CHAUCER/WEBSTER COMPARISON:
The Duchess of Malfi: The Merchant’s Tale:
The Duchess: January:
- Her brothers - His blindness (physical and
- Sexuality metaphorical)
- Antonio - His position as the comic reprieve
- Her power - His intentions for marriage
Antonio: - His actions within marriage
- His relationship with the Duchess - His reaction to the affair of May
- His moral purity/highground and Damian
- His status May:
Bosola: - The portrayal of her deceit
- His status - Her position as a lower class
- His morality character
- His actions both towards the - Her promiscuity/sexuality
Duchess and the brothers - Her relationship with Damian
- His position as a malcontent - Her reaction to January/ sex with
The Cardinal: him
- His affair with Julia Context:
- His power over the Duchess - The play as a fabliau
- His quiet evil - Courtly love
- His power in the Church/over - References to deceitful women in
Bosola Biblical texts
Ferdinand: - Time of play
- His incestual feelings towards the - Knowledge/ attitudes to female
Duchess sexuality- through medicine
- His role in the Duchess’ death - Pica
- His reaction to the Duchess’ death
Julia:
- Her sexuality
- Her affair with the Cardinal
Context:
- Views held towards women
- Views held towards the Catholic
Church
- Arbella Stuart
- Webster’s position as a writer
- Play as a revenge tragedy
, The Duchess of Malfi character profiles
The Duchess:
Both of her brothers wield significant power over her. This is attributed to their status as males as
well as The Cardinal’s position of power within the church. They specifically instructed/commanded
that she should not remarry; “they are most luxurious will wed twice”. Ferdinand goes as far as
to threaten her; “this was my father’s poniard, see”. This reference to his father’s dagger is
notably a demonstration of phallic imagery. This is the first reference in the play of Ferdinand’s
incestuous feelings towards the Duchess which Will Keen “did not imagine him being conscious of”.
The immorality of the brothers can be attributed to the views of the Catholic Church in England at the
time. The initial performances of it were in 1613, which came after eighty years of religious
uncertainty/upheaval in the nation. At the time, England was a protestant country under king James
I, making the general public sceptical of Catholicism. Therefore, the portrayal of Ferdinand and
especially the Cardinal serve to perpetuate these scepticisms. Furthermore, there are different
interpretations of the motivations for keeping the Duchess unmarried. For the Cardinal, it is clear that
“her body is a threat to the male rule” (Lifson). Thus, the views held on female sexuality at the time
are emphasised. The expectation of women was to marry and bear children, with no regard for their
sexual desires is made clear. Ferdinand clarifies this as he tells the Duchess “you already know
what a man is and therefore let not youth, high promotion, eloquence”. The suppression of
female sexuality in turn acts as a device to control them. It gives males autonomy over the female
body, subsequently suppresses their beings and minds, which would in fact “threaten the male rule”.
Webster’s positive portrayal of the Duchess challenges these conventions for all women. Many
critics believe that while the Duchess acts with deceit, it is not to be condemned but praised; “the
Duchess uses machiavellian (scheming) tactics but is not villainous” (Ingram). Ferdinand’s
motivations, in opposition, are much more personal and distorted/perverted. He feels incestuous
feelings towards the Duchess and is threatened not by her but jealous of her potential husband.
Keen argues that “he wants to be in the presence of the Duchess’ bed, where he imagines she’s had
sex.” The Duchess’ immediate disregard of her brothers’ orders; “I wink’d and chose a husband”
represents both a naivety to their ultimate power over her and a bravery within her. Many of the
characteristics that she displays are decisively masculine ones. A clear illustration lies both in the
unconventionality of her proposal to Antonio; “thus, is it fit” and the physicality of him kneeling to
her; [he kneels]. By highlighting her masculine traits, Webster emphasises her continued power.
