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How does Browning present the character of the Duke in ‘My Last Duchess’
My last duchess robert browning line by line analysis
My last duchess robert browning line by line analysis
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In Browning’s “My Last Duchess”, the speaker whom we discover to be the Duke and husband of the Duchess in question is an arrogant aristocrat. At first glance, it may seem that he is a grieving husband who is proud to show the portrait of his last wife, but the more that you hear him speak, the more his true personality is demonstrated. He is critical of his late wife and wants to ensure that his visitor understands that she was unworthy to be his Duchess.
In the first line, there is a hint of the Dukes personality for he uses the title of Duchess instead of her name or the word wife. This theme of objectivity continues as he states “That piece a wonder, now”. When talking in terms of a piece, one would think the work of art is the subject being discussed but by adding the word now it strongly suggests he is speaking of his wife. This is the beginning signs of the shallowness of his personality. He also uses the name of the artist twice at the beginning of this conversation. It would seem to imply either, that this is a name the visitor should recognize, or to deride the artist as he later hints at impropriety. Either option is used to elevate himself, through bragging of having a renowned artist do the painting or slandering of the artist for his part in the Duchess’ supposed behavior.
Another sign of his arrogance is that this is not just a portrait that can be moved or discarded, but is actually a painting on the wall. It would seem that only those of great wealth and standing would have a large mural or fresco painting. He clearly keeps it covered because he later states that he is the only one who moves the curtain; “But to myself they turned (since none puts by The curtain I have drawn for you, but I)”. Once again, de...
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... dowry will be disallowed;”.
Throughout this discourse it is clear that the Duke is pompous and arrogant, not to mention a murderer. He has belittled his past wife, he has bragged about his belongings, he has puffed out his chest with the family history, but one of his final statements cements his personality and character. He is speaking of the counts daughter, his potential, future wife, of whom he expects a hefty dowry, and states, “Though his fair daughter’s self, as I avowed At starting, is my object.”. The Duke sees women as objects, he believes them to be there for his enjoyment, as a possession, and should they disappoint him, he obviously has no issue of doing away with them – permanently.
Works Cited
Kenedy, X., Gioia, D. (2012) Backpack literature: an introduction to fiction, poetry, drama, and writing. Pearson Education, Inc., Upper Saddle River, NJ
... the visitor. Conspicuous consumption is exemplified through this painting and the museum because it was basically all created by overbuying and greed. It can be said that the single very reason anybody sees that painting hung on the wall of a misfit room in a disorganized museum is only because of one man’s extreme case of money flaunting in an age where everything needed to be big and flashy. Also this painting was created smack dab in the middle of the Gilded Age. The painting itself has no direct connection to this era but it makes an argument for why the piece is hung in the museum.
Lee, Edward Bok El Santo Americano. Backpack Literature: An Introduction to Fiction, Poetry, Drama, and Writing 4th Ed.
Boyle, T. Coraghessan. "Greasy Lake." X. J. Kennedy, Dana Gioia. Backpack Literature An Introduction to Fiction, Poetry, Drama, and Writing. Ed. Joe Terry. Pearson, 2012. Text. 28 January 2014.
Kennedy, X. J., and Dana Gioia. Backpack Literature: An Introduction to Fiction, Poetry, Drama, and Writing. Upper Saddle River: Pearson Education, 2012. Print.
Packer, ZZ. “Brownies.” Backpack Literature: An Introduction to Fiction, Poetry, Drama, and Writing. Ed. X.J. Kennedy and Dana Gioia. 4th ed. Boston: Pearson, 2006. 177-94. Print.
According to Shearer West, a portrait is “a work of art that represents a unique individual”. West elaborates on the implications of this definition of a portrait, introducing the dilemma of the painter, who may strive to illustrate either or both the ideal figure, or a likeness of the sitter. Jean Germain Drouais’ resolution to such a dilemma can be observed in the painting, Madame de Pompadour at her Tambour Frame, as he struggles to portray both the femininity of the ideal woman in the 1760s, while conveying the more present, aged and unique characteristics of the lady that captured King Louis XV’s heart.
Kirszner, Laurie G., and Stephen R. Mandell, eds. Portable Literature: Reading, Reacting, Writing. 8th ed. of the book. Boston: Wadsworth, 2013.
Packer, ZZ. “Brownies.” Backpack Literature: An Introduction to Fiction, Poetry, Drama, and Writing. Ed. X.J. Kennedy and Dana Gioia. 4th ed. Boston: Pearson, 2006. 177-94. Print.
Robert Browning’s “My Last Duchess” is a haunting poem that tells the story of a seemingly perfect wife who dies, and then is immortalized in a picture by her kind and loving husband. This seems to be the perfect family that a tragic accident has destroyed. Upon further investigation and dissection of the poem, we discover the imperfections and this perfect “dream family” is shown for what it really was, a relationship without trust.
Walker, Alice. “Everyday Use.” Backpack Literature: An Introduction to Fiction, Poetry, Drama, and Writing. 4th ed. Ed. X.J. Kennedy and Dana Gioia. Boston: Pearson, 2006. 69-76. Print.
In his own painting, he was trying to extend to the general public what he perceived as the
The tragic hero of Shakespeare's King Lear is brought down, like all tragic heroes, by one fatal flaw, in this case pride, as well as pride's sister, folly. It is the King's egotistical demand for total love and, what's more, protestations of such from the daughter who loves him most, that set the stage for his downfall, as well as calling to the minds of the Elizabethan audience of Shakespeare's day the above-cited biblical edict. This daughter, Cordelia, can be seen as the humble lamb mentioned earlier, and her love and filial devotion go not only beyond that of her sisters (which is nil) but beyond words, thus enraging the proud king whose subsequent petulant rebukes extend to a bit of ironic Freudian projection: "Let pride, which she calls plainness, marry her" (I.i.125). Here, Shakespeare is emphasizing Lear's pride by having him indulge in the common tendency of despising in others (and in this case wrongly) what one is most guilty of oneself. Lear's rash pride ...
Looking at the piece at first you will see a bedroom and you might think ‘oh what a simple and modest accommodation’ it’s not much of a room but it is nice. You get the sense that the person who sleeps in this room doesn’t have a lot of money to spare, and might even be on the brink of going bankrupt. The walls might be decorated with paintings but if you assume that the artist is painting his own room, which he was, then you would think that he hung up his own paintings. With the exception of two Japanese prints he did just put up his own paintings (Brooks, The Paintings).
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.
Throughout "My Last Duchess," Browning uses diction to further increase the haunting effect of his dramatic monologue. His precise and scattered word choice is meant to make the reader recognize the underlying haughtiness in his speech to the Count's emissary. The Duke refers to his former wife's portraits "depth" and "passion" in order to place a cloudiness over the realism of the painting. This, along with the "faint" and "half-flush" appearance that "dies along her throat," brings about an overcast appearance to the poem. The Duke's "trifling" lack of "countenance" is evident in his jealousy of