My Last Duchess by Robert Browning portrays a Duke’s unsettling recounting of his late wife’s frivolous nature and his role in her demise, revealing his possessive and controlling character.
This study guide is written for students and teachers of English Literature, particularly those studying AQA’s GCSE English Literature Power and Conflict Anthology and Pearson Edexcel’s GCSE Relationships Anthology. For more study guides from this anthology, check out the Power and Conflict page, or the list of poems in the series at the bottom of this guide.
My Last Duchess
What is 'My Last Duchess' all about?
In “My Last Duchess,” a Duke shows a visitor a painting of his late wife, the Duchess. The visitor is an envoy (messenger) sent by a wealthy father to assess the Duke’s suitability to marry his daughter.
Through the Duke’s monologue, it becomes clear that he was displeased with his first (last) wife’s behaviour, believing she was too easily impressed and flirtatious with others. The Duke implies that he had her killed, as he mentions giving commands that stopped her smiles. He also makes it clear that he desires to marry again for status and wealth, using the dowry from the next marriage to enhance his own power and prestige.
Context
Robert Browning's life, education and career
Robert Browning was born on May 7, 1812, in Camberwell, London, England.
Browning’s parents were wealthy: his father was a clerk in the Bank of England, and he had a huge library. Young Robert was keenly interested in art and literature and his parents encouraged his interest in learning.
Despite his academic ability, Browning strongly disliked school and so he was largely self-educated. He read widely from his father’s 6,000 book collection, learning Greek, Latin, French, and Italian.
His early poetry was influenced by Romantic poets such as Shelley and Keats, and he began writing poetry during his teenage years.
Browning published his first work, “Pauline: A Fragment of a Confession,” in 1833 when he was just twenty-one. However, it was his dramatic monologues and long narrative poems that established his reputation as a major Victorian writer.
In 1846, Browning married the poet Elizabeth Barrett. Barrett’s father was strict and disinherited any of his children who married, so their relationship and marriage were kept secret at first. Elizabeth’s health led them to elope to Italy, where they lived happily for fifteen years. During this time, Browning produced some of his most significant works, including “Men and Women” (1855) and “Dramatis Personae” (1864).
After Elizabeth’s death in 1861, Browning returned to England with their son, Pen. He continued to write to widespread acclaim for his later works. Browning’s poetry is characterised by its psychological insight, dramatic intensity, and use of dramatic monologue to explore human nature. His themes often revolve around love, morality, religion, and the nature of art. Despite his literary success, Browning avoided the spotlight.
He died in 1889 in Venice, Italy, aged seventy-seven.
Context of 'My Last Duchess'
Who is the speaker in 'My Last Duchess'?
My Last Duchess has an epigraph (a line before the start of the poem) of Ferrara, giving the reader some insight into the story told by the poem.
In 1558, the Duke of Ferrara, Alfonso II d’Este (age 24) married 13-year-old Lucrezia di Cosimo de’Medici, whose family were seen as social climbers in comparison to his family (see line 33 of ‘My Last Duchess’ which references the ‘nine-hundred-years-old name’). Lucrezia died aged 16 after 3 years of marriage, and the Duke then sought the hand of the daughter of the Holy Roman Emperor, Ferdinand I. This marriage required some investigation before it would be allowed, and so the Emperor sent envoys to tour the Duke’s property.
This story forms the setting and context of ‘My Last Duchess’; the speaker is presumed to be Duke Alfonso II d’Este and he speaks to an envoy, giving a guided tour of his art, focusing on one portrait in particular, that of his late wife, presumed to be Lucrezia di Cosimo de’Medici.
Line-by-line analysis of 'My Last Duchess'
That’s my last Duchess painted on the wall,
- “My” is a possessive pronoun which indicates ownership and establishes the speaker’s control over the subject of the poem, his late wife, the Duchess.
- The adjective “last” suggests that the Duchess was the speaker’s most recent wife, implying a history of multiple marriages or relationships.
- The image of the Duchess “painted on the wall” introduces the central visual motif of the poem, emphasising the static nature of the Duchess; she is stuck there, trapped, and no longer a dynamic presence but instead preserved forever.
