The Duchess of Malfi
The princely powers of the Duchess of Malfi
The Tragedy of the Dutchesse of Malfy, originally published under this name in 1623, is a Jacobean drama written by John Webster in 1612-13. The play starts off as a love story with the Duchess secretly marrying the steward of the household Antonio; a man beneath her class who she has fallen in love with. This marriage immediately shows the Duchess’ “princely powers” by defying the wishes of her brothers, Ferdinand and the Cardinal, to not marry again after being widowed. “The Duchess of Malfi is ostensibly a story of resistance of a wilful widow who actively defies her brothers’ wishes and refuses to be constrained by (male) authority” (Bartels 420). Webster portrays her brother Ferdinand’s power as a corrupted duplicate of an ideal. An ideal that the Duchess reaches through the drag of patriarchy. However the play ends as a tragedy with the deaths of almost all the major characters in the play. The Duchess of Malfi contains a lot of stage violence and horror especially in the later scenes which attracted many visitors. However this is not the reason Webster’s play is a great English renaissance drama. The poetic language usage by Webster and the complex characters should ultimately receive the credits. The focus in this paper will be on the complexity of the Duchess’ character and especially on her comment in Act III, scene 2: “For know, whether I am doomed to live or die, I can do both like a prince.” (Webster 1603). Furthermore the exploration of the theme of entrapment, or imprisonment, which plays a predominant role throughout the play, with the Duchess being caged up like a bird and a prisoner in her own body. “Why should only I, of all the other princes of the world, be cased up, like a holy relic?” (Webster 1605).
In Act III, scene 2 a contrast is clearly noticeable, the opening of the scene is very playful and shows the love between the Duchess and Antonio. This is quite a contrast with the first
The Tragedy of the Dutchesse of Malfy, originally published under this name in 1623, is a Jacobean drama written by John Webster in 1612-13. The play starts off as a love story with the Duchess secretly marrying the steward of the household Antonio; a man beneath her class who she has fallen in love with. This marriage immediately shows the Duchess’ “princely powers” by defying the wishes of her brothers, Ferdinand and the Cardinal, to not marry again after being widowed. “The Duchess of Malfi is ostensibly a story of resistance of a wilful widow who actively defies her brothers’ wishes and refuses to be constrained by (male) authority” (Bartels 420). Webster portrays her brother Ferdinand’s power as a corrupted duplicate of an ideal. An ideal that the Duchess reaches through the drag of patriarchy. However the play ends as a tragedy with the deaths of almost all the major characters in the play. The Duchess of Malfi contains a lot of stage violence and horror especially in the later scenes which attracted many visitors. However this is not the reason Webster’s play is a great English renaissance drama. The poetic language usage by Webster and the complex characters should ultimately receive the credits. The focus in this paper will be on the complexity of the Duchess’ character and especially on her comment in Act III, scene 2: “For know, whether I am doomed to live or die, I can do both like a prince.” (Webster 1603). Furthermore the exploration of the theme of entrapment, or imprisonment, which plays a predominant role throughout the play, with the Duchess being caged up like a bird and a prisoner in her own body. “Why should only I, of all the other princes of the world, be cased up, like a holy relic?” (Webster 1605).
In Act III, scene 2 a contrast is clearly noticeable, the opening of the scene is very playful and shows the love between the Duchess and Antonio. This is quite a contrast with the first