The Duchess of Malfi - Quotes

Antonio - "a prince's court is like a common fountain, whence should flow pure silver drops in general, but if 't chance some curs'd example posion 't near the head, death and diseases through the whole land spread."

Webster uses this simile to express how corruption in government or the court will spread throughout the rest of the people, foreshadowing the corruption within the Italian court later on in the play. This comment also highlights how Antonio values honesty and thus represents one of the few honest, virtuous characters that the audience can empathise with and so trust the information from, which is significant due to Antonio's role as narrator in the play.

Antonio - "Here comes Bosola, the only court-gall"

Webster immediately uses this association of Bosola to a 'court-gall' to highlight how he distresses the court and so irritates them because of his resentment of those of a higher status than him but he also remains in the court as his ambition drives him to seek any opportunity to further his social position. The word 'only' emphasises thus how different he is from the other sycophantic courtiers and so reinforces the concept of Bosola as the malcontent with his dissatisfied status and perhaps even the Machiavellian nature of the Cardinal and Ferdinand as we see the play advance.

Antonio - "he rails at those things which he wants; would be as lecherous, covetous, or proud, bloody, or envious, as any man, if had means to be so."

Webster highlights here how Bosola is always desiring and trying to advance his social position relentlessly as the verb 'rails' highlights to the audience his continuous and desperate attempts to do so, thus we are presented his frustration towards his lack of position because of his high ambition through Antonio's astute observations and also because he does not have 'the means to be so', connoting how Bosola cannot help his ambitious self due to a lack of opportunities in this society, or, at least, he cannot do it legally. Here, Webster hints at Bosola's ability to partake in morally dubious circumstances throughout the play.

Bosola - "I do haunt you still."

Webster shows here how Bosola believes he has been manipulated and mistreated by the Cardinal as he has not been given his payment for the murder that the Cardinal sanctioned him to do, thus the verb 'haunt' may hold these death connotations in a similar way to how ghosts of the past would haunt the Cardinal, but Webster is clearly stating as to how Bosola hangs around the Cardinal awaiting his payment, a higher position of power, relentlessly.

Bosola - "Slighted thus! I will thrive some way. Blackbirds fatten best in hard weather; why not I in these dog-days?"

Here, Bosola presents his determination to follow his ambition and Webster portrays this through animal imagery, namely bird imagery which is used throughout the play and is often associated with the Duchess, thus we could be asked here to consider the Duchess' presence even without her physical arrival by way of her own stubborn determination in face of trouble and violence.

Bosola - "Some fellows, they say, are possessed with the devil, but this great fellow were able to possess the greatest devil, and make him worse."

Webster gives an early indication of the Cardinal being corrupt through his cruel, monotonous remarks to Bosola and largely ignoring him in order to preserve his image, thus these cutting phrases Webster employs for Bosola to say direct our impressions of the Cardinal to consider him as perverse since these 'devil' connotations emphasise him as worse than the devil and so not a good figure to rule, which is perhaps why Malfi is largely corrupt.

Bosola - "Could I be one of their flattering panders, I would hang on their ears like a horseleech, till I were full, and then drop off."

Webster purposefully constructs Bosola's words here as prose to emphasise his lower status and his not being equal to those in power like the Cardinal, thus we can clearly mark their differences in speech. The imagery here of the court highlights how Bosola understands how the court is corrupt but his ambition is so large he desires to be there nonetheless in order to advance his position, and so we can see how he is very self-aware and not averse to using things or people for his own advantage. We can also see here a contrast in the description of the Italian court and the French court, namely how the Italian court is supposedly parasitic and corrupt with stagnant 'standing-pools' that would be full of disease whereas the French court is like a 'fountain' that runs throughout the country and is thus clean for all from corruption.

Bosola - "What creature ever fed worse than hoping Tantalus?"

Webster employs Greek mythology here to emphasise Bosola's relation to him, where they both are doomed to be surrounded by the object of their desire but can never quite reach it, thus reinforcing the idea of Bosola as the disappointed type. However, the story of Tantalus is described as a story of punishment and Webster may have used this to showcase how Bosola views himself as being punished because of his social ambition, which would have been frowned upon by the contemporary audience since it was believed that God had created this social hierarchy and so to go against it would be to go against God.

Antonio -"I have heard he's very valiant. This foul melancholy will poison all his goodness."