Looking as if she were alive. I call
- “Looking as if she were alive” suggests the skill of the artist, (Fra Pandolf is a fictional character in this story), in capturing the lifelike appearance of the Duchess in the painting.
- The declarative verb phrase “I call” emphasises his authority.
That piece a wonder, now; Fra Pandolf’s hands
- The abstract noun “wonder” conveys the speaker’s admiration for the painting and its quality.
- Synecdoche is used in “Fra Pandolf’s hands” to reduce the whole person to a single part.
- The mention of the artist personalises the story and allows the Duke the opportunity to name-drop a famous (fictional) artist, boasting about his own refined taste and cultural sophistication.
Worked busily a day, and there she stands.
- The conjunction “and” draws a line of conclusion between the effort of the artist and the piece of property; the effect is to emphasise the Duke’s ownership of the painting; “and there she stands.”
Will’t please you sit and look at her? I said
- The use of the archaic contraction “Will’t” along with the question, adds a formal and courteous tone to the speaker’s invitation for the listener to view the painting.
- The imperative verbs “sit and look” emphasise the speaker’s control of the situation.
- The Duke stands while instructing the envoy to sit, giving the Duke physical power in the situation as well as verbal power in speaking instructions which are followed.
“Fra Pandolf” by design, for never read
- Repetition of “Fra Pandolf” serves as a reminder of the artist’s fame and therefore the Duke’s social status.
- The Duke’s intention is clear when he says “by design” suggesting that the speaker deliberately mentioned Fra Pandolf’s name to assert his authority and to shape the listener’s response.
- “Never read strangers like you” insults the listener, again asserting the Duke’s power over the situation.
Strangers like you that pictured countenance,
- “That pictured countenance” refers to the expression on the Duchess’ face depicted in the painting.
The depth and passion of its earnest glance,
- The phrase “depth and passion” suggests that the painting skillfully reveals her inner emotions and desires.
- The adjective “earnest” conveys sincerity and authenticity, implying that the Duchess’s gaze reflects her true feelings.
But to myself they turned (since none puts by
- Again, the Duke uses personal pronouns, revealing his intimacy with the situation and his ownership of the painting.
- Parentheses (brackets) are used to add extra information and further add to the conversational tone.
The curtain I have drawn for you, but I)
- The “curtain” is both literal and metaphorical: it is pulled across to hide the painting, suggesting that no other guest would have any interest in this dead woman. In this interpretation, the Duke diminishes the identity of his late wife and keeps her memory hidden. Metaphorically, the curtain symbolises the Duke’s control over the painting and therefore the woman depicted in it, and his ability to reveal or conceal her as it suits him.
And seemed as they would ask me, if they durst,
- The use of the phrase “if they durst” suggests the speaker’s awareness of his own power and authority, implying that others are hesitant to question or challenge him.
How such a glance came there; so, not the first
- This long series of clauses comes to a pause with a caesura at the semi-colon, although the sentence isn’t over yet.
- The Duke is asked by others to interpret the painting, adding to his ability to control the narrative.
Are you to turn and ask thus. Sir, ’twas not
- The sentence finally ends after nine lines!
- In this dramatic monologue, only one person speaks, and so any question asked is imagined by the Duke; the listener has not asked anything, yet the Duke assumes he wants to know. This arrogant assumption reveals the Duke lives in a fiction of his own creation.
- The use of the term “Sir” adds formality to the speaker’s address and establishes a polite yet authoritative tone.
Her husband’s presence only, called that spot
- “Her husband’s presence only” suggests that the Duchess’s joy was not solely a result of her husband’s company, implying that other factors contributed to her happiness, and hinting at the speaker’s insecurity and paranoia.
- In answering a question that had not been asked, the Duke begins to give away more information than is necessary: he reveals his jealousy at his late wife’s smiles to other people.
Of joy into the Duchess’ cheek; perhaps
- Browning uses enjambment throughout to create a more conversational tone. Here, the pause after ‘cheek’ allows that sound to echo rather than the final sound of the line in ‘perhaps’. Added to this, the enjambment causes the reader to avoid pausing at the end of the line, and so the rhyme of ‘perhaps’ and ‘laps’ in the following line is hidden. These structural devices allow for a more conversational, casual tone and speed up the storytelling, contributing to the speaker’s accidental revelations.
