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My Last Duchess

Decent Essays

How does Browning tell the story of “My Last Duchess” in the first thirteen lines? In the opening lines of “My Last Duchess”, Browning introduces his speaker, the Duke of Ferrara, who sets the stage to tell the story of his late wife to the Count’s emissary. As a dramatic monologue, Browning’s identity is dissolved into his character’s voice and persona; the first-person narration of the Duke dominates the perspective of the story; the emissary becomes a silent listener, whose presence is only known because he is addressed as “you” and “Sir” by the speaker throughout the poem. The relationship between the speaker and the listener within the narrative thus sets up an analogous relationship between the poet, Browning, and his audience …show more content…

The intricate syntax of the following two sentences, constantly interrupted by caesuras within the verses that flow inconsistently outside of the verse in enjambments, is very difficult to follow, especially because he keeps changing the subject of his speech from the painting, to Fra Pandolf, to the emissary, to other strangers, and back to himself. The length of the sentences themselves is also inconsistent, the first verse being the only self-contained clause, indicating incoherence in the Duke’s seemingly-eloquent narrative. Browning’s verse not only establishes the Duke’s conversational tone, but also indicates the Duke’s attempt to obscure the truth, which remains as unclear and unstressed as is the fact that the Duchess is dead, even if she is “looking as if she were alive.” What “stands” is not a human being (“she”), but an objectified “piece”, an “it” possessing nothing but an “earnest glance”. Furthermore, the Duke is not aware of the double entendres of his “design”, even if we know that like “Fra Pandolf’s hands”, he is working “busily” to sustain his authority. By calling her a “piece”, a term not without sexual innuendo, he feels that he has won over her, but her objectification into a painting has been his only means to possession. It becomes apparent that the Duke’s interpretation of Fra Pandolf’s “piece” of art is not as important as our interpretation of Browning’s piece. Though Browning is more absent from the poem than the emissary, he

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