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1、我的前公爵夫人 墙上的这幅面是我的前公爵夫人， 看起来就像她活着一样。如今， 我称它为奇迹：潘道夫师的手笔 经一日忙碌，从此她就在此站立。 你愿坐下看看她吗？我有意提起 潘道夫，因为外来的生客（例如你） 凡是见了画中描绘的面容、 那真挚的眼神的深邃和热情， 没有一个不转向我（因为除我外 再没有别人把画上的帘幕拉开）， 似乎想问我可是又不大敢问； 是从哪儿来的一一这样的眼神？ 你并非第一个人回头这样问我。 先生，不仅仅是她丈夫的在座 使公爵夫人面带欢容，可能 潘道夫偶然说过：夫人的披风 盖住她的手腕太多，”或者说： 隐约的红晕向颈部渐渐隐没， 这绝非任何颜料所能复制。” 这种无聊话，却被她当成好
2、意， 也足以唤起她的欢心。她那颗心 - 怎么说好呢？一一要取悦容易得很, 也太易感动。她看到什么都喜欢， 而她的目光又偏爱到处观看。先生，她对什么都一样！她胸口上 佩戴的我的赠品，或落日的余光； 过分殷勤的傻子在园中攀折 给她的一枝樱桃，或她骑着绕行花圃的白骡 所有这一切 都会使她同样地赞羡不绝， 或至少泛起红晕。她感激人好的！ 但她的感激（我说不上怎么搞的） 仿佛把我赐她的九百年的门第 与任何人的赠品并列。谁愿意 屈尊去谴责这种轻浮举止？即使 你有口才（我却没有）能把你的意志 给这样的人儿充分说明： “你这点 或那点令我讨厌。这儿你差得远， 而那儿你超越了界限。 ”即使她肯听 你这样训诫她而
3、毫不争论， 毫不为自己辩解， 我也觉得 这会有失身份，所以我选择 绝不屈尊。哦，先生，她总是在微笑， 每逢我走过；但是谁人走过得不到 同样慷慨的微笑？发展至此， 我下了令：于是一切微笑都从此制止。 她站在那儿，像活着一样。请你起身 客人们在楼下等。我再重复一声： 你的主人 伯爵先生闻名的大方 足以充分保证：我对嫁妆 提出任何合理要求都不会遭拒绝； 当然如我开头声明的，他美貌的小姐 才是我追求的目标。别客气，让咱们 一同下楼吧。但请看这海神尼普顿 在驯服海马，这是件珍贵的收藏， 是克劳斯为我特制的青铜铸像。Robert Browning: a famous 19th century (Victo
4、rian) British poet, particularly well-known for his early monologue My Last Duchess（我的已故的公爵夫人）.In the poem, a duke speaks about his dead wife. The poem is about murder, mystery and in trigue, but all in in direct allusi ons （暗示）.Readers may sense that the duke kills his wife or causes her death, but
5、 no evidenee is shown. The Ianguage of the poe m is difficult to understand.The use of dramatic monologue forces readers to workhard to find the meaning behind the dukes words. When talking about Robert Bro wning, we have to mention his wife, Elizabeth Barrett Browning. She was a famous poet, too. S
6、he wrote many sonnets, a type of 14 line poem, the same as Shakes peare did. Elizabeth and her husband Robert had a great love affair, almost like a movie. Browning was six years younger than his wife. They ran away to Italy to g et married.Summaryhis poem is loosely based on historical events invol
7、ving Alfonso, the Duke ofFerrara, who lived in the 16th cen tury. The Duke is the speaker of the poem, and tellsus he is entertaining an emissary who has come to negotiate the Duke s marriage （he has recently been widowed） to the daughter of another powerful family. As he shows the visitor through h
8、is palace, he stops before a portrait of the late Duchess, appare ntly ayou ng and lovely girl. The Duke begi ns reminiscing about the portrait sessi ons, the n about the Duchess herself. His musings give way to a diatribe on her disgraceful behavior: he claims she flirted with every one and did not
9、 appreciate his“ gift of a nine-hu ndred-years-old name. ” As his monologue continues, the reade r realizes with ever-more chilling certainty that the Duke in fact caused the Duchess s early demise: when her behavior escalated, he gave comma nds; / Then all smiles stopped together.” Having made this
10、 disclosure, the Duke retur ns to the bus in ess at hand: arranging for ano ther mar riage, with ano ther you ng girl. As the Duke and the emissary walk leave the painting be hind, the Duke points out other no table artworks in his collecti on.Form “ My Last Duchess ” comprises rhyming pentameter li
11、nes. The lines do not employen d-stops; rather, they use enjambme ngthat is, senten ces and other grammatical un its do not necessarily conclude at the end of lines. Consequently, the rhymes do not create a sense of closure whe n they come, but rather rema in a subtle driv ing force beh ind the Duke
12、 scompulsive revelations. The Duke is quite a performer: he mimics others voices, createshypothetical situations, and uses the force of his personality to make horrifying information seem merely colorful. Indeed, the poem provides a classic example of a dramatic monologue: the speaker is clearly dis
13、t inct from the poet; an audie nee is suggested but n ever appears in the poem; and the revelation of the Duke s character is the poem s primary aim.Comme ntaryBut Brow ning has more in mi nd tha n simply creati ng a colorful character and placi ng him ina picturesque historicalsce ne. Rather, the s
14、pecifichistorical sett ing of thepoemharborsmuch significanee: the Italian Renaissance held a particular fascination for Browning andhis con temporaries, for it represe nted the floweri ng of the aesthetic and the huma nalon gside, or in some cases in the place of, the religious and the moral. Thus
15、the temporal sett ing allows Browning to again explore sex, violence, and aesthetics as all entangled, complicating and confusing each other: the lushness of the language belies the fact thatthe Duchesswaspunished for her natural sexuality. The Duke s ravings suggest that most of the supposedtra nsg
16、ressi ons took place on ly in his mind. Like someof Brow ning s fellowVictoria ns,theDuke sees sin lurk ing in every corner. The reas on the speaker here gives for killi ng theDuchess ostensibly differs from that given by the speaker of“ Porphyria s Lover ” formurder Porphyria; however, both wome nare n evertheless victims of a male desire to in scribe and fix female sexuality. Th