Fra Pandolf chanced to say, “Her mantle laps
- Repetition of Fra Pandolf’s name emphasises the sense that the Duke is lost in memories here.
- The use of direct speech in quotation marks adds immediacy to Fra Pandolf’s words and allows the speaker to convey his jealousy and resentment more effectively.
- “Her mantle” is her shawl, and to ‘lap’ is to cover it over i.e. the Duchess’ shawl is covering her wrist, and he wants her to move it so he can paint her more accurately.
Over my lady’s wrist too much,” or “Paint
- This quote from Fra Pandolf suggests that he asked her to reveal a little more skin for the painting of her portrait. The implication is that the Duchess was modest, and blushed when asked to reveal more, casting doubt over the Duke’s interpretation that she was too flirtatious with others.
Must never hope to reproduce the faint
- Fra Pandolf’s words are actually the Duke’s words (“Perhaps Fra Pandolf chanced to say …”). Again, the Duke speaks on behalf of others, showing his disregard for their real views.
- The ‘quote’ attributed to Fra Pandolf diminishes the skill of the painter; in other words, no painting can be as accurate as the real-life flush on her throat. This contrasts to the Duke’s earlier boast that the painting is “a wonder” so much so that she looks “as if she were alive”. The slight contradictions in the Duke’s monologue begin to reveal the unreliability of this narration and cause the reader to question the Duke’s perspective.
Half-flush that dies along her throat.” Such stuff
- The imagery of the Duchess’s mantle and her “half-flush” along her throat creates a vivid picture of her physical appearance and emphasizes her beauty and allure.
- The Duke uses the word “dies” to suggest that the blush fades, however, the pun on “dies” is not lost on the reader, who interprets this as the Duke slipping up, perhaps suggesting her death came about through a sliced throat.
- The phrase “Such stuff” is a dismissive remark by the speaker, suggesting that the Duke views the Duchess’s behaviour as trivial or insignificant.
Was courtesy, she thought, and cause enough
- The Duke interprets the Duchess’ thoughts, feeding into the theme of the objectification of women and the limitations on their rights at the time. Victorian England was not a place where women had freedom of thought or expression. His interpretation of her thoughts shows more of his controlling behaviour.
- His use of the word “courtesy” refers to the Duchess’s polite and gracious demeanour; she considered it proper to show appreciation for compliments and gestures of kindness. There does not seem to be anything wrong with this, and yet the Duke finds flirtatious.
For calling up that spot of joy. She had
- The mention of “that spot of joy” reiterates the idea that the Duchess’s happiness was easily influenced and tied to external factors rather than genuine emotion; he dismisses her expressions of joy as superficial and insincere.
- Caesura at the full stop puts a pause after “spot of joy” and enjambment diverts the rhyme sound away from “glad” at the end of the line, creating a stronger conversational tone here.
A heart—how shall I say?— too soon made glad,
- The conversational tone continues there with the pauses and qualifiers in the Duke’s speech. The hyphens interrupt his train of thought as he struggles and attempts to explain his disgust at his late wife’s behaviour.
- The use of the phrase “A heart” emphasises the Duchess’ emotional capacity and suggests that she was capable of genuine feelings and affection.
Too easily impressed; she liked whate’er
- The repetition of the qualifying adverb “too” emphasises the speaker’s belief that the Duchess was too easily pleased and lacked discernment in her emotional responses. His condescending attitude comes across in this repetition.
She looked on, and her looks went everywhere.
- Personification of the Duchess’s “looks” suggests that the Duchess’s gaze was active and engaged with her surroundings, reinforcing the speaker’s criticism of her indiscriminate appreciation for things she encountered.
- There is a cruel humour to the Duke’s speech here, revealing his lack of decorum rather than her’s.
Sir, ’twas all one! My favour at her breast,
- The respectful term “Sir” shows the Duke’s ability to remain polite (even if this politeness is forced).
- His increasing anger is shown in the exclamation mark.
The dropping of the daylight in the West,
- There is irony in the Duke’s list which he finds shocking; he believes his favour is much more valuable than the sunset. The reader might think otherwise.
