I like to think he was just being what he never would be in real life, rather than he was secretly drawn to wondering how it would be to murder his wife for flirting with other men. Being the character as well also gives you a better insight. After her death, Alfonso courted and eventually married the niece of the Count of Tyrol. The inside informations given in this verse form conveying forth the decision that the Duke got rid of his last Duchess and is now ready for a new one. The duke is so obsessed with himself that he didn't like the way the duchess treat him. Browning is also using the punctuation to help him out here.
Ferrara's next remark keeps us off-balance. Kind of ironic, too, that you have a poem that is in itself a portrait of a man, just as Ozymandias is. The reader can only imagine the horrified agent rising to go down the staircase, the duke's uneasiness as he loses control, and his desire to regain control of the situation as he says, 'Nay we'll go down together, sir' 53. And yet he is impressively charming, both in his use of language and his affable address. He just sits where he is told to sit and hears what others, of his type, would sometimes want to ask but in fact seldom do ask and, more, hears what Ferrara would say in answer to that rare question. I love that mix of civilising influence and brute nature underneath. As a shut bud that holds a bee, I warily oped her lids: again Laughed the blue eyes without a stain.
In these latter considerations Browning prefigures writers like Charles Baudelaire and Oscar Wilde. In the same way that the age of his name gives it credence, so does he seem fit with a life of repeated gestures, one of which he is ready to make again with the count's daughter. He want's all the attention from his duchess that he cannot simply handle the duchess attitude. He married his first wife, 14-year-old Lucrezia, a daughter of the Cosimo I de' Medici, in 1558 and three days later left her for a two-year period. Mid-way through line 5, Ferrara has not yet done with us.
Who'd stoop to blame This sort of trifling? This makes the Duke sound like an unreliable narrator as this whole poem is from his perspective. The cumulative effect for me is that this is the pinnacle of the poem. Nay, we'll go Together down, sir. The lines do not employ end-stops; rather, they use enjambment—gthat is, sentences and other grammatical units do not necessarily conclude at the end of lines. The duke's appreciation of art reveals the control he has over the artists that produce his works of art; the portrait of his last duchess and the statue of Neptune. 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.
Most Victorian poets were highly experimental and, with the exception of , not so highly popular; people kept reading the now-classic Romantic poets, like and , instead of tuning in to the new developments in poetry. At least, those are the years when was Queen of the United Kingdom of Great Britain and Ireland. A dramatic monologue is a little different. You can see it more obviously here. What this could suggest is that the duchess was in fact guilty of greater transgression than he claims, that instead of flirtation, she might have physically or sexually betrayed him.
She bares her shoulder to her lover and begins to caress him; this is a level of overt sexuality that has not been seen in poetry since the Renaissance. She had A heart---how shall I say? His inability to control the live duchess herself, resulted in her death, and now all that remains is another valued object, which he is in complete control of. At first glance the reader only sees this story but upon reading the poem in more depth and looking at what the form and language devices tell us, we can observe a much more deeper meaning. We'll meet The company below, then. I call That piece a wonder, now: Fr Pandolf's hands Worked busily a day, and there she stands.
Then the final few lines give another quick insight into another area of the Dukes somewhat bitter personality. His unhappiness over the duchess' association with nature is revealed in the line 'I know not how-as if she ranked my gift of a nine-hundred-years-old-name with anybody's gift' 34. The Duke is severely jealous that she showed no more appreciation to him for his gifts. If the Duchess smiled everywhere, could her smiles be stopped by anything short of death by execution? Browning brings to it his particular skill in bringing characters to life — particularly the ones who are just that little bit twisted! This is the picture of rural simplicity—a cottage by a lake, a rosy-cheeked girl, a roaring fire. There she stands As if alive. This talks about the Envoy of the Count and how the Duke intends to marry the daughter of the Envoy.
But the themes in play here are way more interesting than the basic setup. The first and twelfth books are spoken by the poet himself. And the person speaking wants something from the audience. So you can visualize the Duchess as or as , if you like. The situtation is that the Duke of Ferrara shows a painting of his previous Duchess that he had killed due to his jealousy. I deny the fact that love is the most good thing to happen but the real thing its not true. It encapsulates one single moment… where the Duke is showing the marriage broker the painting.