Although she is killed, she “achieves heroism through” this (T.S. Knight). It exposes Webster’s own
criticisms of the treatment and fates of women. To further this, in her death she presents only
bravery “I am the Duchess of Malfi still” which is in direct contrast to the death of Cariola in the
same scene; “I will not die”. The contrast of their deaths represents a moral high ground in the
Duchess, which makes her the most admirable character in the play. A further example of this is in
her marriage to Antonio. As a modern audience, her strong will and disregard of her brothers’ orders
to not marry is praised. Additionally, her marriage for love; “mine (heart) is in your bosom”
ensures she is a praisable character for all audiences. Romantic tragedies were vastly popular at the
time as seen with Shakespeare’s ‘Romeo and Juliet’ which was first performed in 1597. Audiences
would favour romantic matches, despite the condemnation of the female power. This ensured that
The Duchess of Malfi: The Merchant’s Tale:
The Duchess: January:
- Her brothers - His blindness (physical and
- Sexuality metaphorical)
- Antonio - His position as the comic reprieve
- Her power - His intentions for marriage
Antonio: - His actions within marriage
- His relationship with the Duchess - His reaction to the affair of May
- His moral purity/highground and Damian
- His status May:
Bosola: - The portrayal of her deceit
- His status - Her position as a lower class
- His morality character
- His actions both towards the - Her promiscuity/sexuality
Duchess and the brothers - Her relationship with Damian
- His position as a malcontent - Her reaction to January/ sex with
The Cardinal: him
- His affair with Julia Context:
- His power over the Duchess - The play as a fabliau
- His quiet evil - Courtly love
- His power in the Church/over - References to deceitful women in
Bosola Biblical texts
Ferdinand: - Time of play
- His incestual feelings towards the - Knowledge/ attitudes to female
Duchess sexuality- through medicine
- His role in the Duchess’ death - Pica
- His reaction to the Duchess’ death
Julia:
- Her sexuality
- Her affair with the Cardinal
Context:
- Views held towards women
- Views held towards the Catholic
Church
- Arbella Stuart
- Webster’s position as a writer
- Play as a revenge tragedy
, The Duchess of Malfi character profiles
The Duchess:
Both of her brothers wield significant power over her. This is attributed to their status as males as
well as The Cardinal’s position of power within the church. They specifically instructed/commanded
that she should not remarry; “they are most luxurious will wed twice”. Ferdinand goes as far as
to threaten her; “this was my father’s poniard, see”. This reference to his father’s dagger is
notably a demonstration of phallic imagery. This is the first reference in the play of Ferdinand’s
incestuous feelings towards the Duchess which Will Keen “did not imagine him being conscious of”.
The immorality of the brothers can be attributed to the views of the Catholic Church in England at the
time. The initial performances of it were in 1613, which came after eighty years of religious
uncertainty/upheaval in the nation. At the time, England was a protestant country under king James
I, making the general public sceptical of Catholicism. Therefore, the portrayal of Ferdinand and
especially the Cardinal serve to perpetuate these scepticisms. Furthermore, there are different
interpretations of the motivations for keeping the Duchess unmarried. For the Cardinal, it is clear that
“her body is a threat to the male rule” (Lifson). Thus, the views held on female sexuality at the time
are emphasised. The expectation of women was to marry and bear children, with no regard for their
sexual desires is made clear. Ferdinand clarifies this as he tells the Duchess “you already know
what a man is and therefore let not youth, high promotion, eloquence”. The suppression of
female sexuality in turn acts as a device to control them. It gives males autonomy over the female
body, subsequently suppresses their beings and minds, which would in fact “threaten the male rule”.
Webster’s positive portrayal of the Duchess challenges these conventions for all women. Many
critics believe that while the Duchess acts with deceit, it is not to be condemned but praised; “the
Duchess uses machiavellian (scheming) tactics but is not villainous” (Ingram). Ferdinand’s
motivations, in opposition, are much more personal and distorted/perverted. He feels incestuous
feelings towards the Duchess and is threatened not by her but jealous of her potential husband.
Keen argues that “he wants to be in the presence of the Duchess’ bed, where he imagines she’s had
sex.” The Duchess’ immediate disregard of her brothers’ orders; “I wink’d and chose a husband”
represents both a naivety to their ultimate power over her and a bravery within her. Many of the
characteristics that she displays are decisively masculine ones. A clear illustration lies both in the
unconventionality of her proposal to Antonio; “thus, is it fit” and the physicality of him kneeling to
her; [he kneels]. By highlighting her masculine traits, Webster emphasises her continued power.
Although she is killed, she “achieves heroism through” this (T.S. Knight). It exposes Webster’s own
criticisms of the treatment and fates of women. To further this, in her death she presents only
bravery “I am the Duchess of Malfi still” which is in direct contrast to the death of Cariola in the
same scene; “I will not die”. The contrast of their deaths represents a moral high ground in the
Duchess, which makes her the most admirable character in the play. A further example of this is in
her marriage to Antonio. As a modern audience, her strong will and disregard of her brothers’ orders
to not marry is praised. Additionally, her marriage for love; “mine (heart) is in your bosom”
ensures she is a praisable character for all audiences. Romantic tragedies were vastly popular at the
time as seen with Shakespeare’s ‘Romeo and Juliet’ which was first performed in 1597. Audiences
would favour romantic matches, despite the condemnation of the female power. This ensured that
