The Duchess of Malfi Student Pack
AO3 = Social, Historical, Cultural Context (Blue)
AO5 – Critical Adaptations/Intepretations (Purple)
Week 1
Act One
The play "The Duchess of Malfi" begins in the Duchess’s palace, where Antonio
has just returned from the French court. He comments on the differences
between the French and Italian courts. Meanwhile, Bosola, who was imprisoned
for committing a murder for the Cardinal, is enlisted by Duke Ferdinand to spy on
the Duchess. Ferdinand and the Cardinal wish to prevent the newly widowed
Duchess from remarrying and instruct her to resist temptation in their absence.
However, the Duchess confides in her lady-in-waiting, Cariola, about her plan to
marry Antonio, despite her higher social standing.
Act Two:
In the palace, Bosola criticises Castruccio and an elderly woman. He suspects the
Duchess might be pregnant and gives her apricots to confirm his suspicions,
leading to her falling ill and revealing her pregnancy. Antonio discloses his secret
marriage to Delio and locks the court gates due to missing jewels, asking Delio to
keep an eye on the Duchess’s brothers in Rome. Antonio accuses Bosola of the
theft, which Bosola denies. He later uncovers that Antonio is the father and
informs the Duchess’s brothers. Delio offers Julia, Castruccio’s wife, money to
become his mistress. Ferdinand discovers the Duchess is pregnant and vows to
uncover the identity of the father.
Act Three:
Delio returns with Ferdinand from Rome. Antonio informs Delio that the Duchess
has had two more children and suspects her brothers are aware of it, though not
of the marriage. Ferdinand attempts to arrange a marriage between the Duchess
and Count Malateste, but she refuses. He then gives her a knife to end her life,
yet she reveals her marriage without disclosing her husband’s name. Ferdinand
warns her to keep the father's identity a secret. Antonio and Cariola return, and
Antonio threatens Cariola to prove her loyalty. To mask her sorrow, the Duchess
claims Antonio manipulated her accounts, allowing him to escape. Eventually,
she admits her marriage to Antonio and asks Bosola to keep it a secret, though
he plans to inform Ferdinand. The Cardinal and Ferdinand plot to banish the
Duchess and her family. At the Shrine of Our Lady Loretto, the Cardinal
renounces his position to become a soldier. Antonio, the Duchess, and their
children are exiled. Bosola brings a letter from Ferdinand, threatening Antonio’s
life under the guise of offering peace. Antonio refuses to leave, and the Duchess
fears an ambush, urging Antonio to take their eldest son to Milan. Bosola returns,
taking the Duchess and her remaining children captive.
Act Four:
,Ferdinand visits the imprisoned Duchess but leaves her in darkness, fulfilling his
vow to never see her again. He pardons her, and Bosola presents her with wax
figures of Antonio and her children, leading her to believe they are dead. The
Duchess wishes to die alongside Antonio’s body. Ferdinand reveals the deception
to Bosola, who urges him to stop the torture, but Ferdinand wants her to go mad.
Bosola refuses to continue spying and is sent to Milan. Ferdinand sends madmen
to drive the Duchess insane, but they instead make her laugh. Disguised, Bosola
informs the Duchess about her tomb. Ultimately, the Duchess is strangled,
comforted by the thought of reuniting with her family. Bosola kills Cariola and the
children. When Ferdinand sees the Duchess's lifeless body, he regrets his actions,
confessing that his motives were driven by a desire to inherit her wealth. He
denies Bosola any reward, leaving Bosola distressed. The Duchess briefly revives
to learn that Antonio is alive before dying.
Act Five:
Delio warns Antonio that the Cardinal’s offer of peace is a trap. The Marquis of
Pescara denies Delio's request for part of Antonio's land but grants Julia’s similar
request. Ferdinand, now in Milan, is rumoured to be mad, suffering from
lycanthropy. The Cardinal promises Bosola advancement if he kills Antonio. Julia,
infatuated with Bosola, threatens him but is later poisoned by the Cardinal.
Bosola decides to protect Antonio instead of fulfilling the murder plot. The
Cardinal intends to kill Bosola after Antonio is dead. Confronting the Cardinal
while carrying Antonio’s body, Bosola faces off against him. In a fit of madness,
Ferdinand injures Bosola, who then kills Ferdinand. Bosola explains his actions
before dying. Delio arrives with Antonio and the Duchess’s eldest son, vowing to
provide him with a good life in honour of his parents.
Week 2
‘The male gaze’
This captures the way in which women are viewed by men, and the purpose with
which they are viewed. It seems to be a means for encouraging male superiority
and the idea that women exist only to satisfy what their male counterparts have
set out for them. It essentially describes the way visual arts and literature depict
women solely from a masculine perspective.
‘Cover her face’ (Article)
1. Why do Ferdinand and the Cardinal care if their sister remarries?
Ferdinand and the Cardinal come to the conclusion that the Duchess’s
body is not just personal, but also political. That the decision she makes in
regards to her sexuality will affect not just her, but the bloodline.
