and to assume a monotony. The introduction of a second person
acting powerfully upon the speaker throughout, draws the latter forth
into a more complete and varied expression of his mind.
The silent person in the background, who may be all the time
master of the situation, supplies a powerful stimulus
to the imagination of the reader. -- Rev. Prof. E. Johnson's
"Paper on `Bishop Blougram's Apology'" (`Browning Soc. Papers',
Pt. III., p. 279).
--

The monologue entitled `My Last Duchess. Ferrara' is a good example
of the constitution of this art-form. It is one of the most perfect
in artistic treatment, and exhibits all the features I have just noticed.
Originally, this monologue and that now entitled `Count Gismond.
Aix in Provence', had the common title, `Italy and France',
the former being No. I. Italy; the latter, No. II. France. The poet,
no doubt, afterward thought that the Duke of the one monologue,
and the Count of the other, could not justly be presented
as representatives, respectively, of Italy and France.
In giving the monologues new titles, `My Last Duchess' and `Count Gismond',
he added to the one, `Ferrara', and to the other, `Aix in Provence',
thus locally restricting the order of character which
they severally represent.

In `My Last Duchess', the speaker is a soulless VIRTUOSO --
a natural product of a proud, arrogant, and exclusive aristocracy,
on the one hand, and on the other, of an old and effete city,
like Ferrara, where art, rather than ministering to soul-life
and true manliness of character, has become an end to itself --
is valued for its own sake.