¶ … Last Duchess
An Analysis of Browning's "My Last Duchess"
Browning's "My Last Duchess" begins with an informal construction ("That's my last duchess") establishing the wistful, conversational tone with which Browning's Alfonso speaks of his late wife in the dramatic monologue style so frequently employed by the poet. This paper will analyze the poem from the standpoint of a formalist literary critic, evaluating Browning's "Duchess" according to language, structure, tone, imagery, plot, and other devices.
The plot of Browning's dramatic monologue is simple: Alfonso is strolling both literally and figuratively down memory lane -- a hall which houses a painting (by Fra Pandolf, we are told) of his late wife. The recollections stirred by the painting's viewing reveal the characters of both Alfonso and his "last duchess," and end suddenly, as though the narrator were content to muse only a moment. Ironically, the poem ends as it begins -- seemingly spontaneously (and yet not so -- for there is, in the Duke's sudden shift of focus to a bronze statue of Neptune taming a sea-horse, a kind of elegant...
Such is Browning's deft use of imagery -- what appears to be non-sequitur is actually a brilliant and lucid reflection of the mind of a man whose gracious (yet self-serving) demeanor unwittingly equates a simple, humble woman with a strong, magnanimous god.
The graciousness (and pride) of Alfonso is also noticeable in his tone: he speaks to his visitor (and to us) as though the ease of years of friendship were between them. The monologue is a kind of casual, spur-of-the-moment conceit, which summons feelings of incomprehension at the humility born in the breast of his late wife and even still struggling to make its way into the breast of the living duke, about to marry again. The tone is gentle yet baring of the soul -- all is revealed by the Duke, who cannot help but reveal all as he reveals the painting of the one who was unimpressed by vanity. Like Lear, Alfonso admits to a kind…
Last Duchess';'Punishment'; 'Capital Punishment' Three Poems of Decentralization and Marginalization: Browning's "My Last Duchess; Heaney's "Punishment"; and Alexie's "Capital Punishment" Within the poems "My Last Duchess" by Robert Browning; Punishment by Seamus Heaney; and "Capital Punishment" by Sherman Alexie, all three authors deal, although in much different ways, with shifting, and often surprising, relationships between centrality and marginality: of speaker, subject, or both. In Browning's "My Last Duchess, for example the
Her blooming full-pulsed youth stood there in a moral imprisonment which made itself one with the chill, colorless, narrowed landscape, with the shrunken furniture, the never-read books, and the ghostly stag in a pale fantastic world that seemed to be vanishing from the daylight. (Eliot, XXVIII) However it is worth noting the implicit paradox expressed here in the notion of a married woman's "oppressive liberty." Dorothea Brooke marries sufficiently well
"The Sleeping Beauty" by Lord Alfred Tennyson uses several narrative techniques. The first of which can be seen in the second line of the first stanza. "She lying on her couch alone" (). The phrase uses incorrect English to change the tone of the poem. Although the poem does not try to establish a rhyming pattern in the BC in the first stanza with "grown" and "form," the two words