scene unfolds through the monologue of the speaker who is the Duke of Ferrara. The Duke’s monologue shows his psychological state and his treatment with his former Duchess. 

As Robert Browning tried to introduce a new type of poetry combining the traits of stage plays and romantic verses, this poem also has the same setup. Unlike other poems, “My Last Duchess” has a specific physical and geographical setting like the plays. It is set in the private art gallery in the palace of the Duke of Ferrara.  The setting is the mid-sixteenth century in Renaissance Italy. 

My Last Duchess Summary

In this poem, the Duke of Ferrara talks to a silent listener who is one of his guests. He draws his attention towards the painting of his former Duchess who is now dead. The painting hangs on the wall of his private art gallery.  The Duke tells the listener that its artist “Fra pandolf” worked hard to make it a piece of wonder and now it is in front of them.it seems that it is not the painting but the Duchess herself, standing alive in front of them. The Dukes invites the listener to sit down and asks him to look at the painting and examine its art of wonder closely. 

The Duke tells the listener that he told him the name of its artist purposefully before he asks himself. He knows that the painting is a masterpiece. Whoever sees it, wishes to know about its artist. They want to know who filled this painting with depth and passion and gave it a lively look. The Duke also tells him that whoever sees this painting, turns towards him with surprise. They want to ask something but they dare not to speak in front of their Duke. So, as the Duke reads their faces and knows what they actually want, he himself explains the art of wonder to them. Moreover, he tells him that only he can draw back the curtains that hang over the painting and show it to anyone else if he wants.

The Duke then explains the painting of his Duchess. He tells the listener that the smile and the blush that he can see on the face of his duchess in the painting was not because of his presence. He guesses the reason behind her smile. He says that maybe she smiled when Fra Pandolf praised her beauty. Maybe, he told her that her shawl is covering too much of her beautiful wrist. Maybe, he admired her beauty by saying that he was unable to recreate the beauty. The beauty of her faint half_blush that he saw fading on her throat.

The Duke then criticizes his Duchess by saying that she always took all this stuff as a courtesy and she thought it was something enough to make her happy. He says that the heart of his Duchess could be easily won and it was very easy to impress her with anything. Wherever the Duchess looked, she liked and praised everything.

He further tells the listener about the nature of his former wife. Everything was equal for her. The gift of jewelry that he gave her to wear on her chest made her happy. In the same way, she became happy looking at the sunset in the West. Even the bough of cherries from the orchard brought to her by a fool inspired her. Moreover, the white mule on which she rode around the terrace made her happy in a similar way. She had no special liking for the things that Duke did for her. She treated everything equally and praised in the same way.

The Duke explains that she thanked men for whatever they did for her but he had no problem with it. The real problem is that she had no special appreciation for the gifts that Duke gave her. He gave her the nine hundred years old prestigious name of his family by marrying her but she treated this gift equally to anyone else’s.

The Duke then tells about his inability to explain anything to her. He tells the listener that though he is not skillful in speech or explaining anything to anyone yet if he had this ability to tell her that what things of her disgusted him or where she failed to meet his expectations, still he would never have talked to her about this. He had a fear that she could have made excuses or avoided him if he talked to her or didn’t agree to change herself showing her stubbornness. He says even if there were chances that she could change herself for him. Still he never dared to discuss this thing with her. He considers it equal to stoop. As a Duke he can never bend before anyone even in front of his own Duchess. So, he decided not to stoop and explain anything to her. 

The Duke admits it to the listener that his wife smiled whenever he crossed her but no one ever crossed her without receiving the same smile from her side. Her nice behavior with everyone grew day by day so he gave commands to kill her and as a result, all of her smiles stopped. He again points towards the painting and says now there she stands in the painting as if she is still alive.

After ending the story of his Duchess, the Duke invites the man to get up and follow him downstairs so that they can meet other guests too. The Duke talks about the generosity of the master of the listener. He finally reveals that the silent listener is the servant of the Count, whose daughter he is going to marry soon. The Duke tells the listener that he knows his master is generous. He doesn’t worry about the matter of dowry. He knows that the Count will not reject whatever he demands. However, as he mentioned in the beginning, the beautiful daughter of the Count is more important for him.

Then they go down and on their way back, the Duke again draws the attention of the servant towards another masterpiece that is kept in his gallery. He shows him a bronze statue of God Neptune taming the sea-horse that was a rare piece of the art and he tells the servant that Claus of Innsbruck made it especially for him.

Themes in My Last Duchess

This poem is all about power. The Duke of Ferrara is shown exercising his tyrannical power not only in his political and social affairs but also in his marital life. He rules with an iron fist. As he was a duke so he even wanted to control his wife’s smile and when he couldn’t, he gave orders to kill her.

A beautiful piece of art is presented in the poem. The Duke shows the portrait of her former Duchess to his guest that is so beautifully painted that the Duchess seems alive, smiling and standing in front of them. The Artist of the painting “Fra Pandolf” worked hard to put the depth and passion in the painting and he made it a masterpiece. Everyone gets surprised to see this art of wonder and admires it.

Apart from that painting, the Duke also draws the attention of his guest towards another beautiful art made by Claus of Innsbruck. It was a statue of God Neptune taming his sea-horse and it was cast in Bronze. The Duke shows his beautiful art gallery to the people whom he wants to impress. It shows that the poem “My Last Duchess” is a piece of art about another art.

Objectification of women   

Throughout the poem, the Duke praises the art and painting of his wife. He shows that he loves his Duchess more in painting as compared to when she was alive. He values the art more than his wife. His point of view shows that the women are the objects that are supposed to be controlled and possessed. 

It also reflects the thinking of Browning’s time when people used to treat women badly in the Victorian era. They were not considered equal as men and were not allowed to stand as independent beings and were controlled by men. Through this poem, the poet actually criticizes this type of viewpoint about women.

The Duke’s pride took the life of his Duchess. He wanted his wife to make him feel special but he never tried to talk to her about it. The Duke tells that he feels his insult in it to explain anything to anyone even to his own wife. He considers it equivalent to stooping and his pride never allowed him to stoop so, in his pride and power he gave commands to kill his Duchess. Moreover, his pride is also shown when he tells the servant that he gave his Duchess his nine hundred years old family name but she didn’t consider it superior to other trivial gifts of others. It shows that he is proud of his family name and social status.

Communication gap

The lack of communication between the Duke and Duchess become the reason behind their problems. In any relationship, communication gap is the main factor that gives rise to misunderstandings. In the poem, the Duke was reluctant to talk to his wife but if he somehow managed to talk to her and explain to her what exactly he wanted from her, then maybe she could have changed herself for him. He never tried to tell her about his feelings and his expectations from her and he ended up taking her life.

