Complete Text

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

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 Duke’s 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 Duchess’s 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 use enjambment—that 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 Duke’s 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 Duke’s character is the poem’s primary aim.

Analysis

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 Duke’s ravings suggest that most of the supposed transgressions took place only in his mind. Like some of Browning’s 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 “Porphyria’s 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 behavior—sexual and otherwise—of 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 Duchess’s portrait couldn’t have been entirely evil in its allocation of societal control—even 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 Duke’s 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 Duchess’s fate, or the beauty of the language and the powerful dramatic development? Thus by posing this question the poem firstly tests the Victorian reader’s response to the modern world—it asks, Has everyday life made you numb yet?—and secondly asks a question that must be asked of all art—git 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.

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