Combined with their incestuous desires for her, Ferdinand and the Cardinal
are strictly against her remarriage and fail to distinguish a line between
the personal and political boundaries of her body.
, 2. In your own words, write a summary of the incestuous behaviour to which
Parnaby draws our attention.
Parnaby describes the incestuous behaviour of the brothers as being
something Webster must have hunted to find in the mythological world,
highlighting how unnatural and vicious such thoughts are. The allusion to
‘white of cockatrice’s eggs’ is another unnatural creature that slays with
its deathly gaze, mirroring the male gaze of Ferdinand and the Cardinal.
Through Bosola, they are able to expand their sexual imaginings of the
Duchess, all of which comes across as very unrestrained to the modern
audience.
3. How does the character of Bosola contribute to the idea of the male gaze
in the play?
Bosola’s role in the Court acts as a means for Ferdinand to invade the
Duchess’s personal space without his physical presence required. By
acting as the ‘eyes and ears’ of Ferdinand he assists greatly with the
development of Ferdinand’s incestuous imaginings. Although Bosola
himself is lustless in the way he views the Duchess, it is his presence that
enhances Ferdinand’s behaviour and heightens his unnatural pleasures.
4. Write your own evaluation of Laurie A Finke’s views of the Duchess in
death.
Laurie A Finke argues that the Duchess’s death is more metaphorical than
physical. Finke believes that she cannot die because she never really lived.
She died imprisoned by the images that those around her had imposed on
her, ‘saint and whore’. Her death portrays her in her most idealised form,
as if she is immortalised. However, this is an image, she is no more
powerful than she was during her life. Therefore, the lack of autonomy in
her life almost removes the significance and impact of her death.
5. How do you think a Jacobean audience would have reacted to Ferdinand
and the Cardinal’s treatment of their sister?
In terms of control, much of the audience would have accepted or even
supported Ferdinand and the Cardinal’s desire to control the decisions of
their sister. This is because it would have been seen as a reflection of their
familial duty to protect her honour and preserve their family’s reputation.
However, there would have also been sympathy for the Duchess and the
lack of control she had over her short-lived life. The harsh treatment she is
subject to and her struggle for autonomy could evoke pity from the
viewers who viewed her as a victim of oppressive authority. Morally, the
behaviour of Ferdinand and the Cardinal could provoke outrage. This is
due to the likelihood of their treatment toward the Duchess being seen as
tyrannical and unjust. Moreover, the audience may have believed that the
AO3 = Social, Historical, Cultural Context (Blue)
AO5 – Critical Adaptations/Intepretations (Purple)
Week 1
Act One
The play "The Duchess of Malfi" begins in the Duchess’s palace, where Antonio
has just returned from the French court. He comments on the differences
between the French and Italian courts. Meanwhile, Bosola, who was imprisoned
for committing a murder for the Cardinal, is enlisted by Duke Ferdinand to spy on
the Duchess. Ferdinand and the Cardinal wish to prevent the newly widowed
Duchess from remarrying and instruct her to resist temptation in their absence.
However, the Duchess confides in her lady-in-waiting, Cariola, about her plan to
marry Antonio, despite her higher social standing.
Act Two:
In the palace, Bosola criticises Castruccio and an elderly woman. He suspects the
Duchess might be pregnant and gives her apricots to confirm his suspicions,
leading to her falling ill and revealing her pregnancy. Antonio discloses his secret
marriage to Delio and locks the court gates due to missing jewels, asking Delio to
keep an eye on the Duchess’s brothers in Rome. Antonio accuses Bosola of the
theft, which Bosola denies. He later uncovers that Antonio is the father and
informs the Duchess’s brothers. Delio offers Julia, Castruccio’s wife, money to
become his mistress. Ferdinand discovers the Duchess is pregnant and vows to
uncover the identity of the father.
Act Three:
Delio returns with Ferdinand from Rome. Antonio informs Delio that the Duchess
has had two more children and suspects her brothers are aware of it, though not
of the marriage. Ferdinand attempts to arrange a marriage between the Duchess
and Count Malateste, but she refuses. He then gives her a knife to end her life,
yet she reveals her marriage without disclosing her husband’s name. Ferdinand
warns her to keep the father's identity a secret. Antonio and Cariola return, and
Antonio threatens Cariola to prove her loyalty. To mask her sorrow, the Duchess
claims Antonio manipulated her accounts, allowing him to escape. Eventually,
she admits her marriage to Antonio and asks Bosola to keep it a secret, though
he plans to inform Ferdinand. The Cardinal and Ferdinand plot to banish the
Duchess and her family. At the Shrine of Our Lady Loretto, the Cardinal
renounces his position to become a soldier. Antonio, the Duchess, and their
children are exiled. Bosola brings a letter from Ferdinand, threatening Antonio’s
life under the guise of offering peace. Antonio refuses to leave, and the Duchess
fears an ambush, urging Antonio to take their eldest son to Milan. Bosola returns,
taking the Duchess and her remaining children captive.
