Themes
Objectification of Women
Robert Browning’s “My Last Duchess” serves as a critique of the objectification of women prevalent during the Victorian era, shedding light on the oppressive societal norms and attitudes toward women as subordinate beings subjected to male authority and expected to adhere to strict societal standards dictated by men. The first instance of the objectification of women in the poem is evident in the duke’s description of his late wife, the duchess, as “my last Duchess,” which reduces her to a mere object of his possession. As the poem progresses, he proceeds to list what he considers her unfaithfulness (’twas not / Her husband’s presence only, called that spot / Of joy into the Duchess’ cheek), frivolity (“too soon made glad”), and stubbornness (she wouldn’t “let / Herself be lessoned”). He expresses his displeasure with her for smiling at others, implying that his wife’s smiles should be reserved solely for him. This attitude reduces the duchess’s emotions and expressions to commodities that the duke feels entitled to control. Furthermore, the duke’s recounting of the duchess’s interactions with others—such as admiring glances she received from men or being appreciative (she considered the duke’s “gift of a nine-hundred-years-old name / With anybody’s gift”)—underscores the objectification of women as objects of desire for male consumption. He interprets these kind gestures as challenges to his authority and dominance, which reinforces the idea that women are objects that men should control and own.
The duke’s description of the painting further underlines his treatment of women as possessions. He refers to the painting as a “piece” and a “wonder,” emphasizing its artistic value rather than its sentimental significance. Moreover, the repeated mention of the painter’s name—“Fra Pandolf”—within the first 16 lines underscores the duke’s pride in his own status and wealth, exerting the painting as a symbol of his affluence and influence. This repetition reinforces the notion that the painting serves to elevate the duke’s reputation rather than commemorate the woman it depicts.
Ultimately, the poem offers a chilling portrayal of power dynamics and control, with the duke serving as a haunting embodiment of male entitlement and manipulation. Through his character, Browning prompts reflection on the darker aspects of human nature and societal norms.
Status, Wealth, and Aristocracy
In examining the duke’s lack of morality, one can attribute it partly to his aristocratic background. Inspired by real events set in Renaissance Italy, the duke—loosely based on Alfonso, the Duke of Ferrara—reveals himself not only as a model of high society but also as a deeply jealous and controlling man who is capable of killing his wife only because he imagines that she doesn’t give him the honor that is due to his status. For instance, the duke’s pride in his aristocratic lineage and his belief that his noble ancestry holds more significance than any material gift that could be offered to the duchess are illustrated in the following line: “My gift of a nine-hundred-years-old name / With anybody’s gift.”
This underscores the theme of social status and the importance placed on lineage and wealth in aristocratic circles. Simultaneously, the poem also critiques the snobbery inherent in the upper class, revealing how elite society values a good family name or expensive artwork over morality or humanity.
Another instance when the duke exhibits his wealth is when he tells the emissary to admire a statue of Neptune “taming a sea-horse,” made by a renowned sculptor. The duke points out the aesthetic quality of the statue and emphasizes its “rarity,” thereby imbuing himself with more importance due to its exclusivity. The choice of the word “taming” also indicates how his wealth and status allow the duke to exert his dominance over others.
Art and Truth
Browning’s “My Last Duchess” offers an insightful exploration of the relationship between art and truth, delving into the notion that works of art can express contradictory truths simultaneously. Through the character of the duke and his recounting of the duchess’s portrait, Browning presents a complex interplay of appearances versus reality, highlighting the multifaceted nature of truth within artistic representation.
One way in which the poem explores this theme is through the duke’s manipulation of the portrait of the duchess. While the painting purports to depict her physical likeness, it also serves as a distorted reflection of her character in the duke’s eyes. He describes her as having a “spot of joy” on her cheek, which he finds displeasing, suggesting that the portrait reveals not only her physical beauty but also her perceived moral flaws. Thus, the portrait becomes a canvas upon which the duke imposes his own biased interpretation of the truth, blurring the lines between reality and perception.
Furthermore, the duke’s selective retelling of the duchess’s history underscores the idea of contradictory truths within art. He hints at her alleged infidelity and flirtatious behavior, painting her as a morally compromised woman. However, his account is one-sided and subjective, lacking concrete evidence or objective truth. As a result, the audience is left to question the reliability of his narrative and the accuracy of his portrayal of the duchess. In this way, Browning challenges the notion that works of art can convey a singular, objective truth, suggesting instead that they are inherently subjective and open to interpretation.
Moreover, the duke’s obsession with controlling the narrative surrounding the duchess’s portrait reflects the power dynamics at play in artistic representation. By concealing the painting behind a curtain and dictating who can view it, he exerts authority over both the artwork and the memory of the duchess herself. This manipulation of art for personal gain underscores the idea that truth within art is often contingent upon the perspective of the beholder, with different viewers interpreting the same work in vastly different ways.