In the poem, the Duke tries to rule over his wife. He even tries to control her smiles and blushes. He hates when she smiles for others and thanks to them for their presents. He never even tries to tell her about this but he expects her to become as he wants. It clearly shows his madness. Without even talking to her, he decides to solve the matter by his power. In his madness, he takes the life of his innocent wife just to stop her smiles that are not for him but for others. Maybe, he considers these smiles and blushes equal to having an affair with someone and the insane Duke murders his wife to stop this.

One reason behind the Duke’s madness is his jealousy. Whenever he sees his Duchess smiling and thanking other people he gets jealous because he only wants to see her smiling for him. Many lines in the poem are the evidence of his jealousy as he himself says that his Duchess smiles whenever he crosses her but on the other hand he says no one crosses her without receiving the same smile. He becomes jealous of every smile and every blush of his wife if it is intentionally or unintentionally intended for someone else.

The nature of the Duke’s former Duchess was very kind and generous. She used to smile and show gratitude towards everyone for their presents, even the trivial ones but the Duke didn’t like it. He never wanted her to get frank with other people. He even became jealous seeing her smiling while watching the sunset or riding on her white mule. He didn’t even try to solve this issue by communication. The only solution that he came up with was taking her life. He murdered his own wife and proved himself a cruel Duke who could only exercise his power on the innocent people.

The theme of Greed is also found in the end of the poem when the Duke tells the servant of the Count that he is not worried about the dowry. As the Duke is going to marry the Count’s daughter, he tells the servant that he has heard much about his master’s generous nature so he is sure that whatever he demands from him in dowry, he will never reject it. It shows that the Duke is also greedy and concerned about the dowry though he tries to conceal his greediness by saying that the Count’s beautiful daughter will be his primary concern and priority.

Murder and Sadness

The character of Duchess is viewed as an innocent and kind soul who is killed by the cruel psychopath Duke. The Duke murdered her because of her nice behaviour to everyone. It makes the readers sad to see any good character suffering at the hands of cruel and haughty ones.

My Last Duchess Literary Analysis

In the opening lines of the poem, the speaker talks about “his last duchess”. It gives the idea that the speaker is a Duke and he is addressing an unknown or silent listener. The Duke points towards the painting of his Duchess on the wall who is dead now. The picture of the Duchess is so beautifully painted that the speaker says it seems that she is standing alive in front of him.

The Duke praises the painting and calls it a masterpiece. He also tells the mysterious listener about the artist or the painter who produced this amazing piece of wonder. He says that Fra Pandolf worked hard and it took him an entire day to complete it and give it a realist effect. The Duke then says ” there she stands” it gives the idea that the painting is not just a close up of the Duchess but her full body is visible in it, so it seems as if the Duchess is alive and standing in front of the Duke.

The Duke then invites the listener to sit down and focus on the beauty of the painting. He asks him to examine the painting and admire its art.

The Duke tells the listener that he told him the name of the painter deliberately because everyone who looks at this painting, wants to know about the person who produced this piece of art. The people or the strangers who see this painting, also want to question how the painter portrayed so much depth and passion on the face of the Duchess and gave her the expressions that look absolutely real. 

The Duke also tells the listener that only he is allowed to draw the curtain back that hangs over the painting. It means that only Duke can see this painting or show it to anyone else if he wants. It also gives the idea that the painting hangs on a wall in the Duke’s private gallery where no one can enter without his permission.  

He further tells the listener that he is not the first one who is surprised to see this beautiful art. Everyone who looks at it, turns to Duke as if they want to ask him how the painting of the Duchess looks so real but they never dare to ask it actually. As the Duke can read their face and he knows what they want to ask so he replies to everyone before they ask.

Lines 13-21

The Duke keeps on addressing his silent listener and this time he calls him “Sir”. He explains the expressions of the Duchess in the painting and tells the listener that the smile and the blush that he can see on her cheeks was not because of her husband’s presence. The Duchess was not happy because the Duke was around. It gives the idea that something else was the reason behind the Duchess’ joy and the Duke seems jealous of this thing because he always wanted her to have these expressions of joy on her face just for her husband.

In the next lines, the Duke starts guessing the reason behind the Duchess’ happiness or blush. He suggests that maybe she smiled because Fra Pandolf praised her beauty or he told her that the mantle or shawl is covering too much of her wrist or he complimented her by saying that he could never be able to paint the beauty of her faint half_blush that fades on her throat.

The Duke criticizes his Duchess saying that she thought that the courtesy or the polite comments like these are enough to make her happy. It shows that the Duke didn’t want her to be happy or blush on trivial compliments of everyone. He only wanted her to be happy in her husband’s presence or on his compliments.

Lines 21-24

The Duke further explains the nature of his late Duchess to the listener. He says that the Duchess had a gentle heart that could easily be made happy anytime. The Duchess liked and praised everything that she looked at. In short, it was very easy for everyone to make her happy or to impress her by anything.

In these lines, the Duke is not praising the Duchess but in reality, he is criticizing her. The above lines give the idea that the Duchess was very kind and down to earth but she was not the kind of person that the Duke wanted his wife to be.

Lines 25-31

In these lines, the Duke again calls his listener by saying “Sir” and tells him further about the behaviour of his Duchess. He tells him that her behaviour was the same towards everyone and everything made her equally happy. If he brought her any present, brooch or jewellery that she could wear on her chest, she used to smile or thanked him for the present but she became equally happy on the trivial things like watching the sun setting in the West, the branch of cherries that some random fool brings for her from the orchard or the white mule on which she rode around the terrace. 

He further tells him that she praised all these things equally or blushed in a similar way each time. It shows that though the Duke expected special response from his wife yet the Duchess treated everything equally. Now it is clear that the Duke wanted his Duchess to pay special attention to  him but she treated him equally and always responded to him just as she used to respond to any other common person or thing.

Lines 31-35

The Duke then says that she used to thank men. The Duke admits that it is good to thank someone if they present you any gift or do any favour to you. He had no problem with the Duchess thanking everyone but he didn’t like her way to do that. The Duke gave her his nine hundred years old family name and the prestige. He gave her a status by making her his Duchess that she never had before marrying the Duke but she didn’t even value this gift of his superior to any other minor thing done for her by any common person. 

The Duke then asks his listener who would lower himself to ask her about this strange behaviour or to have an argument with her over this matter? The Duke knows that the answer is “no one”. It also suggests that there was a communication gap in the relationship between  the Duke and the Duchess, that is the reason he never told her anything about her behaviour.

