The poem is a dramatic monologue spoken by an Italian Duke showing a portrait of his deceased wife, called his "last Duchess", to a representative of the Count. As he speaks, he reveals that he was possessive and jealous of his wife, believing she did not properly appreciate his high social status and wealth. He implies that he had her killed due to her friendly, appreciative nature which he saw as a fault. The ending reinforces the Duke's self-importance as he draws attention to another artwork, highlighting his wealth and power.
biography of s.t coleridge
introduction to biographia literaria
synopsis of chap 14
critical analysis
literary devices
objections and defence
fancy and imagination
primary and secondary imagination
The ancient mariner is a poem written by Samuel Taylor Coleridge. In this poem, he talks about an old sailor who happened to stop one of the three wedding guests to listen to his woeful tale. The wedding guest was bewitched by the mariner's glittering eye and he sat down to hear his narrative of his disastrous journey he undertook.
Poetry, he wrote in the Preface, originates from ‘the spontaneous overflow of powerful feelings’ which is filtered through ‘emotion recollected in tranquillity’.
:-“Mac Flecknoe; or, A satyr upon the True-Blew-Protestant Poet, T.S.” was a lampoon by John Dryden against the poet laureate Thomas Shadwell who superseded him in 1669.
Mac means ‘son of’. So, MacFlecknoe means ‘Son of Flecknoe’, while the word ‘True-Blew’ means an extreme ‘Whig Blue’ which was the colour of the Tories.
Richard Flecknoe (c. 1600 – 1678) was an English dramatist and poet. His works were praised by some critics and derided by others. Why John Dryden used his name to ridicule and satirize Thomas Shadwell, his contemporary and one time friend who later became an enemy, is not clear. Flecknoe was a minor poet having religious inclinations and most of his writings were private writings. So, Dryden calling him ‘the monarch of absolute nonsense’ was similar to Iago’s ‘motive hunting of a motiveless malignity’. Thomas Shadwell was called the ‘son and successor’ of Flecknoe’.
biography of s.t coleridge
introduction to biographia literaria
synopsis of chap 14
critical analysis
literary devices
objections and defence
fancy and imagination
primary and secondary imagination
The ancient mariner is a poem written by Samuel Taylor Coleridge. In this poem, he talks about an old sailor who happened to stop one of the three wedding guests to listen to his woeful tale. The wedding guest was bewitched by the mariner's glittering eye and he sat down to hear his narrative of his disastrous journey he undertook.
Poetry, he wrote in the Preface, originates from ‘the spontaneous overflow of powerful feelings’ which is filtered through ‘emotion recollected in tranquillity’.
:-“Mac Flecknoe; or, A satyr upon the True-Blew-Protestant Poet, T.S.” was a lampoon by John Dryden against the poet laureate Thomas Shadwell who superseded him in 1669.
Mac means ‘son of’. So, MacFlecknoe means ‘Son of Flecknoe’, while the word ‘True-Blew’ means an extreme ‘Whig Blue’ which was the colour of the Tories.
Richard Flecknoe (c. 1600 – 1678) was an English dramatist and poet. His works were praised by some critics and derided by others. Why John Dryden used his name to ridicule and satirize Thomas Shadwell, his contemporary and one time friend who later became an enemy, is not clear. Flecknoe was a minor poet having religious inclinations and most of his writings were private writings. So, Dryden calling him ‘the monarch of absolute nonsense’ was similar to Iago’s ‘motive hunting of a motiveless malignity’. Thomas Shadwell was called the ‘son and successor’ of Flecknoe’.
Robert Browning explores the themes of possessiveness, power, and control through a conversation between a Duke and an envoy from a potential new wife's family. The Duke, consumed by his obsession with his late wife's perceived lack of loyalty and beauty, reveals his dark and manipulative nature. The poem's chilling atmosphere and the Duke's unsettling remarks hint at the tragic fate of his former wife and foreshadow the potential danger that awaits his future bride.
Requirement were reading several examples of dramatic poetry, .docxheunice
Requirement: we're reading several examples of "dramatic" poetry, which our "Versification" chapter defines as "poetry, monologue or dialogue, written in the voice of a character assumed by the poet" (2027). Robert Browning's "My Last Duchess " (1842) is a famous example of a dramatic monologue: in this poem, the speaker (likely the Duke of Ferrara) addresses an unnamed person, who is likely an envoy (or representative) of the family of the Duke's prospective new wife.