The bough of cherries some officious fool
- The angry tone develops more clearly here with the adjective ‘officious’.
- Consonance of the fricative ‘f’ sound in “officious fool” emphasises his contempt for what he describes.
Broke in the orchard for her, the white mule
- The Duke’s list continues as he disregards all of her hobbies, friends and the kind gestures of others to his late wife; it seems he feels that she should have none of these things.
She rode with round the terrace—all and each
- His disgust is emphasised in the hyphen which creates a caesura, showing the development of his train of thought.
Would draw from her alike the approving speech,
- The adjective “approving” is used by the Duke to criticise his late wife’s speech, however, for most people this would be praise, suggesting that his moral code is in contrast to the reader.
Or blush, at least. She thanked men—good! but thanked
- The caesurae on this line and the following (created through the hyphens) highlight the Duke’s attempt to sum up his disgust at her, with the pauses showing his search for the right words.
Somehow—I know not how—as if she ranked
- “Ranked” allows for two interpretations: she positions his name alongside the gifts of others, but also ‘rank’, as in ‘social class’ is a main theme in the poem. He feels that she undervalues his social status and does not give him enough deference.
My gift of a nine-hundred-years-old name
- The possessive adjective “My” again reveals the Duke’s pride and self-importance.
- The whole purpose of the speech is to convince the envoy that the Duke should be given a large dowry upon marrying the Count’s daughter. In this line, the Duke is at pains to emphasise the importance of his family heritage and aristocracy, in order to be given a more substantial dowry.
With anybody’s gift. Who’d stoop to blame
- “Anybody” is a very dismissive term for all those who show kindness to the Duchess, including the seemingly famous painter Fra Pandolf, the “officious fools” who are likely important given their proximity to Dukes and Duchesses, and all the others who mix with the Duchess.
- The question “Who’d stoop” is rhetorical as the Duke does not need or allow any answers or interruptions to his speech.
This sort of trifling? Even had you skill
- “Trifling” is the Duke’s summary of showing kindness to his wife. He views it as entirely unnecessary and a waste of time.
In speech—which I have not—to make your will
- The Duke attempts some false modesty here in downplaying the power of his own speech. This rhetorical flourish is used by many to detract attention from the thought that they could be persuading you with their skill in speech. The Duke clearly thinks very highly of his own skills and self-worth, and so this is unlikely to be true modesty.
Quite clear to such an one, and say, “Just this
- The Duke further diminishes and objectifies his late wife by calling her “such an one” rather than ever using her real name or any kind of affectionate name.
Or that in you disgusts me; here you miss,
- He sees his role in life as high enough to correct her; he is socially higher than her, and seeks to control her behaviour through correcting her.
Or there exceed the mark”—and if she let
- The pause in the middle of the line with the hyphen creates a continuation of his train of thought and adds to the conversational tone.
Herself be lessoned so, nor plainly set
- He uses the passive voice here to describe her theoretical behaviour: “if she let herself be lessoned so”. In this passive voice, he is the one “lessoning” her, so to speak. He retains control in the way that he speaks, and even when he imagines her behaviour.
Her wits to yours, forsooth, and made excuse—
- “Forsooth” can mean “in truth” but it can also be an expression of disbelief, which is more likely here. The idea that she would “set her wits to yours” is shocking given the role of women at the time, and the Duke’s controlling power over her.
E’en then would be some stooping; and I choose
- In comparison to the passive voice he used for her two lines previously, here he uses the very active verb “I choose”, making it clear that he is a powerful, decisive man who cannot be manipulated or managed by anyone else.
- The verb phrase “I choose” is made stronger by the caesura at the semi-colon just before, which creates a pause to allow the next words to have more emphasis.
Never to stoop. Oh, sir, she smiled, no doubt,
- Repetition of “stoop” on this line from “stooping” on the previous line emphasises how degrading he would find it to have to correct her.
- “Oh” and “no doubt” as well as the repeated commas on this line, add to the conversational tone here, as the Duke attempts to lend some humanity to his speech.
Whene’er I passed her; but who passed without
- Again the Duke uses rhetorical questions to push home the message he has made clear: my last wife embarrassed me in front of others by smiling as much to others as to me. The not-so-subtle message here is that the Duke is a very powerful man, and no wife will be allowed to behave this way.
