‘In the opening scenes of The Duchess of Malfi, the most compelling
character is Bosola.’ In light of this view, explore ways in which Webster
presents Bosola to you.
In the Duchess of Malfi, one of the most arguably compelling characters presented by
Webster to the audience is Bosola, whom is presented at the forefront of the play as he
provokes a moral dilemma to the audience. Bosola is presented to be both a villain, whilst
also being a tragic hero, which portrays his character to be one of an ambiguous nature, as it
results in confusion on the audience’s part as to whether Bosola is a traditionally “good” or
“bad” character. Before Bosola has entered the play, he is introduced to the audience by
Antonio and is presented to fulfil the role of the malcontent, which was a staple figure of
Jacobean drama, similar to the role of Hamlet in Shakespeare’s revenge tragedy. The purpose
of the malcontent is both political and dramatic, as the malcontent voices dissatisfaction with
the Machiavellian political atmosphere as if though they were above these concerns.
Therefore, this presents the character of Bosola to be of an important and compelling nature,
which is also exhibited through his role as Webster’s seemingly intended protagonist as he
guides the audience throughout the play.
Webster initially presents Bosola as a character whom would stereotypically be identified as
being a villain, which makes him appear compelling to the audience as the role of a villain is
to cause mayhem and drama unfold on the stage which would have been “enticing for the
audience to watch” especially in Jacobean theatre. [Sherr-Ziarko] This is exhibited through
the first introduction of Bosola through Antonio, as he refers to him as the “court-gall,”
which has connotations to bile, and so implies to the audience that the character of Bosola is
one which causes trouble and irritation in the courts of Malfi, and whom is not a particularly
pleasant or well-liked member of the court. Antonio also uses violent and disturbing imagery
in an asyndetic list when introducing Bosola as a “lecherous, covetous, or proud, bloody, or
envious” man, which all hold negative connotations and further aid to paint Bosola as a
villainous and sinister figure. The audience is made aware of Bosola’s status as an ex-convict
due to his previous actions of committing a “notorious murder” at the request of the Cardinal,
which resulted in him to be sent “into the galleys” and heightens the perception of his moral
corruption. When Bosola confronts the Cardinal, he claims that some “are possessed with the
devil, but this great fellow were able to possess the greatest devil, and make him worse,”
which presents both the Cardinal and Bosola to be “devil”-like and evil figures of the play
whom rely on one another for corruptive means. Bosola relies on the Cardinal to gain power
in the courts of Malfi, however with fail as it is revealed that the Cardinal uses him only for
doing his dirty work without getting his promised reward, which evokes a certain element of
sympathy by the audience towards Bosola. Webster uses other characters to voice their
opinions of Bosola in order to present his character, especially through the character of
Antonio throughout Act I. Antonio’s initial prose introducing Bosola into the play, is
mirrored at the end of Act I Scene I, when he again uses dark imagery to reference Bosola
such as “poison”, “rust” and “black”, which further present Bosola as morally corrupted. The
audience witnesses Bosola’s violent nature in Act I Scene II, when he is proposed the job as
stable master at the Duchess’s estate in order to act as an “intelligencer” to Ferdinand, but
character is Bosola.’ In light of this view, explore ways in which Webster
presents Bosola to you.
In the Duchess of Malfi, one of the most arguably compelling characters presented by
Webster to the audience is Bosola, whom is presented at the forefront of the play as he
provokes a moral dilemma to the audience. Bosola is presented to be both a villain, whilst
also being a tragic hero, which portrays his character to be one of an ambiguous nature, as it
results in confusion on the audience’s part as to whether Bosola is a traditionally “good” or
“bad” character. Before Bosola has entered the play, he is introduced to the audience by
Antonio and is presented to fulfil the role of the malcontent, which was a staple figure of
Jacobean drama, similar to the role of Hamlet in Shakespeare’s revenge tragedy. The purpose
of the malcontent is both political and dramatic, as the malcontent voices dissatisfaction with
the Machiavellian political atmosphere as if though they were above these concerns.
Therefore, this presents the character of Bosola to be of an important and compelling nature,
which is also exhibited through his role as Webster’s seemingly intended protagonist as he
guides the audience throughout the play.
Webster initially presents Bosola as a character whom would stereotypically be identified as
being a villain, which makes him appear compelling to the audience as the role of a villain is
to cause mayhem and drama unfold on the stage which would have been “enticing for the
audience to watch” especially in Jacobean theatre. [Sherr-Ziarko] This is exhibited through
the first introduction of Bosola through Antonio, as he refers to him as the “court-gall,”
which has connotations to bile, and so implies to the audience that the character of Bosola is
one which causes trouble and irritation in the courts of Malfi, and whom is not a particularly
pleasant or well-liked member of the court. Antonio also uses violent and disturbing imagery
in an asyndetic list when introducing Bosola as a “lecherous, covetous, or proud, bloody, or
envious” man, which all hold negative connotations and further aid to paint Bosola as a
villainous and sinister figure. The audience is made aware of Bosola’s status as an ex-convict
due to his previous actions of committing a “notorious murder” at the request of the Cardinal,
which resulted in him to be sent “into the galleys” and heightens the perception of his moral
corruption. When Bosola confronts the Cardinal, he claims that some “are possessed with the
devil, but this great fellow were able to possess the greatest devil, and make him worse,”
which presents both the Cardinal and Bosola to be “devil”-like and evil figures of the play
whom rely on one another for corruptive means. Bosola relies on the Cardinal to gain power
in the courts of Malfi, however with fail as it is revealed that the Cardinal uses him only for
doing his dirty work without getting his promised reward, which evokes a certain element of
sympathy by the audience towards Bosola. Webster uses other characters to voice their
opinions of Bosola in order to present his character, especially through the character of
Antonio throughout Act I. Antonio’s initial prose introducing Bosola into the play, is
mirrored at the end of Act I Scene I, when he again uses dark imagery to reference Bosola
such as “poison”, “rust” and “black”, which further present Bosola as morally corrupted. The
audience witnesses Bosola’s violent nature in Act I Scene II, when he is proposed the job as
stable master at the Duchess’s estate in order to act as an “intelligencer” to Ferdinand, but
