My Last Duchess by Robert Browning

"My Last Duchess" is a dramatic monologue written by Robert Browning in 1842. The poem is set during the Italian Renaissance and is narrated by the Duke of Ferrara, who is showing a portrait of his late wife to the emissary of a Count whose daughter he intends to marry.

Context: Browning was fascinated by the Italian Renaissance and often set his poems in this period.

The Duke begins by describing the portrait of his "last Duchess," painted by Fra Pandolf. He notes how lifelike the painting is, saying it looks "as if she were alive." This comment immediately creates an ominous tone, suggesting that the Duchess is no longer living.

Vocabulary: Dramatic monologue - A type of poem in which a single character speaks to a silent listener.

As the Duke continues his monologue, he reveals his controlling and jealous nature. He complains that his late wife was too easily pleased by others and did not appreciate his "gift of a nine-hundred-years-old name" enough.

Quote: "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."

The Duke's words betray his possessiveness and his belief that his wife should have been impressed only by him. His jealousy extends to her interactions with others, even innocent ones like receiving a compliment or enjoying a sunset.

Highlight: The Duke's controlling nature is evident in his statement, "I choose / Never to stoop," indicating his refusal to communicate his displeasure directly to his wife.

The poem reaches a chilling climax when the Duke casually mentions, "I gave commands; / Then all smiles stopped together." This line strongly implies that he had his wife killed for what he perceived as her disobedience.

Example: The Duke's casual tone when discussing his wife's death demonstrates his lack of remorse and his view of her as a possession rather than a person.

Technical Analysis and Literary Devices in War Photographer

The Power and Conflict poems revision reveals sophisticated technical elements throughout "War Photographer." The poem's careful construction uses various poetic devices to reinforce its themes and emotional impact. The regular quatrain structure with ABBACDDC rhyme scheme provides a formal framework that contrasts with the chaotic subject matter.

Example: The line "Belfast. Beirut. Phnom Penh. All flesh is grass" demonstrates how Duffy uses biblical allusion and geographical references to universalize human suffering across different conflict zones.

Duffy employs enjambment and caesura strategically to create tension and reflect the photographer's internal conflict. The poem's pace shifts between fluid movement and abrupt stops, mirroring both the mechanical process of developing photographs and the emotional turbulence of processing traumatic memories. The use of sibilance in phrases like "spools of suffering" creates a hushed, reverent atmosphere appropriate to both darkroom and church.

The color symbolism throughout the poem is particularly significant, with the "red light" of the darkroom suggesting both the literal process of photo development and the blood of conflict. This dual meaning permeates the poem, creating layers of interpretation that reward close reading and analysis.

Vocabulary: Technical terms used in the poem include "spools," "solutions," and "trays," which belong to the specialized language of photography, creating authenticity in the narrator's voice.