For the Victorians, modernity meant numbness: urban life, with its constant over-stimulation and newspapers full of scandalous and horrifying stories, immunized people to shock. Many believed that the onslaught of amorality and the constant assault on the senses could be counteracted only with an even greater shock. This is the principle Browning adheres to in "Porphyria's Lover." In light of contemporary scandals, the sexual transgression might seem insignificant; so Browning breaks through his reader's probable complacency by having Porphyria's lover murder her; and thus he provokes some moral or emotional reaction in his presumably numb audience. This is not to say that Browning is trying to shock us into condemning either Porphyria or the speaker for their sexuality; rather, he seeks to remind us of the disturbed condition of the modern psyche. In fact, "Porphyria's Lover" was first published, along with another poem, under the title Madhouse Cells, suggesting that the conditions of the new "modern" world served to blur the line between "ordinary life"--for example, the domestic setting of this poem--and insanity--illustrated here by the speaker's action.
This poem, like much of Browning's work, conflates sex, violence, and aesthetics. Like many Victorian writers, Browning was trying to explore the boundaries of sensuality in his work. How is it that society considers the beauty of the female body to be immoral while never questioning the morality of language's sensuality--a sensuality often most manifest in poetry? Why does society see both sex and violence as transgressive? What is the relationship between the two? Which is "worse"? These are some of the questions that Browning's poetry posits. And he typically does not offer any answers to them: Browning is no moralist, although he is no libertine either. As a fairly liberal man, he is confused by his society's simultaneous embrace of both moral righteousness and a desire for sensation; "Porphyria's Lover" explores this contradiction.
MY LAST DUTCHES
This poem is loosely based on historical events involving Alfonso, the Duke of Ferrara, who lived in the 16th century. The Duke is the speaker of the poem, and tells us he is entertaining an emissary who has come to negotiate the Duke's marriage (he has recently been widowed) to the daughter of another powerful family. As he shows the visitor through his palace, he stops before a portrait of the late Duchess, apparently a young and lovely girl. The Duke begins reminiscing about the portrait sessions, then about the Duchess herself. His musings give way to a diatribe on her disgraceful behavior: he claims she flirted with everyone and did not appreciate his "gift of a nine-hundred-years- old name." As his monologue continues, the reader realizes with ever-more chilling certainty that the Duke in fact caused the Duchess's early demise: when her behavior escalated, "[he] gave commands; / Then all smiles stopped together." Having made this disclosure, the Duke returns to the business at hand: arranging for another marriage, with another young girl. As the Duke and the emissary walk leave the painting behind, the Duke points out other notable artworks in his collection.
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 colorful. 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 colorful character and placing him in a picturesque historical scene. Rather, the specific historical setting of the poem harbors 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 <http://www.sparknotes.com/poetry/flowersofevil> and Oscar Wilde.