Much the same smile? This grew; I gave commands;
- The question mark and the short phrases that follow reveal much more than the Duke intends. The decisive, active verb “I gave commands” shows very clearly who is in charge. The power of the Duke is clear, not only in his control over his late wife, but also in his ability to command others to do his dirty work for him.
Then all smiles stopped together. There she stands
- The contrast between the active verbs “grew” and “gave commands” on the previous line with “stopped” on this line highlights the consequences of his commands: her death.
- The verb “stopped” is intensified by the sentence structure; the full stop after “stopped together” brings the reader to a stop too, highlighting the contrast between the long, conversational sentences before and the pause now as he thinks briefly about her death.
- Personification of the painting is used to bring it further to life, emphasising the power of art to imitate life.
As if alive. Will’t please you rise? We’ll meet
- “As if alive” gives us no doubt as to the action he took: she is most definitely dead.
The company below, then. I repeat,
- The situation of the poem is clarified here; the “company” is the group sent by the Count to arrange the dowry for the marriage of the Count’s daughter to the Duke.
- In saying, “I repeat” the Duke again asserts his power verbally in making sure his ideas have been communicated clearly. His false modesty earlier in the poem is contrasted here with the strength of his speech in controlling the outcome and getting what he wants.
The Count your master’s known munificence
- “Munificence” means generosity. Here, the Duke compliments the Count, but there is also a veiled threat: the Count WILL be generous to me.
Is ample warrant that no just pretense
- In clarifying his social status, wealth and authority, the Duke makes clear that whatever he wants by way of a dowry should be granted by the Count. This is a financial meeting and arrangements after all, rather than involving love in any way.
Of mine for dowry will be disallowed;
- A dowry is a ‘gift’ of sorts from a bride’s father to her new husband. The specific mention of it here makes it clear the Duke’s whole purpose in showing the envoy around his artwork and grounds. The Duke is seeking a large dowry. The context of the role of women and the objectification of them, as objects which can be bought, sold and traded, fits with the main theme of this poem.
Though his fair daughter’s self, as I avowed
- The Duke attempts to soften his speech here with the adjective “fair”, to make it seem as if he really does want to marry the Count’s daughter despite the dowry. At this point, the Duke’s moral character and reliability have been questioned to the extreme by the reader, and very little he could now say would change a reader’s perception.
At starting, is my object. Nay, we’ll go
- The syntax of this idea is complicated, perhaps revealing the Duke’s attempts to rectify the errors he may have made in his speech up to this point. He gets caught up in his phrases when he tries to clarify his affection for the prospective bride.
Together down, sir. Notice Neptune, though,
- Alliteration of the ‘n’ sound draws our attention to ‘Notice Neptune’, which the Duke himself is drawing attention to.
- Neptune is the Roman god of the sea. This statue depicts Neptune exerting his power and control over a creature from the sea, and the implication is that the Duke is just as powerful.
Taming a sea-horse, thought a rarity,
- Again, the Duke interprets the beliefs and thoughts of others, in suggesting that other people think it is a rarity. He did this on line 20 when he spoke his late wife’s thoughts with authority. Really, he is simply saying what he thinks and projecting it on to others, revealing his self-importance.
Which Claus of Innsbruck cast in bronze for me!
- In addition to Fra Pandolf, Claus of Innsbruck is a fictional artist/sculptor whom the Duke is happy to name-drop to increase his status as someone who has bespoke art made by famous artists.
- It is fitting that the final word of the poem is the personal pronoun ‘me’, revealing the Duke’s self-importance right to the very end.
Analysis of form and structure
Form: dramatic monologue
“My Last Duchess” by Robert Browning is written in the form of a dramatic monologue. In this form, a single character speaks to a silent listener or audience, revealing their thoughts, and feelings, and often revealing more about themselves than they intend.
The poem is one continuous verse composed of 56 lines with no verse breaks. Enjambment is used to break up the monotony and the rhyme, meaning the lines often run into each other, creating a conversational tone.
These rhyming couplets of iambic pentameter are known as heroic couplets.