Lines 35-43

Now the Duke explains the obstacles that stopped him from complaining about the behaviour of his Duchess to her. He thinks she could make excuses or resist him, showing her stubbornness to change for him. 

He says that though he doesn’t have the skill in speech yet if he had and he tried to talk to her telling her about “the behaviour that disgusted him or where she did little or too much for him”, there was a possibility that she could have tried to change herself and made herself as he wanted but still the Duke says he would never try to talk to her.

The Duke didn’t want to talk to her because talking to her and explaining what was wrong, he considered it equivalent to stooping. As he is a Duke, so he considers it his insult to explain something to anyone even to his own Duchess. He didn’t want to bend but he wanted his wife to understand what he wanted, without saying anything.

Lines 43-47

The Duke tells the listener that he admits his Duchess was always nice to him. She treated him well and she always did smile whenever she saw him or he passed by her. Then the Duke again asks the question who passed her without receiving the same smile? There was nothing special in her smile for the Duke.

The Duke then tells the listener that “this grew”. He talks about her behaviour and her kindness towards everyone. He tells him that her kindness and love for everyone became more intense and she didn’t stop. The Duke admits that he couldn’t bear it more so he gave commands against his own Duchess and as a result, all her smiles stopped. It gives the idea that he gave the commands to end her life so that she could no longer be able to smile. 

The Duke then ends his story and again points towards the beautiful portrait saying that now there she stands and it looks like she is alive. The Duke then asks the listener in a gentle way to stand up.

Lines 47-53

Duke asks him to stand up and follow him so that they can go and meet other guests who are present downstairs. The Duke then starts talking about the listener’s master “Count”. It gives the idea that the silent listener is actually the servant of the Count.

He says to the servant that everyone knows about the generosity of his master so the Duke expects him to give the dowry of her daughter as much as he demands. It suggests that the Duke is now getting married again to the daughter of the Count and he talks to the servant to him about the matter of dowry. Here the greed of Duke is also shown. 

Moreover, he tells the servant that he is not worried about the dowry knowing the generous nature of the Count but instead of money, the fair nature of the Count’s daughter will be his utmost priority as he mentioned earlier at the beginning of their discussion.

Lines 53-56

The Duke ends his discussion and they start going down. While on their way, the Duke draws the attention of the servant towards another beautiful piece of art in his gallery. He points towards the statue of God Neptune who is shown taming his sea-horse. The Duke also tells the servant about the artist who made it. He tells him that Claus of Innsbruck made this statue with bronze especially  for him.

Analysis of Literary devices in the poem

The repetition of the same vowel sound in the same line is called assonance. In the poem, assonance is used in the following line “Her wits to your, forsooth, and made excuses”. In this line /o/ sound is repeated while the sound /o/ and /i/ are repeated in the following line “Of mine for dowry will be disallowed”.

The repetition of the same consonant sound in the same line is called consonance. In the poem, /t/ sound is repeated in the line “Together down, sir. Notice Neptune, though”. Consonance is also used in the line “The Count your master’s known munificence” because of the repetition of /n/ sound.

The explicit comparison between two things using the words “like” or “as” is called a simile. In the poem, the simile is used in the following line:

“That’s my last duchess painted on the wall, Looking as if she were alive.” In this line, the poet compares a dead person to her painting by using the word “as”.

When the intended meaning of the writer is different from the actual meaning of the words, it is known as irony. The title of this poem “My Last Duchess” is ironic because the dead Duchess of the Duke is not his last Duchess as he is going to marry the Count’s daughter now. 

The exaggeration of anything for the sake of emphasis, is known as Hyperbole. In this poem, hyperbole is used in the twenty-fourth line: “She looked on, and her looks went everywhere”.

The use of symbols to signify any object, idea or quality else than its literal meaning, is known as symbolism. In the poem, the painting of Duke’s last Duchess symbolizes how he uses his power to objectify human beings such as his own wife considering his own property or possession.

“The white mule” symbolizes the pure and gentle nature of the Duchess. It also symbolizes her innocence. Moreover, the statue of God Neptune taming his sea-horse symbolizes the cruel character of Duke taming his own Duchess.

The technique in which a sentence is carried over to the next line without any pause, is known as Enjambment.  In the poem, Enjambment is used in the following lines:

“The Count your master’s known munificence 

Is ample warrant that no just pretense

Of mine for dowry will be disallowed;”

Heroic Couplet

The rhyming pair of lines in the form of iambic pentameter, is known as the heroic couplet. In the poem, there are twenty-eight heroic couplets. One of them is given below:

“Strangers like you that pictured countenance.

The depth and passion of its earnest glance,”

The reference to any famous incident, person or work of art in history, is known as an allusion. The allusion is used at the end of the poem when the poet refers to the bronze statue of God Neptune taming his sea-horse.

Rhetoric question

The question asked in any piece of Literature specially poetry whose purpose is not to get an answer and is just used to lay emphasis, is known as a rhetoric question. 

In the poem, the poet has used rhetoric questions at the following points:

“Who’d stoop to blame

This sort of trifling?”

“but who passed without 

Much the same smile?”

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A Summary and Analysis of Robert Browning’s ‘My Last Duchess’

By Dr Oliver Tearle (Loughborough University)

Probably Robert Browning’s most famous (and widely studied) dramatic monologue, ‘My Last Duchess’ is spoken by the Duke of Ferrara, chatting away to an acquaintance (for whom we, the reader, are the stand-in) and revealing a sinister back-story lurking behind the portrait of his late wife, the Duchess, that adorns the wall.

It’s easy enough to summarise ‘My Last Duchess’ in a one-sentence synopsis like this, but how Browning unnerves us with the Duke’s account of the portrait, and his relationship with his wife, lies in what he hints or reveals as much as in what he simply states. So a few words of analysis would perhaps help elucidate how Browning uses the dramatic monologue form to such great effect here.

Let’s go through the poem, stopping to summarise and analyse what’s going on, stage by stage.

My Last Duchess

That’s my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now; Fra Pandolf’s hands Worked busily a day, and there she stands.

We’re given the location first of all: Ferrara, a city in northern Italy. Given the words ‘my last Duchess’, the first line immediately reveals to us that this is the Duke of Ferrara speaking to us.

Because of the performative gesture implicit within that opening line (‘That’s my last Duchess painted on the wall’ being almost accompanied by an imagined flourish, as the Duke’s finger points at the portrait hanging on the wall), we can say we’re in dramatic monologue territory: the speaker of the poem is addressing us as his audience (a man, whom the Duke addresses as ‘Sir’ at several points), in a specific setting.

