THE DUCHESS OF MALFI x THE MERCHANT’S
PROLOGUE AND TALE THEMES
1. WOMEN
THE DUCHESS OF MALFI:
THE DUCHESS:
Webster builds on Thomas Kyd’s English drama The Spanish Tragedy, forming a heroine who disregards her
fate as a female in a society dominated by powerful men. The Duchess is similar to that of Kyd’s Bel Imperia- a
woman unwilling to participate in her arranged marriage to Prince Balthazar of Portugal and therefore conspires
against those that force her into this betrothment. Like Bel Imperia, the Duchess is also castrated by the notion
of marriage through her narcissistic brother’s “terrible good council”.
Moreover, the characterisation of the Duchess presents her as a woman who takes control of her fate and
challenges the status quo, regardless of the limited autonomy branded onto her by her misogynistic brothers and
their desire to not “sway” their family’s “high blood”.
Through marrying Antonio, the Duchess transgresses ‘The Great Chain of Being’, a code of conduct that
governed social division and was sacrosanct because it was fixated by God and the King. The fact that she is
willing to defy such a profoundly religious hierarchy, where morality was placed on a very high pedestal, details
the extent of her yearning for liberation.
Webster took inspiration and sourced much of The Duchess of Malfi from William Painter’s 1597 novel The
Palace of Pleasures. Whilst Painter’s Duchess is condemned by her illicit, emotional desires, Webster’s
Duchess is sympathised with because of her desperation for freedom. Webster’s Duchess effectively becomes a
proto-feminist figure who during her final breath exasperates that she is “The Duchess of Malfi still”. This is
arguably the most proto-feminist line within the play, and is a direct defiance of the patriarchy, suggesting that
her power will live on past her presence within the play.
QUOTES:
“Terrible good council”
“The Duchess of Malfi still”
“sway… high blood”
AO5: In relation to the Duchess: “The people were longing for the sea-fairing strength of Elizabeth I”.
“we are forced to woo”- She acknowledges female struggle to marry.
“flesh and blood not alabaster” – She is saying that she is human and not something that can be possessed-
rejecting patriarchy.
“I will lead you”- Takes control of her relationship with Antonio.
“winked and chose a husband”- Subversion of gender roles- she chose Antonio.
PROLOGUE AND TALE THEMES
1. WOMEN
THE DUCHESS OF MALFI:
THE DUCHESS:
Webster builds on Thomas Kyd’s English drama The Spanish Tragedy, forming a heroine who disregards her
fate as a female in a society dominated by powerful men. The Duchess is similar to that of Kyd’s Bel Imperia- a
woman unwilling to participate in her arranged marriage to Prince Balthazar of Portugal and therefore conspires
against those that force her into this betrothment. Like Bel Imperia, the Duchess is also castrated by the notion
of marriage through her narcissistic brother’s “terrible good council”.
Moreover, the characterisation of the Duchess presents her as a woman who takes control of her fate and
challenges the status quo, regardless of the limited autonomy branded onto her by her misogynistic brothers and
their desire to not “sway” their family’s “high blood”.
Through marrying Antonio, the Duchess transgresses ‘The Great Chain of Being’, a code of conduct that
governed social division and was sacrosanct because it was fixated by God and the King. The fact that she is
willing to defy such a profoundly religious hierarchy, where morality was placed on a very high pedestal, details
the extent of her yearning for liberation.
Webster took inspiration and sourced much of The Duchess of Malfi from William Painter’s 1597 novel The
Palace of Pleasures. Whilst Painter’s Duchess is condemned by her illicit, emotional desires, Webster’s
Duchess is sympathised with because of her desperation for freedom. Webster’s Duchess effectively becomes a
proto-feminist figure who during her final breath exasperates that she is “The Duchess of Malfi still”. This is
arguably the most proto-feminist line within the play, and is a direct defiance of the patriarchy, suggesting that
her power will live on past her presence within the play.
QUOTES:
“Terrible good council”
“The Duchess of Malfi still”
“sway… high blood”
AO5: In relation to the Duchess: “The people were longing for the sea-fairing strength of Elizabeth I”.
“we are forced to woo”- She acknowledges female struggle to marry.
“flesh and blood not alabaster” – She is saying that she is human and not something that can be possessed-
rejecting patriarchy.
“I will lead you”- Takes control of her relationship with Antonio.
“winked and chose a husband”- Subversion of gender roles- she chose Antonio.