Act Four:
,Ferdinand visits the imprisoned Duchess but leaves her in darkness, fulfilling his
vow to never see her again. He pardons her, and Bosola presents her with wax
figures of Antonio and her children, leading her to believe they are dead. The
Duchess wishes to die alongside Antonio’s body. Ferdinand reveals the deception
to Bosola, who urges him to stop the torture, but Ferdinand wants her to go mad.
Bosola refuses to continue spying and is sent to Milan. Ferdinand sends madmen
to drive the Duchess insane, but they instead make her laugh. Disguised, Bosola
informs the Duchess about her tomb. Ultimately, the Duchess is strangled,
comforted by the thought of reuniting with her family. Bosola kills Cariola and the
children. When Ferdinand sees the Duchess's lifeless body, he regrets his actions,
confessing that his motives were driven by a desire to inherit her wealth. He
denies Bosola any reward, leaving Bosola distressed. The Duchess briefly revives
to learn that Antonio is alive before dying.
Act Five:
Delio warns Antonio that the Cardinal’s offer of peace is a trap. The Marquis of
Pescara denies Delio's request for part of Antonio's land but grants Julia’s similar
request. Ferdinand, now in Milan, is rumoured to be mad, suffering from
lycanthropy. The Cardinal promises Bosola advancement if he kills Antonio. Julia,
infatuated with Bosola, threatens him but is later poisoned by the Cardinal.
Bosola decides to protect Antonio instead of fulfilling the murder plot. The
Cardinal intends to kill Bosola after Antonio is dead. Confronting the Cardinal
while carrying Antonio’s body, Bosola faces off against him. In a fit of madness,
Ferdinand injures Bosola, who then kills Ferdinand. Bosola explains his actions
before dying. Delio arrives with Antonio and the Duchess’s eldest son, vowing to
provide him with a good life in honour of his parents.
Week 2
‘The male gaze’
This captures the way in which women are viewed by men, and the purpose with
which they are viewed. It seems to be a means for encouraging male superiority
and the idea that women exist only to satisfy what their male counterparts have
set out for them. It essentially describes the way visual arts and literature depict
women solely from a masculine perspective.
‘Cover her face’ (Article)
1. Why do Ferdinand and the Cardinal care if their sister remarries?
Ferdinand and the Cardinal come to the conclusion that the Duchess’s
body is not just personal, but also political. That the decision she makes in
regards to her sexuality will affect not just her, but the bloodline.
Combined with their incestuous desires for her, Ferdinand and the Cardinal
are strictly against her remarriage and fail to distinguish a line between
the personal and political boundaries of her body.
, 2. In your own words, write a summary of the incestuous behaviour to which
Parnaby draws our attention.
Parnaby describes the incestuous behaviour of the brothers as being
something Webster must have hunted to find in the mythological world,
highlighting how unnatural and vicious such thoughts are. The allusion to
‘white of cockatrice’s eggs’ is another unnatural creature that slays with
its deathly gaze, mirroring the male gaze of Ferdinand and the Cardinal.
Through Bosola, they are able to expand their sexual imaginings of the
Duchess, all of which comes across as very unrestrained to the modern
audience.
3. How does the character of Bosola contribute to the idea of the male gaze
in the play?
Bosola’s role in the Court acts as a means for Ferdinand to invade the
Duchess’s personal space without his physical presence required. By
acting as the ‘eyes and ears’ of Ferdinand he assists greatly with the
development of Ferdinand’s incestuous imaginings. Although Bosola
himself is lustless in the way he views the Duchess, it is his presence that
enhances Ferdinand’s behaviour and heightens his unnatural pleasures.
4. Write your own evaluation of Laurie A Finke’s views of the Duchess in
death.
Laurie A Finke argues that the Duchess’s death is more metaphorical than
physical. Finke believes that she cannot die because she never really lived.
She died imprisoned by the images that those around her had imposed on
her, ‘saint and whore’. Her death portrays her in her most idealised form,
as if she is immortalised. However, this is an image, she is no more
powerful than she was during her life. Therefore, the lack of autonomy in
her life almost removes the significance and impact of her death.
5. How do you think a Jacobean audience would have reacted to Ferdinand
and the Cardinal’s treatment of their sister?
In terms of control, much of the audience would have accepted or even
supported Ferdinand and the Cardinal’s desire to control the decisions of
their sister. This is because it would have been seen as a reflection of their
familial duty to protect her honour and preserve their family’s reputation.
However, there would have also been sympathy for the Duchess and the
lack of control she had over her short-lived life. The harsh treatment she is
subject to and her struggle for autonomy could evoke pity from the
viewers who viewed her as a victim of oppressive authority. Morally, the
behaviour of Ferdinand and the Cardinal could provoke outrage. This is
due to the likelihood of their treatment toward the Duchess being seen as
tyrannical and unjust. Moreover, the audience may have believed that the