Thereafter, we learn that the Duke’s wife is dead: again, this is implied by the use of the subjunctive mood in the second line (‘Looking as if she were alive’: i.e., she isn’t any more). Fra Pandolf, we deduce, is the artist who painted the Duchess’s portrait. He worked hard at the painting for a day and this portrait, which the Duke considers ‘a wonder’, is the result.

Will’t please you sit and look at her? I said ‘Fra Pandolf’ by design, for never read Strangers like you that pictured countenance, The depth and passion of its earnest glance, But to myself they turned (since none puts by The curtain I have drawn for you, but I) And seemed as they would ask me, if they durst, How such a glance came there; so, not the first Are you to turn and ask thus.

More performance and posturing that show we’re in the realm of the dramatic monologue: the Duke encourages his audience, this other man, to sit there and admire the portrait of his ‘last Duchess’. (We’ve glossed over the sinister implication in the phrase ‘ last Duchess’: i.e., his dead wife was not his first wife, and he seems to be in the habit of losing them. What happens to all of them? How come they die so soon after marrying him?)

The Duke admits, in a sort of humblebrag, that he name-dropped the artist, Fra Pandolf, on purpose, because it took a brilliant painter to capture the distinctive expression or ‘glance’ in the Duchess’s face. How did she come to have such an expression?

Many other guests of the Duke’s, before his present guest, have asked him, and he usually keeps the painting concealed behind a curtain; but when people enquire about his wife, he will pull aside the curtain and show her to them.

Note also the continual conflation of the Duchess herself (now dead) with her portrait: she has become art, and an object, embodied by Fra Pandolf’s painting of her on canvas. But was the real duchess similarly viewed as an object by her husband?

Sir, ’twas not Her husband’s presence only, called that spot Of joy into the Duchess’ cheek; perhaps Fra Pandolf chanced to say, ‘Her mantle laps Over my lady’s wrist too much,’ or ‘Paint Must never hope to reproduce the faint Half-flush that dies along her throat.’ Such stuff Was courtesy, she thought, and cause enough For calling up that spot of joy. She had A heart—how shall I say?— too soon made glad, Too easily impressed; she liked whate’er She looked on, and her looks went everywhere.

The Duke uses the look on his dead wife’s face as a way into discussing her character, and telling his guests about her personality.

It wasn’t simply the Duke’s presence in the room as she sat for the portrait that caused her to look so pleased; indeed, even the most neutral and professional requests and pleasantries from the painter would have made her blush with delight, because she was easily flattered when people praised her beauty.

What’s more, she had a roving eye (‘her looks went everywhere’), so even though she was married to the Duke, she sought out praise and flattery from other people (especially men).

Sir, ’twas all one! 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.

All of the trivial gifts and tokens people brought the Duchess were greeted with the same blush of joy, whether it was a ‘favour’ (e.g. a flower) the Duke himself brought to her for her to wear on her dress, or even the beautiful sunset (and the coming of night – when people’s thoughts might turn in an amorous direction), some cherries from the orchard someone who worked for the Duke had brought for her to eat, or a mule (‘white’ suggesting purity, but the sterility of the mule – which cannot breed – perhaps hinting that the Duke himself, when the Duchess ‘rode’ him, was too old to get her pregnant).

In short, the Duchess was easily pleased – too easily pleased for the Duke’s liking.

She thanked men—good! but thanked Somehow—I know not how—as if she ranked My gift of a nine-hundred-years-old name With anybody’s gift.

Now we get to the thrust of the Duke’s grievance with his dead wife. He reveals perhaps more than he intends to with this remark, showing that he was proud, haughty, perhaps even slightly insecure and jealous (that potential sexual impotence or sterility again), and didn’t like the fact that his wife, who had married a Duke with a noble lineage stretching back almost a millennium, treated his gifts the same as those from ‘anybody’.

And by these ‘anybodies’ the Duke really means, nobodies , for that is what he considers them to be next to him. He is a Duke; who are they? Yet their gifts inspire the same response from the Duchess as the Duke’s lavish gifts.

Who’d stoop to blame This sort of trifling? 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.

The Duke (rhetorically) addresses his guest. He asks him: which nobleman should lower himself by seeking to instruct his wife about how she should behave? As a duke, you shouldn’t have to deal with such petty trivialities (‘trifling’).

Oh, sir, she smiled, no doubt, Whene’er I passed her; but who passed without Much the same smile? This grew; I gave commands; Then all smiles stopped together. There she stands As if alive.

The Duchess smiled whenever she saw her husband, but she smiled at everyone else, too. It got worse, so he ‘gave commands’. This is a stroke of real skill from Browning: at first, we might deduce that he ‘gave commands’ to her to stop smiling at everyone who looked at her.

But hang about, wouldn’t that go against his previous statement that he refused to ‘stoop’, to debase himself by addressing such matters with her? No: we realise that there is something more sinister going on: the commands the Duke gave were orders to others, perhaps hired henchmen or assassins, who killed the Duchess and thus ‘stopped’ ‘all smiles’ (both those from her admirers, and from her in return).

Will’t please you rise? We’ll meet The company below, then. I repeat, The Count your master’s known munificence Is ample warrant that no just pretence Of mine for dowry will be disallowed;

And then, presumably as calm and collected as can be as though he hasn’t just confessed to organising his wife’s murder, the Duke calls for his guest to stand up so they can both go downstairs to meet the rest of their companions.

We then realise that the Duke is already arranging for his next marriage: indeed, the Duke’s guest is a representative of another nobleman, a Count, whose daughter the Duke is planning to make his next duchess (with the Count paying a handsome dowry to the Duke for marrying her: this is a marriage for money, of course, and given how many duchesses the Duke has married and disposed of, we deduce that he is quite advanced in years). Poor girl doesn’t know what she’s letting herself in for …

Though his fair daughter’s self, as I avowed At starting, is my object.

This declaration now rings with a menacing overtone: his ‘object’ for what? He’s saying he wants to marry the Count’s daughter for her, not for her big dowry that will bring him lots of land or cash. But ‘object’ suggests a trinket to be shown off and then, perhaps, discarded when the Duke starts to feel another pang of jealousy about how many young men are admiring his young, pretty wife.

Nay, we’ll go Together down, sir. Notice Neptune, though, Taming a sea-horse, thought a rarity, Which Claus of Innsbruck cast in bronze for me!

The Duke’s final words to his listener are about a bronze sculpture which another artist made for him. The symbolism of this sculpture is obvious: the depiction of Neptune the Roman sea god using his divine force to tame or subdue a wild seahorse obviously mirrors the Duke’s own attitudes and temperament. He uses his power and might to crush those who oppose or displease him. The beautiful seahorse is being destroyed by the much more powerful god, much as the Duke’s young, beautiful wife was crushed by him.