Rhyme
Browning uses a rhyming couplet structure throughout the poem, with each line rhyming with the next in groups of two.
The rhyme scheme is AABBCCDDEEFFGGHH… and so on.
This structured rhyme scheme helps to maintain the poem’s musicality and adds to its formal elegance.
Rhythm
My Last Duchess is written in iambic pentameter. This means that there are 5 pairs of syllables per line (ten syllables altogether per line). The syllables within each pair are organised in the order: unstressed followed by stressed syllable. Let’s look at some lines as an example:
The iambic pentameter establishes a regular rhythm throughout the poem, contributing to its readability and memorability. The consistent rhythm also adds to the dramatic effect of the monologue, drawing the listener in and emphasising the speaker’s control over the narrative.
Themes in 'My Last Duchess'
The objectification of women
The Duke’s treatment of the Duchess as a mere object to be displayed and controlled underscores the theme of objectification. He views her as a possession rather than a person with agency and autonomy, reducing her to a mere painting on the wall.
Power and control
The poem explores the theme of power dynamics within relationships through the Duke’s desire for control over his wife, the Duchess. The Duke’s possessive attitude and manipulation of the Duchess’s image reflect his need for dominance and authority. His jealousy over the Duchess’s perceived flirtatious behaviour and his suspicion of her interactions with others reveal his possessive nature. He resents any attention she receives from others and seeks to exert control over her emotions and actions.
Appearance vs. reality
Throughout the poem, there is a contrast between the surface appearances presented by the Duke and the underlying realities of his character and motivations. The Duke presents himself as polite and refined, but his controlling and manipulative nature is revealed through his words and actions.
Art
The painting of the Duchess serves as a symbol of art’s ability to preserve and immortalise moments in time. It also reflects the theme of appearance vs. reality, as the painting captures only a superficial likeness of the Duchess while concealing the complexities of her personality.
Social class
The Duke’s obsession with lineage and status is evident in his desire to marry again for political and financial gain. His emphasis on the dowry and his reference to the bronze statue of Neptune as a symbol of his wealth highlight the theme of social hierarchy and materialism. His frustration at his late wife’s perceived lack of respect for his lineage is made clear early in the poem.
Quiz on 'My Last Duchess' by Robert Browning
My Last Duchess by Robert Browning
Test your knowledge of the poem 'My Last Duchess' by Robert Browning
Comprehension Questions
- Who is the speaker of the poem?
- Describe the subject of the painting in the poem.
- Who painted the Duchess, according to the speaker?
- What does the speaker reveal about the Duchess’s personality and behavior?
- What is the significance of the Duke mentioning “Fra Pandolf” to the listener?
- How does the Duke feel about the Duchess’s behavior towards others?
- Why does the Duke mention the gifts and gestures made towards the Duchess?
- What actions does the Duke take towards the end of the poem, and what is their significance?
- What does the Duke imply about his relationship with the Duchess and his role in her fate?
- What is the symbolic significance of the statue of Neptune at the end of the poem?
- How does the Duke’s control over the painting of the Duchess reflect his power over her image and memory?
- In what ways does the Duke exert power over the Duchess’s behavior and emotions throughout the poem?
- How does the form of dramatic monologue contribute to the portrayal of power dynamics between the Duke and the listener?
- Discuss the role of language and rhetoric in the Duke’s manipulation of power within the poem.
- Which poem from your anthology would you choose to compare with ‘My Last Duchess’ and why?
Power and authority figures are the topic of both of these poems. In one, the voice is active, controlling and authoritative, while in the other, the voice speaks from the past, revealing the diminishing of power over time. The poems come from similar periods (published approximately 30 years apart), with Browning heavily influenced by the Romantic poets he read. The theme of art is also of significance, as both poems explore the power of the artist to represent a moment or person forever in time. The poems have very different forms and structures, giving students plenty to compare.
‘London’ explores the impact of corrupt power on ordinary people, while ‘My Last Duchess’ explores the corruption of power on a more personal level. Both poems show how marginalised people are treated unfairly; in London, the poor are oppressed, and in My Last Duchess, women are oppressed. There are many points of contrast, such as the rhyme scheme, rhythm and structure of the two poems.
