Introduction
Poetry often serves as a mirror through which societal norms and practices are reflected. “My Last Duchess,” written by Robert Browning in 1842, when the Victorians began influencing society both culturally and politically, is primarily regarded as a theatrical monologue, given that the speaker talks to an imaginary audience (Uruk 211). Robert Browning’s creation of a masculine identity as a fictitious speaker contributes to the imagery of women’s subjugation in his poem, thus highlighting the true nature of nineteenth-century gender ideology (Uruk 210).
The depiction of patriarchy was a driving force for Victorian writers and poets, who adopted social realism as a means of analyzing and contextualizing their society to raise awareness about disparities in the sexual hierarchy and the empowerment of women (Uruk 208). Through the controlling nature of the Duke and the characterization of the last duchess, the poem illustrates the detrimental effects of patriarchal dominance, serving as a critique of the objectification of women and the abuse of power in relationships.
Poem Analysis
Patriarchal Dominance
Patriarchal dominance was expressed in the complete exclusion of women in nuptial deliberations. The poem is based on a pre-marital negotiation between the Duke of Ferrara and an ambassador of a count whose daughter is meant to be the Duke’s future bride. The poem’s beginning reveals key aspects of the duke’s perverted character. He was so envious of his young wife that he had her painted by a monk. As a result, displaying such a painting boosts his ego and accentuates his social standing, which, in his view, is equivalent to a king’s.
Furthermore, his power and social rank are evident from his language. The content of his remarks demonstrates that he has no intention of allowing the envoy to speak. In addition, the dead duchess is denied a voice in a poem that “is filled with the Duke’s subjective description of her behavior and demeanor” (Yang 17). He implies that his future bride must be cautioned against objecting to his authority lest she meet the same fate as the late duchess, thus emphasizing men’s control over women.
Men’s obsession with control reinforced the persecution of women. In his description of his dead wife, the Duke comes across as self-obsessed, domineering, decisive, demanding, dominant, and frustrated. The phrase “Will you please sit and look at her?” portrays him as a domineering, authoritative villain and aesthete (Browning 574). The cunning Duke intends to frighten the envoy with his meandering, overbearing intimidation. He is an authoritarian who expects complete obedience from the duchess.
Irritated by his wife’s free spirit, he claims she was “too soon made glad,” “too easily impressed,” and “her looks went everywhere” (Browning 574). He was embarrassed by her tendency to grin at other men the same way she smiled at him, which reflected his problematic marriage. He intends to keep the Duchess under his power even after she dies. He states, “No one puts by the curtain I have drawn for you but I” (Browning 574). The tone at the poem’s very beginning demonstrates women’s subordinate status in the depicted society.
Men in Victorian society commonly viewed women as objects to be owned. The Duke is primarily depicted as a collector of women. After effectively disposing of his wife, he seeks the count’s daughter, whom he intends to add to his collection as though she were an art item. He says, “Oh, sir, she smiled, no doubt, Whene’er, I passed her…” in an overt expression of mistrust towards his wife (Browning 574). He points out her provocative expression, implying that she was guilty of engaging in an affair with the artist. He is a jealous soul incapable of grasping the duchess’s passionate sentiments for others.
The marquis intends to reserve her emotions and persona entirely to himself, demonstrating his narrow-mindedness. The poem’s persona is egotistical, and he fails to let go of his ego. He cannot distinguish between a person and a painting of a person, thus closing his eyes to reality. The Duke punished his wife because she took delight in the little things in life. He believes that she was unworthy of the title of Duchess because she found satisfaction in the simplicity of life.
Men were expected to exert total control over their women’s lives. The duke, who is upset by the last duchess’ mannerisms and feelings, which are presented as those of an independent, seductive woman, expresses his displeasure with her active and adulterous lifestyle. His standing as a man is invariably harmed by his wife’s responses to other men’s attention (Uruk 212). The speaker believes that he is the only one worthy of his lady’s appreciation and, as such, must be her only source of happiness.
The Duchess’s countenance, which may reflect her self-willed and coquettish demeanor, contrasts with the Duke’s highly conceited character. This is because the persona believes he is the authority of the household and the single source of their affluent and flashy existence. As a result, the Duke believes he has the right to direct his wife’s feelings and behaviors. This was to the Victorian ideal of obeying whatever her husband says and being an object for her superior’s joy and comfort (Uruk 212). The persona exercised power over the women in his life, as was the norm in a highly patriarchal society.
Objectification of Women
The duchess’s painting is a living representation of women’s commodification. The curtain in front of the painting depicts a metaphorical difference between the duke’s perspective and reality. The curtain symbolizes an imaginary barrier that separates his views from reality. Rather than cover the portrait, the curtain covers his eyes, effectively blurring his vision.
The phrase “This grew; I gave commands; and then all smiles stopped together” should be read in the context of the duke’s fear of losing his manhood, social rank, and authority (Browning 574). It is evident that Victorian men exploited women and viewed them as toys for the satisfaction of their arrogant egos. The next duchess, whom the Duke intends to marry, will undoubtedly become an object on the wall, as lifeless as her predecessor.