‘My Last Duchess’ is a masterpiece because it does what Browning’s dramatic monologues do best: invites us into the confidence of a speaker whose conversation reveals more about their personality and actions than they realise. The poem is not a narrative poem because it has a speaker rather than a narrator, but it nevertheless tells a story of a doomed marriage, a man capable only of irrational jealousy and possessive force, and male pride (indeed, arrogance and privilege too) that barely conceals the fragile masculinity just lurking beneath.

We should feel thoroughly uncomfortable when we finish reading the poem for the first time, because we have just heard a man confessing to the murder of his wife – and, perhaps, other wives – without actually confessing. Compare, here, the calm, even proud tone of the speaker of another of Browning’s great dramatic monologues, ‘ Porphyria’s Lover ’.

Finally, it’s worth mentioning, as a sort of footnote to this analysis, the form Browning employs. He uses iambic pentameter , which is handy for conveying the rhythms of ordinary English speech, but he doesn’t deploy blank verse .

Instead, he offers us the more stately and grand rhyming couplets or ‘heroic couplets’ associated with grander themes. These heroic couplets convey the Duke’s need for order in his life, his possessive control over everything around him (especially his wife), but also his self-importance.

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8 thoughts on “A Summary and Analysis of Robert Browning’s ‘My Last Duchess’”

Two additions to an otherwise helpful analysis: First, a duke is higher than a count, so if the count could marry his daughter to a duke, he would be raising his own status and that of his whole family very considerably. The hierarchy from high to low is as follows: duke, marquis, count and earl (equal), viscount and baron.

The girl is question is thus seen as nothing more than a commodity from both sides of the equation, not merely from the Duke’s side!

Second, attention must be paid to a few crucial words that the analysis leaves out of consideration: “Nay, we’ll go / Together down, Sir!” What is being implied here? Namely that the count’s emissary has understood from the whole monolgue what we also understand, that the Duke is a monster and the count’s daughter would be greatly endangered if she married him! He tries to go downstairs immediately to warn the Count himself or his high-ranking officials (“the company below”) about what he has just heard, but is prevented from doing so by the Duke, who is too fast for him!

The fate of the next “my last Duchess” is already sealed!

By placing the poem in Ferrara Browning is pretty well identifying his speaker with Alfonso II d’Este, the fifth Duke of Ferrara, who did marry a young, and if her portrait can be trusted, beautiful girl. He left her after one year of marriage, and she died 2 years later, at only 17. He was 25 when he married, so he was neither elderly, nor (presumably) impotent, nor had he had a string of wives before her, (the word ‘last’ can indicate ‘previous’), although he did marry twice more – he was 63 when he died, which gave him plenty of time. Popular gossip did ascribe his first wife’s death to poison, although TB seems to have been a more likely cause. However, the fact that his grandmother was Lucrezia Borgia probably didn’t help his reputation.

I have taught this poem as a work of mystery, asking my students to form a defensible thesis of the duchess’s fate based on evidence found in the poem.

One of my ‘party pieces’! Gains much from being ‘acted’.

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Robert Browning: Poems

By robert browning, robert browning: poems summary and analysis of "my last duchess".

"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.

At the poem's opening, the duke has just pulled back a curtain to reveal to the envoy a portrait of his previous duchess. The portrait was painted by Fra Pandolf, a monk and painter whom the duke believes captured the singularity of the duchess's glance. However, the duke insists to the envoy that his former wife’s deep, passionate glance was not reserved solely for her husband. As he puts it, she was "too easily impressed" into sharing her affable nature.

His tone grows harsh as he recollects how both human and nature could impress her, which insulted him since she did not give special favor to the "gift" of his "nine-hundred-years-old" family name and lineage. Refusing to deign to "lesson" her on her unacceptable love of everything, he instead "gave commands" to have her killed.

The duke then ends his story and asks the envoy to rise and accompany him back to the count, the father of the duke's impending bride and the envoy's employer. He mentions that he expects a high dowry, though he is happy enough with the daughter herself. He insists that the envoy walk with him "together" – a lapse of the usual social expectation, where the higher ranked person would walk separately – and on their descent he points out a bronze bust of the god Neptune in his collection.

"My Last Duchess," published in 1842, is arguably Browning's most famous dramatic monologue, with good reason. It engages the reader on a number of levels – historical, psychological, ironic, theatrical, and more.

The most engaging element of the poem is probably the speaker himself, the duke. Objectively, it's easy to identify him as a monster, since he had his wife murdered for what comes across as fairly innocuous crimes. And yet he is impressively charming, both in his use of language and his affable address. The ironic disconnect that colors most of Browning's monologues is particularly strong here. A remarkably amoral man nevertheless has a lovely sense of beauty and of how to engage his listener.

In fact, the duke's excessive demand for control ultimately comes across as his most defining characteristic. The obvious manifestation of this is the murder of his wife. Her crime is barely presented as sexual; even though he does admit that other men could draw her "blush," he also mentions several natural phenomena that inspired her favor. And yet he was driven to murder by her refusal to save her happy glances solely for him. This demand for control is also reflected in his relationship with the envoy. The entire poem has a precisely controlled theatrical flair, from the unveiling of the curtain that is implied to precede the opening, to the way he slowly reveals the details of his tale, to his assuming of the envoy's interest in the tale ("strangers like you….would ask me, if they durst, How such a glance came there"), to his final shift in subject back to the issue of the impending marriage. He pretends to denigrate his speaking ability – "even had you skill in speech – (which I have not),” later revealing that he believes the opposite to be true, even at one point explicitly acknowledging how controlled his story is when he admits he "said 'Fra Pandolf' by design" to peak the envoy's interest. The envoy is his audience much as we are Browning's, and the duke exerts a similar control over his story that Browning uses in crafting the ironic disconnect.

In terms of meter, Browning represents the duke's incessant control of story by using a regular meter but also enjambment (where the phrases do not end at the close of a line). The enjambment works against the otherwise orderly meter to remind us that the duke will control his world, including the rhyme scheme of his monologue.

To some extent, the duke's amorality can be understood in terms of aristocracy. The poem was originally published with a companion poem under the title "Italy and France," and both attempted to explore the ironies of aristocratic honor. In this poem, loosely inspired by real events set in Renaissance Italy, the duke reveals himself not only as a model of culture but also as a monster of morality. His inability to see his moral ugliness could be attributed to having been ruined by worship of a "nine-hundred-years-old name.” He is so entitled that when his wife upset him by too loosely bestowing her favor to others, he refused to speak to her about it. Such a move is out of the question – "who'd stoop to blame this kind of trifling?" He will not "stoop" to such ordinary domestic tasks as compromise or discussion. Instead, when she transgresses his sense of entitlement, he gives commands and she is dead.

