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Through the course of history, men have sought to subdue women by restricting their rights, limiting their freedoms, and when all else fails – murder. In Robert Browning’s "My Last Duchess", Duke Ferrara kills his wife in retaliation for the fact that he could not control her being – actions and feeling – which is evidenced by his description of his last Duchess, his curtain over her portrait, and his skillful control over the syntax and conversation. Through this poem, Robert Browning addresses a grander issue of the extent to which men will go to maintain control. Through Duke Ferrara’s description of his departed Duchess, it is apparent that he is a controlling individual whose dissatisfaction with the Duchess’ loose behavior led to him arranging her death. When Duke Ferrara was talking to the marriage negotiator about the portrait he has of his last Duchess, he states, “sir, ‘twas not/her husband’s presence only, called the spot/of joy into the Duchess’ cheek” (13-15). When commenting on the expression of his deceased Duchess in the painting, Duke Ferrara claims that the blush of pleasure on her cheeks was caused by numerous individuals, not solely he. Later summarizing the tragic flaw of the Duchess, Duke Ferrara asserts, “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” (23-24). With these words, Duke Ferrara alleges that too many things amazed the Duchess, which dissatisfied him. Also through “her looks went everywhere” (24), Duke Ferrara uses a reference to sexual promiscuity to demonstrate his anger toward her lack of emotional restraint. At the end of his monologue, Duke Ferrara discusses the repercussions of the Duchess’ flirtation: “O... ... middle of paper ... ...the actions of his guest to how the Duchess acted. Since the Duchess was loose in her behavior, Duke Ferrara ultimately sought to control her through murder. In conclusion, through the use of caesura and rhetorical questions, Duke Ferrara exposes his controlling, egotistical character. Through his description of the Duchess and his recount of her reactions to others’ gifts, Duke Ferrara reveals a motive for murdering the Duchess. Through his aside comment concerning the curtain, Duke Ferrara connects the two together and unearths his crime to the audience. Through the exaggerated example of the Duke killing his Duchess in an attempt to control her, Robert Browning successfully demonstrates a social commentary: men go to extremes to sustain control. By fabricating the Duke as an evil individual, Browning effectively renders the audience receptive to his message.
Harte showed Duchess’s emotional side of her. Her “...pent-up feelings found vent in a few hysterical tears...” (Harte, 2) shows the Duchess as emotional, a drama queen, spontaneous and impulsive. This was before she changed, though. “The Duchess, previously a selfish and solitary character, does all she can to comfort and console the fearful Piney.” (Moss and Wilson, 4) Duchess's character reveals that people can switch their habits no matter what the circumstances
The death of the female beloved is the only way deemed possible by the insecure, possessive male to seize her undivided attention. This beloved woman represents the "reflector and guarantor of male identity. Hence, the male anxiety about the woman's independence for her liberty puts his masculine self-estimation at risk" (Maxwell 29). The jealous and controlling males in Robert Browning's "Porphyria's Lover" and "My Last Duchess" possess a fervent desire to fix and monopolize their unconstrained female beloveds. Due to a fear of death, both speakers attempt to achieve control and deny object loss; by turning their lovers (once subjects) into objects, they ultimately attain the role of masterful subject.
Edgar Allen Poe’s gruesomely fascinating tale of vengeance and murder, “The Cask of Amontillado”, achieves its effect only through its usage of the first person point of view. This unusual perspective enables the reader to view the characters and conflicts through the eyes of the narrator, as he first discusses and justifies, and eventually, carries out his plans for the ruthless murder of his friend. The eerie tone and disorienting and materialistically-related setting of the story contribute to its theme of defending one’s honor and name and avenging all wrongdoings, even something so small as an insult.
The female body is often described as a temple: a place that requires care and love from the woman who owns it. Ownership of one’s body for women in the seventeenth century, however, was non-existent. Women did not have the right to argue against men’s decisions: even when it involved their own lives. The Duchess in John Webster’s The Duchess of Malfi decides she no longer wishes to live under anyone and takes it upon herself to get remarried. Despite numerous warnings from her siblings, the Duchess attempts to claim control over her life. Her attempt, unfortunately, fails due to several factors such as her physical body, her family, and her status. This begs the question of who in this power struggle truly owned the Duchess, if not herself.
“Men weren't really the enemy - they were fellow victims suffering from an outmoded masculine mystique that made them feel unnecessarily inadequate when there were no bears to kill.” (quotegarden) As changes in industry and lifestyle swept the nation in the mid-nineteenth century, questions regarding women’s place in society started to arise. This prompted many women to reevaluate their positions in their own lives. At the time, women were dominantly domestic figures, residing in the house to matronly care for children and tend to household duties not to be bothered with by the husband. It is important to note that men in this century were raised and cultivated to have a certain view of women, so they are not actually malicious as some might view them, they are simply products of their environment. It just so happened that women drew the metaphorical “short stick”. Socially and politically, women were not independent. The only voice they had was through their husbands, and relationships and ideas shared with other women at this time were thought to be nothing more than domestic chatter, not to be taken seriously. The only exception to this widely accepted rule was, of course, a widow. She was not tied to a husband or father, or any male for that matter, so she had more freedom over not only her estate but her personal life as well. This is the situation Louise Mallard finds herself in in Kate Chopin’s short story, The Story of an Hour. Chopin illustrates the woman’s newfound feelings of pure freedom that come with the death of her husband and helps readers to understand the oppression felt by women during this time period using Mrs. Mallard’s view on her marriage and her intense emotions, along with the inner conflict she feels. ...
