My Last Duchess - Paper 2: Poetry Anthology Starter: What is a dramatic Monologue? Can you name any features of one? Lesson objectives: All will be able to comment on the meaning of My Last Duchess Most will be able to analyse the language of My Last Duchess Some will be able to analyse effect in detail, offering interesting interpretations

Read the information on the next 2 slides and list the main points in your work book: This poem was published in Dramatic Lyrics in 1842. The poem appears as one half of a conversation. The speaker is the unnamed Duke of Ferrara, a city-state in Lombardy (now the north of Italy. The listener is an envoy (a kind of diplomat and messenger). His master, a count, has sent him to negotiate the dowry for the marriage of his (the count's) daughter to the duke. The Duke's "last duchess" is the subject of his speech - and of the poem. While having her portrait painted, the duchess revealed innocent qualities that irritated the duke so much, that he chose to have her killed. His power is absolute, and she is easily replaced.

But the portrait, by a master painter, is of far more value to the duke, and he is pleased to show this off to his distinguished visitor. The critic Isobel Armstrong sums up the poem like this: "The mad duke...cannot love without so possessing and destroying the identity of his wife that he literally kills her and lives with her dead substitute, a work of art.“ Her reading may be right - but do you think the duke is mad? Perhaps he is sane but very cruel and ruthless. The duke names two artists - both imaginary. They are the painter Frà (Brother) Pandolf and the sculptor Claus of Innsbruck. The poem may draw on a literary tradition of despotic Italians (as you will find in John Keats' poem, Isabella).

Copy the following notes into your anthology: FORM: dramatic monologue – obsessed with power – unsettling STRUCTURE: What do you notice about it? Ferrara, then one long stanza. No pause, frequent enjambment, shows his inability to control his anger RHYME AND RHYTHM: What do you notice about it? Iambic pentameter creates impression that the Duke is in conversation with his visitor. Rhyming couplets show Duke’s desire for control but enjambment shows he gets carried away with his anger.

Ferrara? A region of Italy. In 1561 the Duke of Ferrara’s wife, Lucrezia, died in suspicious circumstances

That's my last duchess painted on the wall, Possessive personal pronoun – owns both her and the painting Caesura – hesitation implies he did not see her as such when she was alive Enjambment – shows his inability to control his anger. He is unstable Sets sinister tone That's my last duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now; Fra Pandolf's hands Worked busily a day, and there she stands. Will't please you sit and look at her? I said  "Fra Pandolf" by design, for never read Strangers like you that pictured countenance, That depth and passion of its earnest glance, But to myself they turned (since none puts by The curtain drawn for you, but I)  Rhetorical Question as he doesn't wait for a reply. Sounds polite but really quite forceful Enjambment – visitor given no chance to reply parenthesis– aside shows he controls who looks at the painting, but he couldn’t control her

And seemed as they would ask me, if they durst, Verb highlights how insubstantial his accusations are Believes others see guilt in her countenance And seemed as they would ask me, if they durst, How such a glance came there; so not the first Are you to turn and ask thus. Sir, 't was not Her husband's presence only, called that spot Of joy into the Duchess' cheek: perhaps Fra Pandolf chanced to say "Her mantle laps Over my lady's wrist too much" or "Paint Must never hope to reproduce the faint Half-flush that dies along her throat:" such stuff Was courtesy, she thought, and cause enough  For calling up that spot of joy. Metaphor for blush Reference to death out of place and suspicious. Hints at Duchess’ fate Repetition of the image shows that it bothers him

She had a heart - how shall I say? - too soon made glad, Punctuation and rhetorical q. show he is struggling to express his irritation She had a heart - how shall I say? - too soon made glad, Too easily impressed: she liked whate'er She looked on, and her looks went everywhere. Sir, 't was all one! My favour at her breast, The dropping of the daylight in the West, The bough of cherries some officious fool Broke in the orchard for her, the white mule She rode with round the terrace -all and each Would draw from her alike the approving speech, Or blush, at least. She thanked men - good! but thanked Somehow - I know not how - as if she ranked My gift of a nine-hundred-years-old name With anybody's gift. Who'd stoop to blame This sort of trifling?  She was cheery and friendly. Duke sees this as a criticism Punctuation shows he is being defensive Listing, plosives and alliteration show Duke’s disdain at her actions Punctuation creates Caesura. Stuttering effect showing his exasperation at her behaviour Very proud of his family. Status v. important to him Rhet. Q. implies her faults weren’t worthy of his intervention. Ironic that he kills her for them

Or that in you disgusts me; here you miss False modesty. He clearly likes speaking Even had you skill In speech - (which I have not) - to make your will Quite clear to such a one, and say, "Just this Or that in you disgusts me; here you miss Or there exceed the mark"- and if she let Herself be lessoned so, nor plainly set [40] Her wits to yours, forsooth, and made excuse E'en then would be some stooping; and I choose Never to stoop. Oh sir, she smiled, no doubt, Whene'er I passed her; but who passed without Much the same smile? This grew; I gave commands; Then all smiles stopped together. There she stands As if alive.  Verb suggests he is very affected by her behaviour His madness / cruelty is emphasised, as even if she changed her ways, it would not be enough Repetition x 3 of verb shows he felt she was beneath him. Euphemism for her murder. Cold and cynical Rhet. Q. shows it was her smiling nature that he disliked. Wanted it to himself

Will 't please you rise? We'll meet The company below, then. I repeat, The Count your master's known munificence Is ample warrant that no just pretence [50] Of mine for dowry will be disallowed; Though his fair daughter's self, as I avowed At starting is my object. Nay, we'll go Together down, sir. Notice Neptune, though, Taming a sea-horse, thought a rarity, Which Claus of Innsbruck cast in bronze for me. Moves onto new art work. Emphasises his power and wealth. The monologue is a subtle warning to his visitor about how he expects his new wife to behave, Arranging his next marriage New duchess destined to be his possession too

Feelings and Attitudes PRIDE JEALOUSY POWER – The abuse of power (link to London)