Men seldom viewed women as equals and instead chose to view them as less than human. The duke’s frequent use of terms referring to inanimate objects illustrates his arrogance, material adoration, and gender-discriminating attitude. He states, “That’s my last Duchess painted on the wall.” (Browning 574). He regards women as insignificant beings, unworthy of fundamental rights. This is further exemplified by the fact that the Duke not only murders the duchess but also stereotypes males who oppose a woman’s fundamental right to exist. The direction of violent acts towards women is seldom condemned by society. The duchess’ murder for an irrational reason is an illustration of women’s mistreatment in Victorian culture.
The exercise of control was a defining feature of a male-dominated society. The poem’s persona maintains an air of authority as he futilely attempts to manipulate the duchess. He treats his late wife as a simple and worthless painting. He adopts a sarcastic tone and equates the duchess’ heart to a child’s. He states, “She had a heart—how shall I say?—too soon made glad, too easily impressed” (Browning 574).
The duke believes she is a thing rather than a human soul. The Duke regards himself as supreme or above humans when he states, “Notice Neptune, though, /Taming a sea-horse” (Browning 574). This contrasts sharply with his view of the duchess, whom he sees as an aquatic animal or a meek and obedient character devoid of reason. The Duke guides the envoy through his estate and art collection, telling him what to look at, think about, and even where to sit (Yang 18). The persona elevates himself above his guest by making the envoy sit while he stands, symbolizing the power structure he seeks to maintain in his interactions with others.
The duke’s view of his position in society further expresses the need to control women. The exercise of power was reinforced by the fact that “men were endowed with a series of masculine duties” (Uruk 212). The Duke represents himself as Neptune, a Roman Titan of the sea and water noted for his strict demeanor and combative nature (Uruk 214). The persona juxtaposes Neptune’s impressive masculine physique against a meek sea horse, which he equates to his future bride.
The creature submits to Neptune’s will as a demonstration of the duke’s assertion of power and dominance over all women (Uruk 214). Women are expected to be submissive and subservient to the men, who exert all the power and authority. The imbalance of power is intended to subjugate the womenfolk, who were viewed as inferior and undeserving of the high stations occupied by the opposite sex. The poem’s conclusion can be viewed as a possible warning to the wife-to-be, given that she is expected to yield to the duke’s control lest she be punished.
The Abuse of Power in Relationships
The poem depicts an era in which patriarchal superiority over women was the norm. Paternal autocracy is evident when the Duke argues, “Who’d stoop to blame for this sort of trifling? And I choose not to stoop” (Browning 574). The Duke does not bother to inform his spouse that her generosity to lower-class individuals, like her courtesy to his persona, bothers him greatly.
As a result, the Duke chooses not to “stoop” or lower himself to his wife’s level because she is not noble and is simply a woman (Browning 574). The duke, who represents oppressive Victorian males, believes that discussing his wife’s incorrect behavior with her diminishes his masculinity. As a result, he chooses direct, brutal retribution in the form of a violent act that results in her untimely death.
The Duchess’ struggles to free herself from the clutches of patriarchy in “My Last Duchess” demonstrate women’s resilience in the face of tyranny. The duchess is as polite to her spouse as to everyone else. The Duke is angered by the fact that his wife is not more pleasant to him than to others. He states, “She thanked men—good! but thanked somehow—I know not how—as if she ranked my gift of a nine-hundred-year-old name with anybody’s gift” (Browning 574).
He firmly believes she ought to have held him in higher esteem than anyone else. The duchess refuses to be subservient to the Duke by refusing to act as her husband thought she should—her longing for liberty results in a brutal and untimely death. Women who dared to face the challenges occasioned by male dominance often lost their lives. As a result, anyone who attempted to go against social convention was forced into submission because they feared for their lives. Violence was a tool the patriarchy used to reinforce and maintain its dominance over women.
Conclusion
“My Last Duchess” employs a poetic structure that reflects the nature of gender relations in Victorian society. The poem highlights the contradiction between women, who are portrayed as silent and submissive, and men, who are regarded as active and dictatorial. Toxic masculinity is demonstrated by the violent and oppressive treatment of women by men. The Duke establishes masculine authority and supremacy over his female companions, which results in the exploitation and killing of female figures.
The poem is constructed on the level of misogynist and hegemonic patriarchy as a means of criticizing hypocritical Victorian society. The dominant views on women’s roles and moralist perspectives cultivate the eventual oppression of women. The poem criticizes patriarchal supremacy, exposing power imbalances and the objectification of women through the dukes’ dominating behavior and the portrayal of the last duchess. The deleterious impact of such dynamics adds depth to the poem’s poignant critique of societal norms and relationships.
Works Cited
Browning, Robert. “My Last Duchess.” Literature and the Writing Process, edited by Elizabeth McMahon, Robert Funk, Susan X. Day, and Linda Coleman, Pearson, 2017, pp. 574.
Uruk, Ahmet. “A Beloved or a Devil? Toxic Masculinity in Robert Browning’s “My Last Duchess” and “Porphyria’s Lover”.” Journal of Human and Social Sciences, vol. 4, no. 1, 2021, pp. 207–19. Web.
Yang, Liuyuan. “Female Voice and Female Power in Robert Browning’s Dramatic Monologues.” Academic Journal of Humanities & Social Sciences, vol. 6, no. 7, 2023, pp. 16–21. Web.