Beauty’s sisters marry rich men, who seemingly have acceptably desirable attributes as husbands. One man is detailed as a man of good looks. The other man is noted for having great wit. The two possess qualities most women seek in a husband, but it is indicated in descriptions that the two sisters are both unhappy in their marriages. Although the first husband is handsome, this serves him as a drawback, for he is a narcissist, only concerned with himself. The second husband’s wit is also a severe disadvantage due to the fact he uses his wit to torment other people, including his wife. It is when Beauty reviews her sisters’ marriages and the unhappiness her sisters experience in relation to their husbands that helps Beauty realize The Beast’s true worth and her love for him: “I should be happier with the monster than my sisters are with their husbands; it is neither wit, nor a fine person, in a husband, that makes a woman happy, but virtue, sweetness of temper and complaisance and Beast has all these valuable qualifications.” (9). The juxtaposition made between the husbands and The Beast create the disclosure of the appropriate masculine qualities a man should encompass. De Beaumont presents the contrast of characters to the reader as a method of emphasizing the
Throughout human history’s course, women hardly retained free speech rights. The men possessed an absolute authority over females because they had strength and larger duties. However, women’s low societal position confined them from seeking independence, security, and achievements. The general public’s analysis was strictly constrained to female domestic tasks. If one defied the social structure, the consequences would result condemnation and shame on the entire family. Jane Austen’s Pride and Prejudice contain many underlying information regarding women’s hierarchy status, maintaining social distinctions and obligations, and acquiring power.
The narrator in “the Book of the Duchess” is more than just a character unable to identify the truth behind the knight’s metaphors, he is seeking for something greater. The narrator has an ulterior motive to try and make the grieving knight discuss in greater detail of the tragic loss. In this paper, an argument will be make that the narrator has ulterior motives in regards to his interactions with the grieving knight. In particular, this paper will discuss the methods in which the narrator uses to better invoke an emotional responses from the knight. To clarify the thesis of this paper, narrator uses methods such as pretending to be ignorant of the situation or acting coldly towards the knight to extract more information about the loss. The
In conclusion, Mr. Robert Browning depicts in ‘My Last Duchess” that the Duke is not an ideal husband by referencing how controlling he is over women and other people in his vicinity. Mr. Browning also references the Duke’s jealous and petty actions that make him seem desperate for a way to seek attention. That is why the Duke disposes of her since she was not giving him the proper care he wanted he decided that she was not worthy. The Duke is also not an ideal husband based on his views of how disposal women are to him. His jealousy and insecurity lead him to be an unhappy self-centered
The Duke of Ferrara was made jealous by everything the duchess did, no matter how unimportant it was. He was especially jealous of Fra Pandolf, the man who painted the duchess in the poem. A woman should be pleased only by her husband, as was not the case with the duchess and Fra Pandolf. She was “too easily impressed'; by the painter (line 23). Fra Pandolf was not the only man that made the duke jealous. Everyone who passed the duchess received “much the same smile'; as the duke (line 44). The duke expected to be the only man to receive a smile from his wife.
Browning’s works were the primary model for the basic form of the standard Victorian dramatic monologue which was based around a speaker, listener, and a reader. Browning’s poem “My Last Duchess” became a model for the dramatic monologue form primarily because of the strict approach he took while developing the poem. One of the aspects characteristic of this work is the authors level of consciousness. Each element in “My Last Duchess” is thoughtfully constructed with form and structure in mind. This poem is filled with dramatic principle that satisfied the Victorian period’s demand for an action and drama that were not overtly apparent in the work. In the case of “My Last Duchess” the drama of the poem is how his character, the Duke, is introduced. In dramatic monologues the character’s self is revealed through thoug...
In "My Last Duchess", by Robert Browning, the character of Duke is portrayed as having controlling, jealous, and arrogant traits. These traits are not all mentioned verbally, but mainly through his actions. In the beginning of the poem the painting of the Dukes wife is introduced to us: "That's my last Duchess painted on the wall,/ looking as of she were still alive" (1-2). These lines leave us with the suspicion that the Duchess is no longer alive, but at this point were are not totally sure. In this essay I will discuss the Dukes controlling, jealous and arrogant traits he possesses through out the poem.
Not attempting to hide, Mrs. Mallard knows that she will weep at her husbands funeral, however she can’t help this sudden feeling of seeing, “beyond [the] bitter moment [of] procession of years to come that would belong to her absolutely” (Chopin, 16). In an unloving marriage of this time, women were trapped in their roles until they were freed by the death of their husbands. Although Mrs. Mallard claims that her husband was kind and loving, she can’t help the sudden spark of joy of her new freedom. This is her view on the release of her oppression from her roles of being a dutiful wife to her husband. Altogether, Mrs. Mallard claims that, “there would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature” (Chopin, 16). This is the most important of Mrs. Mallard’s thoughts, as she never officially states a specific way when her husband oppressed her. However, the audience can clearly suggest that this is a hint towards marriage in general that it suffocates both men and women. Marriage is an equal partnership in which compromise and communication become the dominant ideals to make the marriage better. It is suggested that Mrs. Mallard also oppressed her husband just as much as he did to her when she sinks into the armchair and is, “pressed down by a physical exhaustion
...The caesura within the quote emphasizes the emotionless personality of the Duke, and his lack of value for life. He makes these choices because of his dominance in the social hierarchy, both as a male and a duke. This quote also shows the immense degree of influence one can have on another’s life, in changing it, bettering it or in this case ending it.
Browning uses irony in conjunction with dramatic monologue to produce a sinister and domineering effect. Irony, much like dramatic monologue, can make the reader question the true underlying meaning of the passage. This brief confusion causes an eeriness to be brought about in the work. In "My Last Duchess," verbal irony is demonstrated when the Duke says to his guests, "even had you skill in speech . . . which I have not"(35-36).