Read Browning's poem carefully, and then read Richard Howard's "Nikolaus Mardruz to his Master " (1929), which Howard writes from the point of view of the unnamed speaker in Browning's famous poem. For some context, it may help to know that, in Howard's poem, the speaker -- named by Howard as "the Envoy of My Lord the Count of Tyrol" -- is writing a letter to his patron, the Count of Tyrol, father of the prospective bride; the letter is the envoy's report on his visit to the town of Ferrara and his conversation with the Duke. Here is the question for your Reading Post: What does Howard's response to Browning reveal to you about the original poem by Browning that you might otherwise not have noticed?
My Last Duchess
BY ROBERT BROWNING
FERRARA
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,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain I have drawn for you, but I)
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, ’twas 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. 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, ’twas 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? Even had you skill
In speech—which I have not—to make your will
Quite clear to such an 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.
As with narrative, there are "elements" of poetry that we can focus on to enrich our understanding of a particular poem or group of poems. These elements may include, voice, diction, imagery, figures of speech, symbolism and allegory, syntax, sound, rhythm and meter, and structure. While we may discuss these elements separately, please keep in mind that they are always acting simultaneously in a story. It is difficult, for example, to discuss voice without talking about imagery, sound, meter, diction and syntax. Above all, these elements reveal something about the poem's "theme," meaning, or function.
Voice: Speaker and Tone-
As DiYanni notes, tone refers to the poet's "implied attitude toward its subject. Tone is an abstraction we make from the details of a poem's language: the use of meter and rhyme; the inclusion of certain kinds of details and exclusion of other kinds; particular choices of words and sentence pattern, of imagery and of figurative language" (479). A poem could convey reverence toward its subject, or cynicism, fear, awe, disgust, regret, disappointment, passion, monotony, etc. Tone has a great deal to do with meaning, for a description of a parent would be radically different depending on a poet's attitude toward that parent.
Diction, Imagery, Figures of Speech, Symbolism and Allegory-
Simply put, diction refers to word choice and is intimately related to imagery and figures of speech because a poet chooses a word to achieve a certain sensory, emotional, or intellectual effect. Choosing "wandered," for example, suggests something different than, say, "walked around," "shuffled," "drifted," "floated," etc., for each word suggests a different attitude, image, or connection. Your job is to explore the possibilities, always broadening the meaning and linking it with other words and images. For example, placing words in new contexts creates metaphors, for the word suggests one meaning and the context another.
As noted earlier, word choices creates images, the "concrete representation of a sense impression, feeling, or idea. Images may invoke our sight, hearing, sense of smell and taste, and tactile perceptions." Imagery refers to a pattern of related details. When images form patterns of related details that convey an idea or feeling beyond what the images literally describe, we call them metaphorical or symbolic. The details suggest one thing in terms of another. For example, images of light often convey knowledge and life, while images of darkness suggest ignorance or death. This leap from one image to its symbolic counterpart is based on an interpretive act and must be done in context. For example, white is usually associated with purity, cleanliness, and virginity, but in Moby Dick the great whale is white and suggests absolute evil, but the use that symbolic color is consistent within the novel. Figures of speech refer to special kinds of language use.
Ethnobotany and Ethnopharmacology:
Ethnobotany in herbal drug evaluation,
Impact of Ethnobotany in traditional medicine,
New development in herbals,
Bio-prospecting tools for drug discovery,
Role of Ethnopharmacology in drug evaluation,
Reverse Pharmacology.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
Students, digital devices and success - Andreas Schleicher - 27 May 2024..pptxEduSkills OECD
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Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
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How to Split Bills in the Odoo 17 POS ModuleCeline George
Bills have a main role in point of sale procedure. It will help to track sales, handling payments and giving receipts to customers. Bill splitting also has an important role in POS. For example, If some friends come together for dinner and if they want to divide the bill then it is possible by POS bill splitting. This slide will show how to split bills in odoo 17 POS.
2. The poem is a dramatic monologue.
This poem is written in the voice of a male narrator - an imaginary Italian Duke.
