The Paradoxical Presentation of the Duke in Robert Browning's "my Last Duchess"

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it. The same situation can be observed when the Duke says that the Duchess “disgusts” (37) him. The Duke is proud and feels himself superior to others. The point is further strengthened when the Duke says that there “would be some stooping” (42) when arguing with the Duchess, and that “[he] choose[s] / Never to stoop” (41-42). The Duke thinks that he has chosen not to stoop, but in actuality, he does not even have a choice but to stay silent because he cannot put aside his ego to talk to the Duchess about the issue.

In lines 43-47, the Duke spends a rather short time talking about his “solution”. The Duke is concerned that he might not have full control over the Duchess; this insecurity might contribute to these few lines. When the Duke cannot bare the Duchess’ behaviors anymore, “[he] gave commands; / Then all smiles stopped together” (45-46). This can be an implication of the murder of the Duchess, because after that, “[t]here [the Duchess] stands / As if alive” (46-47). This is an echoing of the first two lines, suggesting that the Duke finally makes the Duchess “prefect” in his eyes. The Duke appears to be powerful and demanding, but he actually feels quite insecure and is, if anything, in need of some sort of “peace” only the death of the Duchess could offer.

From lines 47-53, the Duke finally addresses the subject of the talk, which is to marry the daughter of the Count. However, what seems more important is how the Duke again, objectifies woman by saying that despite the considerable “dowry” (51) asked, “[the Count’s] fair daughter’s self […] is [his] object” (52-53). The word “object” serves as an ambiguity, as it can mean the target of the Duke, or a possession of the Duke, just like the Duchess.

The last three lines, 54-56, close the poem, using another piece of art, “Neptune, […] / Taming a sea-horse, thought a rarity” (54-55), which echos the painting that appears in the first few lines of the poem. As the Duke regains composure from the weakness exposed previously, he tries to promote himself by claiming again that he is a patron of fine arts, and that he is in a higher position to dominate others, just like Neptune. However, the truth is, objectifying the Duchess into a sea-horse is just another way of the Duke, in which he might find consolation, as he does in looking at the painting, because he could never really “tame” the Duchess when she was alive.

To sum up, all the efforts the Duke has put into giving the envoy a clear image of a strong, powerful male goes in vain. Robert Browning makes the Duke boast about his authority, social status, and control over people, but it is this tendency to boast that exposes the Duke’s jealousy, insecurity, materialism, pride, and his shallow appreciation for physical attractions rather than spiritual qualities. The strategy of self-inflation seems to work for the Duke at first glance, but it never really does.

The use of dramatic monologue serves for the same purpose as the Duke appears to control the conversation. The Duke forces the envoy to “sit and look at [the Duchess’ portrayal]” (5), gives the answer to the question about the Duchess’ “earnest glance” (8) the envoy and many others have yet had the courage to ask, and asks the envoy to “meet / The company below” (47-48). In conclusion, the entire poem is a well-constructed paradox used by Robert Browning to present the Duke’s true, defective self by having the Duke attempt to promote himself as a proud, rightful, and authoritarian figure through his seemingly powerful

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