My Last Duchess Complete Text Thats my last Duchess painted on the wall, Looking as if she were alive.

I call That piece a wonder, now: Fra Pandolfs hands Worked busily a day, and there she stands. Willt 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. Sir, twas not Her husbands presence only, called that spot Of joy into the Duchess cheek: perhaps Fra Pandolf chanced to say Her mantle laps Over my ladys 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 hearthow shall I say?too soon made glad, Too easily impressed; she liked whateer She looked on, and her looks went everywhere. 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 terraceall and each Would draw from her alike the approving speech, Or blush, at least. She thanked men,good! but thanked SomehowI know not howas if she ranked My gift of a nine-hundred-years-old name With anybodys gift. Whod 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 markand if she let Herself be lessoned so, nor plainly set Her wits to yours, forsooth, and made excuse, Een then would be some stooping; and I choose Never to stoop. Oh sir, she smiled, no doubt,

Wheneer 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. Willt please you rise? Well meet The company below, then. I repeat, The Count your masters known munificence Is ample warrant that no just pretence Of mine for dowry will be disallowed; Though his fair daughters self, as I avowed At starting, is my object. Nay, well go Together down, sir. 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. The Duke is the speaker of the poem, and tells us he is entertaining an emissary who has come to negotiate the Dukes marriage (he has recently been widowed) to the daughter of another powerful family. 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: he claims she flirted with everyone and did not appreciate his gift of a nine-hundred-years- old name. As his monologue continues, the reader realizes with ever-more chilling certainty that the Duke in fact caused the Duchesss early demise: when her behavior escalated, [he] gave commands; / Then all smiles stopped together. Having made this disclosure, the Duke returns to the business at hand: arranging for another marriage, with another young girl. As the Duke and the emissary walk leave the painting behind, the Duke points out other notable artworks in his collection. Form My Last Duchess comprises rhyming pentameter lines. The lines do not employ end-stops; rather, they useenjambmentgthat is, sentences and other grammatical units do not necessarily conclude at the end of lines. Consequently, the rhymes do not create a sense of closure when they come, but rather remain a subtle driving force behind the Dukes compulsive revelations. The Duke is quite a performer: he mimics others voices, creates hypothetical situations, and uses the force of his personality to make horrifying information seem merely colorful. Indeed, the poem provides a classic example of a dramatic monologue: the speaker is clearly distinct from the poet; an audience is suggested but never appears in the poem; and the revelation of the Dukes character is the poems primary aim. 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: the Italian Renaissance held a particular fascination for Browning and his contemporaries, for it represented the flowering of the aesthetic and the human alongside, or in some cases in the place of, the religious and the moral. Thus the temporal setting allows Browning to again explore sex, violence, and aesthetics as all entangled, complicating and confusing each other: the lushness of the language belies the fact that the Duchess was punished for her natural sexuality. The Dukes ravings suggest that most of the supposed transgressions took place only in his mind. Like some of Brownings fellow Victorians, the Duke sees sin lurking in every corner. The reason the speaker here gives for killing the Duchess ostensibly differs from that given by the speaker of Porphyrias Lover for murder Porphyria; however, both women are nevertheless victims of a male desire to inscribe and fix female sexuality. The desperate need to do this mirrors the efforts of Victorian society to mold the behaviorgsexual and otherwisegof individuals. For people confronted with an increasingly complex and anonymous modern world, this impulse comes naturally: to control would seem to be to conserve and stabilize. 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: works like this imply that, surely, a time that produced magnificent art like the Duchesss portrait couldnt have been entirely evil in its allocation of societal controlgeven though it put men like the Duke in power. A poem like My Last Duchess calculatedly engages its readers on a psychological level. Because we hear only the Dukes musings, we must piece the story together ourselves. 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: the horror of the Duchesss fate, or the beauty of the language and the powerful dramatic development? Thus by posing this question the poem firstly tests the Victorian readers response to the modern worldgit asks, Has everyday life made you numb yet?gand secondly asks a question that must be asked of all artgit queries, Does art have a moral component, or is it merely an aesthetic exercise? In these latter considerations Browning prefigures writers like Charles Baudelaire and Oscar Wilde.