When? Browning wrote the poem in 1842. However, it seems likely that his idea for the
poem was based on Alfonso II, Duke of Ferrara, whose first wife died after three years of
marriage in 1561. The subject matter of the poem – the ‘marriage market’ - would have
ensured that the poem was topical in 1850s Britain.
What? The Duke now wants to marry the Count’s daughter. He is discussing this with
the Count’s representative. As he does so, he shows his guest around his palace. During
the conversation and tour, he reveals a portrait of his previous wife – his ‘last duchess’.
3. Some key features:
Conversational tone – the language functions to direct, guide and command the
listener.
Disjointed thoughts – his thoughts are interrupted by his asides and commands to the
listener.
Fast rhythm – quite urgent movement from point to point – doesn’t dwell or expand at
length on any particular point.
Use of regular rhyme and rhythm.
Use of enjambment – his thoughts are not completed within a line, instead they carry
on the next line.
4. My Last Duchess
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 to sit and look at her? I said
"Fra Pandolf" by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to my self they turned (since none puts by
The curtain I have drawn for you, but I)
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
Dramatic monologue
The Duke is very
possessive
There is a reason for
drawing the curtain;
it’s so the person
can see his prized
possession
An imaginary
artist, name
dropping:
everything has
monetary value
He likes
beautiful
things
He is also in control
of who sees it and
when.
Because of her
reaction, he
expects to be
questioned on it;
this adds to his
paranoia.
5. 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. 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 favor at her breast,
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
The Duke’s
jealousy; he
starts to reveal
more than he
planned
Her only
crime was
enjoying life
and not
respecting his
rank/title
Contrast: genuine
romance or a posh title,
he expects her to value
the latter more
His only pride
is in his
wealthy family
name
She was a modest
person who got
embarrassed by
compliments
Ambiguous – refers to a
blush but could also refer
to the manner of her
death (that is alluded to
later in the poem).
6. 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? Even had you skill
In speech--(which I have not)--to make your will
Quite clear to such an 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
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. Will 't please you rise? We'll meet
The company below, then. I repeat,
Ambiguous: suggests he
commanded her to stop smiling
and appreciating life; or, the
more common reading, he had
her killed.
The duke reveals his jealousy and paranoia
here by suggesting his duchess was having
an affair.
The repetition of stoop
highlights the Duke’s
belief that he is better
than everyone else
He admits he is not very good at talking
which suggests he didn’t discuss his
concerns with his wife – he let his
unconfirmed fears control him rather
than approach the real issue. Also
contrasts the fact that this is a very
eloquent speech to the Count’s envoy.
The dashes represent
pauses where the Duke gets
carried away and reveals
personal traits through the
internal thoughts.
He expects them to both be open
and honest with each other. But is
the Duke?
He believed that she
was treating all men the
same when she should
have placed him above
everyone else.
A reminder that they
have been sitting and
observing the painting.
7. The Count your master's known munificence
Is ample warrant that no just pretence
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!
Robert Browning (1812-1889)
The Duchess's "faults" were qualities like compassion, modesty, humility,
delight in simple pleasures, and courtesy to those who served her.
The Duke doesn’t realise how
much of himself he has given
away in his criticism of his former
wife
As the Count is generous, the Duke knows
he doesn’t have to ask for money as he
knows he’ll receive it anyway – is this his
motivation to make the Count’s daughter
his next duchess?
Consider the setting
here again. Picture the
scene.
This entire monologue is
about the Duke
promoting himself to the
Count’s envoy as he
wants to marry the
Count’s daughter – has
he promoted himself
well though?
8. The Fresco and The Bronze
Look at the two pieces of art. One is an example of a fresco. The latter is a bronze of Neptune.
“… Notice Neptune, though,
Taming a sea-horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for me!”
Why does the poem end with these lines? What is being suggested about the Duke, the Duchess and their
relationship? What might it suggest to the Count’s envoy?
9. The majority of the Duke’s monologue is spent telling
the Count’s envoy about his former wife – his ‘last
Duchess’. During this monologue, he talks about her
actions and personality and this, in turn, explains his
jealousy and anger.
What does the Duchess do which causes the Duke to
become jealous and angry?
What aspects of her personality upset him?
