my last duchess
That's my last duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now: Frà Pandolf's hands
Worked busily a day, and there she stands.
Will't please you sit and look at her? I said
"Frà 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
Frà 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 favor 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 make 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 pretense
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!
Ø
The poem is about a duke called Alfonso II of the house of East. This is a story that Browning read in one of the old books of Italy about a duke who married a young wife and this wife displeases him and then she disappears. During that period of time in the 15th century if a wife displeases her husband or accused of adultery, he has the right to send her to a convent or monastery to spend all her life there like imprisonment.
Ø In the poem we have a duke who speaks to another person who is the envoy or the representative of a count who is lesser in rank than the duke. He was sent to the duke to arrange a marriage that the girl has to pay a dowry to the husband. The duke is receiving the representative of the count to arrange the marriage affair. They discuss the dowry and estate and so on. The duke also tells the representative what does he wishes in his wife. He asks him alone to go upstairs with him then the duke reveals the curtains from the portrait of the last duchess.
Ø
In the portrait, there is a beautiful lady with living feature and blush on her cheeks. The duke asks the envoy to sit down and he starts to speak. Through out the speech we understand a lot about his character as well as his wife’s character. He talks about his wife and how she displeased him by her childish behavior. She was young, immature or how to treat him. He was not satisfied with her so he gave commands to execute her by sending her to a convent. He ordered her death and now he is planning for another marriage. In order to arrange for another marriage, he called for the representative showing him the picture of his executed wife and discussing the marriage.
Ø It a shocking revelation of the great, aristocratic, well educated, very attractive and rich when we hear his confession of murder. Then it is shocking again for the reader when he arranges for another marriage.
That's my last duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now: Frà Pandolf's hands
Worked busily a day, and there she stands.
Ø In the first lines the speaker shows the work of art to the envoy. The painting looks as if it is a living thing which means that it is a very good work of art. The duke reduces that woman in the painting into something. She is a thing for him and only a piece of art. He is not talking about the woman who was his wife but about the work of art. He himself judges the work of art. That means that he is also an artist as he has a good taste in art. He is himself can judge a work of art. He is only interested in the work of art not the woman.
Ø
The painter who created this art was called Fra Pandolf was known at that time. There is a mocking tone when the duke shows how the painter worked hard to finish the painting. This hurry was because he wanted to command her end. He ordered a great painter to paint her so he can imprison the life in a work of art. The duke invites the envoy to sit to hear more revelation. He also invites us as readers to sit and look at the work of art.
Will't please you sit and look at her? I said
"Frà 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)
Ø The representative is only a listener and obeys. He repeats the name of the painter to confirm that this is a great artist who created this work of art. The duke is the only one allowed to draw the curtains. The portrait is covered which shows that there is something suspicious and he is an authoritative person. He is so possessive not allowing any one to see it even the servants.
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
Ø Strangers were never allowed to see this portrait. Countenance is the facial feature. There is life and depth of passion; this shows that he was very jealous. The picture is alive. The envoy did not ask or dare to ask about the picture but the duke sees the questions in his eyes about the portrait. The duke tells him that he does not dare to ask but the duke will tell him by himself.