Another element of the aristocratic life that Browning approaches in the poem is that of repetition. The duke's life seems to be made of repeated gestures. The most obvious is his marriage – the use of the word "last" in the title implies that there are several others, perhaps with curtain-covered paintings along the same hallway where this one stands. In the same way that the age of his name gives it credence, so does he seem fit with a life of repeated gestures, one of which he is ready to make again with the count's daughter.

And indeed, the question of money is revealed at the end in a way that colors the entire poem. The duke almost employs his own sense of irony when he brings up a "dowry" to the envoy. This final stanza suggests that his story of murder is meant to give proactive warning to the woman he is soon to marry, but to give it through a backdoor channel, through the envoy who would pass it along to the count who might then pass it to the girl. After all, the duke has no interest in talking to her himself, as we have learned! 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.

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. The first contradiction to consider is how charming the duke actually is. It would be tempting to suggest Browning wants to paint him as a weasel, but knowing the poet's love of language, it's clear that he wants us to admire a character who can manipulate language so masterfully. Further, the duke shows an interesting complication in his attitudes on class when he suggests to the envoy that they "go Together down," an action not expected in such a hierarchical society. 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.

Also at play psychologically is the human ability to rationalize our hang-ups. The duke seems controlled by certain forces: his own aristocratic bearing; his relationship to women; and lastly, this particular duchess who confounded him. One can argue that the duke, who was in love with his "last duchess,” is himself controlled by his social expectations, and that his inability to bear perceived insult to his aristocratic name makes him a victim of the same social forces that he represents. Likewise, what he expects of his wives, particularly of this woman whose portrait continues to provide him with fodder for performance, suggests a deeper psychology than one meant solely for criticism.

The last thing to point out in the duke's language is his use of euphemism. The way he explains that he had the duchess killed – "I gave commands; Then all smiles stopped together" – shows a facility for avoiding the truth through choice of language. What this could suggest is that the duchess was in fact guilty of greater transgression than he claims, that instead of flirtation, she might have physically or sexually betrayed him. There's certainly no explicit evidence of this, but at the same time, it's plausible that a man as arrogant as the duke, especially one so equipped with the power of euphemism, would avoid spelling out his disgrace to a lowly envoy and instead would speak around the issue.

Finally, one can also understand this poem as a commentary on art. The duke remains enamored with the woman he has had killed, though his affection now rests on a representation of her. In other words, he has chosen to love the ideal image of her rather than the reality, similar to how the narrator of " Porphyria's Lover " chose a static, dead love than one destined to change in the throes of life. In many ways, this is the artist's dilemma, which Browning explores in all of his work. 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. The duke attempts to be an artist in his life, turning a walk down the hallway into a performance, but he is always hampered by the fact that the ideal that inspires his performance cannot change.

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Comment on Robert Browning's philosophy of love as expressed in his"The Last Ride Together".

Browning's poem emphasizes the idea that the love one has shared on earth will be shared after "The Last Ride" together. These are lovers who are moving beyond what they have had on earth. He blesses her name in "pride and...

In Browning's "My Last Duchess" what is a euphemism?

"I gave commands; Then all smiles stopped together"

My Last Duchess

The Duke shows us a portait of his late wife.

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• Shelter From the Storm
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• The Insanity of Blindness: The Narrators in Browning's "Porphyria's Lover" and "Soliloquy of the Spanish Cloister"
• Where Are the Women?
• Robert Browning and the Representation of Desire

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Robert Browning: Poems e-text contains the full texts of select poems by Robert Browning.

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Home › Literature › Analysis of Robert Browning’s My Last Duchess 

Analysis of Robert Browning’s My Last Duchess 

By NASRULLAH MAMBROL on March 30, 2021 • ( 0 )

My Last Duchess 

“My Last Duchess” appeared in Browning’s first collection of shorter poems, Dramatic Lyrics (1842). In the original edition, the poem is printed side-by-side with “Count Gismond” under the heading “Italy and France,” and the two poems share a similar concern with issues of aristocracy and honor. “My Last Duchess” is one of many poems by Browning that are founded, at least in part, upon historical fact. Extensive research lies behind much of Browning’s work, and “My Last Duchess” represents a confluence of two of Browning’s primary interests: the Italian Renaissance and visual art. Both the speaker of the poem and his “last Duchess” closely resemble historical figures. The poem’s duke is likely modeled upon Alfonso II, the last Duke of Ferrara, whose marriage to the teenaged Lucrezia de’ Medici ended mysteriously only three years after it began. The duke then negotiated through an agent to marry the niece of the Count of Tyrol.

True to the title of the volume in which the poem appears, “My Last Duchess” begins with a gesture performed before its first couplet—the dramatic drawing aside of a “curtain” in front of the painting. From its inception, the poem plays upon the notion of the theatrical, as the impresario duke delivers a monologue on a painting of his late wife to an envoy from a prospective duchess. That the poem constitutes, structurally, a monologue, bears significantly upon its meaning and effects. Browning himself summed up Dramatic Lyrics as a gathering of “so many utterances of so many imaginary persons, not mine,” and the sense of an authorial presence outside of “My Last Duchess” is indeed diminished in the wake of the control the duke seems to wield over the poem. The fact that the duke is the poem’s only voice opens his honesty to question, as the poem offers no other perspective with which to compare or contrast that of the duke. Dependence on the duke as the sole source of the poem invites in turn a temporary sympathy with him, in spite of his outrageous arrogance and doubtlessly criminal past. The poem’s single voice also works to focus attention on the duke’s character: past deeds pale as grounds for judgment, becoming just another index to the complex mind of the aristocrat.

In addition to foregrounding the monologic and theatrical nature of the poem, the poem’s first dozen lines also thematize notions of repetition and sequence, which are present throughout the poem. “That’s my last Duchess,” the duke begins, emphasizing her place in a series of attachments that presumably include a “first” and a “next.” The stagy gesture of drawing aside the curtain is also immanently repeatable: the duke has shown the painting before and will again. Similarly, the duke locates the envoy himself within a sequence of “strangers” who have “read” and been intrigued by the “pictured countenance” of the duchess. What emerges as the duke’s central concern—the duchess’s lack of discrimination—also relates to the idea of repetition, as the duke outlines a succession of gestures, events, and individuals who “all and each/Would draw from her alike the approving speech.” The duke’s very claim to aristocratic status rest upon a series—the repeated passing on of the “nine-hundred-years-old name” that he boasts. The closing lines of “My Last Duchess” again suggest the idea of repetition, as the duke directs the envoy to a statue of Neptune: “thought a rarity,” the piece represents one in a series of artworks that make up the duke’s collection. The recurrent ideas of repetition and sequence in the poem bind together several of the poem’s major elements—the duke’s interest in making a new woman his next duchess and the vexingly indiscriminate quality of his last one, the matter of his aristocratic self-importance and that of his repugnant acquisitiveness, each of which maps an aspect of the duke’s obsessive nature.

