My Last Duchess

Things to know…

• The poem is based on real historical events• Alfonso II of Modena and Ferrara (1559-1597)

married Lucrezia de Doctors and she died 4 years later in mysterious circumstances

• The Duke had commissioned Fra Pandolf to paint a picture of his wife

• The poem is a dramatic monologue = the poet adopts the voice of someone else

Lines 1 to 5

Ferrara

That's my last duchess painted on the wall,Looking as if she were alive. I callThat piece a wonder, now: Frà Pandolf's handsWorked busily a day, and there she stands.Will't please you sit and look at her? I said

Fra Pandolf is an imaginary painter

We immediately learn from this section that the speaker is powerful and wealthy

The painting is realistic

From this line it becomes clear that the Duke is talking to someone

Lines 6 to 10

"Frà Pandolf" by design, for never readStrangers like you that pictured countenance,The depth and passion of its earnest glance,But to myself they turned (since none puts byThe curtain I have drawn for you, but I)

Countenance = face

The duke reveals in this section that the painting is normally covered by a curtain – this suggests that the Duke is a man who is usually obeyed. The duke says that whenever people see the painting they usually ask him what caused the look of depth and passion in the duchess’ face

Notice that the duke doesn’t refer to the duchess as ‘her’

Lines 11 to 15

And seemed as they would ask me, if they durst,How such a glance came there; so, not the firstAre you to turn and ask thus. Sir, 'twas notHer husband's presence only, called that spotOf joy into the Duchess' cheek: perhapsFrà Pandolf chanced to say "Her mantle laps

Durst = dared

Mantle = a cloak

The duke tells the visitor that it was not just the presence of himself that made the duchess blush. He seems to have been jealous that other men paid her attention – something she clearly enjoyed as it brought a ‘spot of joy’ to her face!

Lines 16 to 20

"Over my lady's wrist too much," or "Paint"Must never hope to reproduce the faint"Half-flush that dies along her throat": such stuffWas courtesy, she thought, and cause enoughFor calling up that spot of joy. She had

The duke seems to see the artist as some kind of rival.

Lines 21 to 25

A heart how shall I say? too soon made glad,Too easily impressed; she liked whate'erShe looked on, and her looks went everywhere.Sir, 'twas all one! My favour at her breast,The dropping of the daylight in the West,

Favour = an object (such as a brooch) that is worn as a token of affection

The duke expands on his wife’s faults. He says she was too easily impressed ‘she liked whate’ver’

Some precious brooch pinned on her breast and given to her by the duke was given the same importance as the sunset or some cherries bought to her by a servant or riding a white mule.

Lines 26 to 30

The bough of cherries some officious foolBroke in the orchard for her, the white muleShe rode with round the terrace all and eachWould draw from her alike the approving speech,Or blush, at least. She thanked men good! but thanked

Officious = too forward in offering unwelcome or unwanted services

Lines 31 to 35

Somehow I know not how as if she rankedMy gift of a nine-hundred-years-old nameWith anybody's gift. Who'd stoop to blameThis sort of trifling? Even had you skillIn speech which I have not to make your will

The title of the Duke of Ferrara was created 900 years before the poem was written

Line 33 reveals the duke’s arrogance about his title and position. He talks about his title and clearly feels his position should had been given more respect from his wife. He calls his name ‘his gift’ which suggests he thinks she should have been more grateful. Also this shows his arrogance.

The word ‘stoop’ is important because it shows how high up the duke feels he is

Lines 36 to 40

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 letHerself be lessoned so, nor plainly setHer wits to yours, forsooth, and make excuse,

Forsooth = truly

Lines 41 to 46

E'en then would be some stooping; and I chooseNever to stoop. Oh sir, she smiled, no doubt,Whene'er I passed her; but who passed withoutMuch the same smile? This grew; I gave commands;Then all smiles stopped together. There she standsAs if alive. Will't please you rise? We'll meet

The duchess always smiled at the duke when she passed him but it seems she smiled at everyone. So the duke gave some orders and had his wife murdered

‘There she stands/As if alive’ suggests the wife was murdered

Lines 47 to 56

The company below, then. I repeat,The Count your master's known munificenceIs ample warrant that no just pretenceOf mine for dowry will be disallowed;Though his fair daughter's self, as I avowedAt starting, is my object. Nay we'll goTogether down, sir. Notice Neptune, though,Taming a sea-horse, thought a rarity,Which Claus of Innsbruck cast in bronze for me!

The count, your master = this phrase is important because it makes clear the speaker of the poem is talking to the servant of a count, who is visiting to discuss the marriage of his daughter

Munificence = generosity

Nay = no

Neptune = God of the sea

An imaginary sculptor

The duke suggests they go downstairs The duke expects a

large dowry for his next marriage even though he is only interested in the daughter.

The statue is important because it shows Neptune taming a sea-horse like the duke ‘tamed’ the duchess

The last word shows the duke’s self-centredness

Other points

• Browning writes in rhyming couplets of ten syllables

• The enjambment reveals the compulsive attitude of the duke

• The casual sounding poem shows the pride and arrogance of the aristocracy

• Is a portrait of a murderer• Shows the corruption of money• Shows the domination of men over women