My Last duchess - review.

Form

"My Last Duchess" comprises rhyming pentameter lines. The lines do not employ end-stops; rather, they use enjambment--that is, sentences and other grammatical units do not necessarily conclude at the end of lines. Consequently, the rhymes do not create a sense of closure when they come, but rather remain a subtle driving force behind the Duke's compulsive revelations. The Duke is quite a performer: he mimics others' voices, creates hypothetical situations, and uses the force of his personality to make horrifying information seem merely colourful. Indeed, the poem provides a classic example of a dramatic monologue: the speaker is clearly distinct from the poet; an audience is suggested but never appears in the poem; and the revelation of the Duke's character is the poem's primary aim.

Commentary

But Browning has more in mind than simply creating a colourful character and placing him in a picturesque historical scene. Rather, the specific historical setting of the poem harbours much significance: the Italian Renaissance held a particular fascination for Browning and his contemporaries, for it represented the flowering of the aesthetic and the human alongside, or in some cases in the place of, the religious and the moral. Thus the temporal setting allows Browning to again explore sex, violence, and aesthetics as all entangled, complicating and confusing each other: the lushness of the language belies the fact that the Duchess was punished for her natural sexuality. The Duke's ravings suggest that most of the supposed transgressions took place only in his mind. Like some of Browning's fellow Victorians, the Duke sees sin lurking in every ccorner. The reason the speaker here gives for killing the Duchess ostensibly differs from that given by the speaker of "Porphyria's Lover" for murder Porphyria; however, both women are nevertheless victims of a male desire to inscribe and fix female sexuality. The desperate need to do this mirrors the efforts of Victorian society to mold the behavior--sexual and otherwise--of individuals. For people confronted with an increasingly complex and anonymous modern world, this impulse comes naturally: to control would seem to be to conserve and stabilize. The Renaissance was a time when morally dissolute men like the Duke exercised absolute power, and as such it is a fascinating study for the Victorians: works like this imply that, surely, a time that produced magnificent art like the Duchess's portrait couldn't have been entirely evil in its allocation of societal control--even though it put men like the Duke in power.

A poem like "My Last Duchess" calculatedly engages its readers on a psychological level. Because we hear only the Duke's musings, we must piece the story together ourselves. Browning forces his reader to become involved in the poem in order to understand it, and this adds to the fun of reading his work. It also forces the reader to question his or her own response to the subject portrayed and the method of its portrayal. We are forced to consider, Which aspect of the poem dominates: the horror of the Duchess's fate, or the beauty of the language and the powerful dramatic development? Thus by posing this question the poem firstly tests the Victorian reader's response to the modern world--it asks, Has everyday life made you numb yet?--and secondly asks a question that must be asked of all art--it queries, Does art have a moral component, or is it merely an aesthetic exercise? In these latter considerations Browning prefigures writers like Charles Baudelaire and Oscar Wilde.