This obsessiveness also registers in the duke’s fussy attention to his own rhetoric, brought up throughout the poem in the form of interjections marked by dashes in the text. “She had/a heart—how shall I say—too soon made glad,” the duke says of his former duchess, and his indecision as to word choice betrays a tellingly careful attitude toward discourse. Other such self-interruptions in the poem describe the duke’s uncertainty as to the duchess’s too easily attained approval, as well as his sense of being an undiplomatic speaker. On the whole, these asides demonstrate the duke’s compulsive interest in the pretence of ceremony, which he manipulates masterfully in the poem. Shows of humility strengthen a sense of the duke’s sincerity and frank nature, helping him build a rapport with his audience. The development of an ostensibly candid persona works to cloak the duke’s true “object”—the dowry of his next duchess.

Lucrezia de’ Medici by Bronzino, generally believed to be the subject of the poem/Wikimedia

Why the duke broaches the painful matter of his sordid past in the first place is well worth considering and yields a rich vein of psychological speculation. Such inquiry should be tempered, however, by an awareness of the duke’s overt designs in recounting his past. On the surface, for instance, the poem constitutes a thinly veiled warning: the duke makes a show of his authority even as he lets out some of the rather embarrassing details surrounding his failed marriage. The development of the duchess’s seeming disrespect is cut short by the duke’s “commands”—almost certainly orders to have her quietly murdered. In the context of a meeting with the envoy of a prospective duchess, the duke’s confession cannot but convey a threat, a firm declaration of his intolerance toward all but the most respectful behavior.

But the presence of an underlying threat cannot fully account for the duke’s rhetorical exuberance, and the speech the poem embodies must depend for its impetus largely upon the complex of emotional tensions that the memory calls up for the duke. As critic W. David Shaw remarks, the portrait of the last duchess represents both a literal and a figurative “hang-up” for the duke, who cannot resist returning to it repeatedly to contemplate its significance. So eager is the duke to enlarge upon the painting and its poignance that he anticipates and thus helps create the envoy’s interest in it, assuming in him a curiousity as to “how such a glance came” to the countenance of the duchess. The duke then indulges in obsessive speculation on the “spot of joy” on the “Duchess’ cheek,” elaborating different versions of its genesis. Similarly, the duke masochistically catalogues the various occasions the duchess found to “blush” or give praise: love, sunsets, cherries, and even “the white mule/She rode with round the terrace.”

Language itself occupies a particularly troubled place in the duke’s complex response to his last duchess and her memory. The duke’s modesty in declaiming his “skill/In speech” is surely false, as the rhetorical virtuosity of his speech attests. Yet he is manifestly averse to resolving the issue through discussion. In the duke’s view, “to be lessoned” or lectured is to be “lessened” or reduced, as his word choice phonetically implies. Rather than belittle himself or his spouse through the lowly practice of negotiation, the duke sacrifices the marriage altogether, treating the duchess’s “trifling” as a capital offense. The change the duke undergoes in the wake of disposing of his last duchess is in large part a rhetorical one, as he “now” handles discursively what he once handled with set imperatives.

The last lines of the poem abound in irony. As they rise to “meet/The company below,” the duke ominously reminds the envoy that he expects an ample dowry by way of complimenting the “munificence” of the Count. The duke then tells the envoy that not money but the Count’s daughter herself remains his true “object,” suggesting the idea that the duke’s aim is precisely the contrary. The duke’s intention to “go/Together down” with the envoy, meant on the surface as a kind of fraternal gesture, ironically underscores the very distinction in social status that it seems to erase. “Innsbruck” is the seat of the Count of Tyrol whose daughter the duke means to marry, and he mentions the bronze statue with a pride that is supposed to flatter the Count. But the lines can also be interpreted as an instance of self-flattery, as Neptune, who stands for the duke, is portrayed in the sculpture as an authorial figure, “taming a sea-horse.”

“My Last Duchess” marks an early apex of Browning’s art, and some of the elements of the poem—such as the monologue form, the discussion of visual art, and the Renaissance setting—were to become staples of Browning’s aesthetic. “My Last Duchess” also inaugurates Browning’s use of the lyric to explore the psychology of the individual. As many critics have suggested, character for Browning is always represented as a process, and the attitudes of his characters are typically shown in flux. The duke of “My Last Duchess” stands as a testimony to Browning’s ability to use monologue to frame an internal dialogue: the duke talks to the envoy but in effect talks to himself as he compulsively confronts the enigmas of his past.

Further Reading Bloom, Harold, ed. Robert Browning. New York: Chelsea House, 1985. Bloom, Harold, and Adrienne Munich, eds. Robert Browning: A Collection of Critical Essays. Englewood Cliffs, N.J.: Prentice Hall, 1979. Chesterton, G. K. Robert Browning. London: Macmillan, 1903. Cook, Eleanor. Browning’s Lyrics: An Exploration. Toronto: University of Toronto Press, 1974. Crowell, Norton B. The Convex Glass: The Mind of Robert Browning. Albuquerque: University of New Mexico Press, 1968. De Vane, William Clyde, and Kenneth Leslie Knickerbocker, eds. New Letters. New Haven: Yale University Press, 1950. De Vane, William Clyde. A Browning Handbook. New York: F. S. Crofts and Co., 1935. Drew, Philip. The Poetry of Robert Browning: A Critical Introduction. London: Methuen, 1970. Jack, Ian. Browning’s Major Poetry. Oxford: Clarendon Press, 1973. Jack, Ian, and Margaret Smith, eds. The Poetical Works of Robert Browning. New York: Oxford University Press, 1983. Wagner-Lawlor, Jennifer A. “The Pragmatics of Silence, and the Figuration of the Reader in Browning’s Dramatic Monologues.” Victorian Poetry 35, no. 3 (1997): 287–302. Source: Bloom, H., 2001. Broomall, PA: Chelsea House Publishers.

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My Last Duchess Poem Summary and Analysis

Summary of my last duchess.

