There is here a problem of framing, of modellinging and delimitation, whose analysis must be very. finely detailed if it wishes to ascertain the effects of fiction.
---Jacques Derrida, Le facteur de la verite
If we are to approach a text, it must have an edge.
---Jacques Derrida, breathing On: B tell apart Lines
The interaction of creativity with interpretation interested Robert Browning throughout a career in which he made the dramatic monologue converge sound, silence and audition, as well as image and vision. Reading such a poem is kindred being drawn into it, having to side with its mortalae, fleck feeling extraneous or beside the point; more than charity or.judgment, these alternatives lead readers to self-reflection, to seeing themselves shifting between the center and the border of some artistic design. Nevertheless, as many readings of My Last Duchess show, this around dramatically paragonal of all ekphrastic poems (Heffernan 144) undermines such a simple organisation of moving or fixing readers. This dramatic monologue, arguably Brownings autopsy work, adds a pictorial, fourth dimension to the usual pattern of speaker system and silent auditor in a momentous, reader-monitored situation.
Eyeing the poems nested utterances, we do not actually see fictitious Fra Pandolfs imaginary portrait of the furthest Duchess (line 1), whose peerless looks (24) from inside an iconic wonder (3) will supposedly imprint the envoy. Yet the painted work, surrounded by sermon and history, is invaluable as a touchstone--a paragon-- for appraising readers, who turn (9, 13), or change, to Browning or his personae. Our cognition of My Last Duchess is parergonal (i.e., framed and framing), like the Duke of Ferraras intention to finish his wife as a person and as an objet dart. But also like him, we find art turns on--pivoting, resisting, and starting--interpretive possession, which is what we own that enthralls or...
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