My last Duchess summary will help in understanding the poem in a clear way. It tells us about a Duke who is in talks with an emissary. As the Duke has been recently widowed, he is talking to him about his marriage. The emissary is there on the behalf of quite a powerful family. He is showing the emissary around his palace when he arrives at the portrait of his last Duchess. She was a young and charming girl. The Duke starts recalling the portrait sessions and the Duchess. Thus, the last Duchess summary tells us of what the Duke thinks of her. He claims she had a disgraceful nature and smiled too much. Further, he goes on to hint that he was in fact the one who probably killed her. As he could not take the escalation anymore. After that, he casually returns to the topic of marrying the other girl.

My Last Duchess Summary in English

My last Duchess summary about the poem by Robert Browning digs deeper for better comprehension. It is evident that the poet has loosely based it on historical events that involve Alfonso of the 16 th century.

The Duke of Ferrara is in conversation with an envoy of a very powerful Count. He is the speaker of the poem. The Duke is looking to marry the Count’s daughter. It is because he lost his wife recently.

Thus, he is showing the envoy around his palace. Throughout the tour, we learn shocking revelations about the Duke. The irony which Browning provides in this poem is crystal clear.

On the tour, he comes across a portrait of his last Duchess. He believes that the painter has captured the spectacle of the Duchess’s glimpse. But, he also says that her deep and zealous glance was not just for the Duke and her nature was quite jovial.

Thus, we see how her jovial nature did not go went down well with him. The Duke believed that she was flirting with almost everyone. It becomes clear that he is very controlling as a husband.

As he recalls about her nature, his tone grows harsher. Humans and nature, both impressed the Duchess easily which was not acceptable to him. My last Duchess summary tells us how he thinks she did not respect his lineage.

Thus, he decides to lesson her on loving everything so easily. Consequently, we learn that the Duke probably commanded to kill her. After that, he casually gets back to the business at hand.

He accompanies the envoy back to the Count. Further, he also asks for a high dowry . Although he mentions that his daughter will be enough.

On the way out, he shows the envoy another art piece from his collection like the Duchess’s portrait was merely an object. It is chilling to see him move on from the portrait of his former wife without any emotion.

C onclusion of My Last Duchess Summary

My Last Duchess summary revolves around the theme of political and social power in the hands of the Duke. It depicts the harsh reality of a controlling marriage and a dominating husband who enjoys tyrannical power.

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The wonderful summary thank you for this.

They did not belong to the family of gorden cook and you also didn’t write the spelling correct it’s James cook 😶😑

What’s funny is that Miss Fairchild said the line- “Money isn’t everything. But people always misunderstand things and remain stupid-” when she herself misunderstood the situation.

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My Last Duchess

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Analysis: “My Last Duchess”

“My Last Duchess” is a dramatic monologue , a genre of poem Browning is famous for having mastered. As the name suggests, a dramatic monologue is a poem penned in the form of a speech delivered by a single character. The poem is thus rooted in a single scene but allows the reader insight into the speaker’s history, psyche, and character, by way of details revealed.

While the speaker is not explicitly named in “My Last Duchess,” he is revealed to be a duke owing to the opening lines in which he points to a portrait of his late wife and calls her his “last Duchess” (Line 1). Furthermore, the subtitle of the poem, “Ferrara,” has led to the assumption that the character of the duke is based on Alfonso II, the fifth Duke of Ferrara, whose life paralleled incidents narrated in the poem (See: Historical Context ). Thus, the identity of the speaker is revealed at the start of the poem, as he seemingly innocuously calls the attention of an invisible listener to a portrait of his late wife.

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“My Last Duchess” by Robert Browning

Introduction.

“My Last Duchess” is a beautiful poem written by Robert Browning and it also reveals the poet’s style of using dramatic monologue in writing his poems. The sixteenth century Italian background of the story adds richness to the theme, as Italy was the centre of arts. The attention of the readers has been taken away by the sentiments emerging from the story of the poem, ignoring the greatness of the portrait of the Duchess as a great piece of art. Though it is true that the portrait exposes the selfishness and the sexual greed of the Duke, the basic quality of the story and the poem is in the great skill of the poet in capturing the wicked nature of the Duke through the portrait of the Duchess. This brief paper takes a critical look at the poem.

The place is the palace of the Duke of Ferrara in the year 1564. The speaker in the poem is the Duke. He is talking to a representative of the Count of Tyrol, who has come to negotiate with the Duke about his next marriage to a daughter of another great family. This gentleman is shown the portrait of his last duchess and the way he narrates his relationship with her is the focus of the poem. The Duke says that she was looking as if she were alive. He tells his visitor that “That depth and passion of its earnest glance, /But to myself they turned” (Duchess). His emphasis on “myself” exposes his possessive nature. Like the inquisitive visitor the reader becomes anxious to know the Duke’s involvement in shaping the fate of the Duchess. “She had/ A heart – how shall I say? – too soon made glad”, says the Duke. What then went wrong is the obvious doubt hovering over the readers’ (or the visitor’s) mind. The Duke explains it: “her looks went everywhere”, something which, as her husband, the Duke could not bear. The character of he Duke becomes clear as the poem moves. He is possessive. He looks at his wife as a mere object, and not as person or individual.

The intensive emotion of the Duke comes to light as he narrates the event further. He says, “Oh sir, she smiled, no doubt, / Whene’er I passed her; but who passed without/ Much the same smile? “ The poet brings out the wicked nature of the Duke very slowly through his own words. She gives him her hearty smile whenever he passes, but he cannot bear to see her smile thrown to every passerby. These words of the Duke carry the existing nature of the Italian lovers in the sixteenth century. It is difficult for a modern woman to accept these words of the Duke. “This grew I gave commands”, tells the Duke. Though it is not made explicit what command he gave, it is obvious that he killed her. It is shocking to hear the Duke casually telling his visitor that “There she stands/ As if alive. Will ‘t please you rise?” At last the Duke takes him downstairs to negotiate for his next wife: “Nay, we’ll go/ Together down, sir”.

Browning’s superb ability in blending sex, violence, and art in this small poem is excellent. The way it is presented, using his usual style of dramatic monologue is what makes the poem unique. The pressure the poem puts on the reader to hate the Duke for his domineering nature gets nullified by his love of art. That he caught the most emotional moment of his last Duchess in the form of an artistic portrait with the help of a painter is what softens the readers’ dislike towards him. In other words, Browning has succeeded in taking a touching historical event to transform it into a beautiful piece of art. It is the captured moment in art which is lasting becomes the message of the poem.

The gripping quality of the poem has been highly praised by the scholars.

Browning, Robert. “My Last Duchess”.

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