Webster presents Antonio with a sympathetic view towards Bosola as he is admirable for his bravery and honour, but his ambition will lead to his undoing since the corruption of the court will affect his character as corruption affects all and the bitterness in waiting for a higher status will spread until all of him is consumed. Thus, if undisturbed, more damage will be caused to him and threaten the 'goodness' in his nature.

Castruccio - "It is fitting a soldier to arise to be a prince, but not necessary a prince descend to be a captain."

Webster uses Castruccio to dissuade Ferdinand's desire to fight in the war as one shouldn't lower their class, especially those in nobility, thus social mobility is criticised once more although advancing your position is considered 'fitting' by those in the court. Here, the duties of nobility and the workings of class mobility are illustrated to showcase how it is expected for those in the upper class to no descend or debase themselves, which is essential for the audience to realise as the Duchess reveals her desire to marry Antonio, someone of a lower class.

Castruccio - "Believe my experience, that realm is never long in quiet where the ruler is a soldier."

Webster highlights how a soldier rules ensures that the realm never has long-lasting peace, which is critical to remember when the Cardinal dons his battle clothes once more and his belligerent nature is again revealed as Webster implores us to understand how his country will not be in peace with the Cardinal in charge.

Antonio - "he is a melancholy churchman"

Webster characterises the Cardinal here as jealous, devious, and as having a poisonous influence on those who follow him. He has vice after vice, and his corruption extends to religion, where he should illustrate integrity and Christian values but instead abuses his power for his own purpose. This highlights him as spiteful and with a clear vindictive, Machiavellian character, although he takes care to preserve his outward appearances and hide his corruption.

Antonio - "A thousand such political monsters."

Politics associated with corruption; aimed at the Cardinal and Ferdinand especially early on. These 'political monsters' help the Cardinal to abuse his power and a 'thousand' connotes a large number of them so they are easily disposable to the Cardinal.

Delio - "Then the law to him is like a foul, black cobweb to a spider."

Webster associates Ferdinand with 'foul' and dark connotations from the beginning to emphasise his corrupted character, especially in regards to 'the law' which he has complete control of and traps his victims in, as a 'spider' does. This simile also emphasises how he construes the law to his will to trap others, abusing his position of temporal power to do so - a sinister tone is present here which Webster may have used to reinforce the corrupted characterisation associated with Ferdinand.

Antonio - "Let all sweet ladies break their flatt'ring glasses, and dress themselves in her."

Webster introduces the Duchess to us through Antonio's astute observations and role as narrator, but immediately we see how his glowing, positive description of her reflects his own feelings for the Duchess. Antonio represents honesty and virtue so admiring the Duchess and calling her the 'right noble duchess' highlights how impressive she is, especially in contrast to the dark descriptions of her corrupt brothers so we can see she is very different to them, full of goodness and fairness, and here Antonio remarks that all women should be like her but they can only touch an ounce of her divinity by dressing like her. This emphasises how Antonio is blinded by admiration and we wonder if he is exaggerating, as Delio says, but this imagery showcases how sincere he is in describing her.

Antonio - "She stains the time past, lights the time to come."

Webster describes here how the description given by Antonio is true of the Duchess but emphasises how she makes her presence known and leaves her mark on those who talk to her since she 'stains' these moments, the verb connoting how her presence cannot be rid of easily nor would you want to as she 'lights' the future. Webster cleverly employs the verb 'lights' in order to highlight the Duchess' association with light imagery, connoting purity and righteousness, which further contrasts against her brothers' association with dark imagery. We can also infer here how Antonio hopes to only see her again so the audience infers that perhaps the Duchess is kept away often despite her high status. We are also reminded of Antonio's low status and how he works for the Duchess, thus he is unable to woo the Duchess, a bittersweet reminder for the audience.

The Duchess - "To me, sir?"

This is the first phrase the Duchess says - a polite confirmation towards Ferdinand and exemplifies the control her brothers have over her by even her introductory phrase being controlled by them. Webster cleverly also only gives her title throughout the play and never her name, highlighting how she perhaps is not allowed to be both her own self and in power, thus required to dismiss her personal life for her high position, which hints to the audience of the dilemma presented throughout the play of a fight for her own autonomy, particularly as a woman in power, which would have been slightly unusual for a contemporary audience although reminders of Queen Elizabeth and Mary, Queen of Scots, would still be prevalent in England at that time.

The Duchess - "Your knowledge of him commends him and prefers him."

Webster showcases here how the Duchess must obey her brothers - conforming to the traditional expectations of a Jacobean woman - who have control over her and whose authority she must respect so she cannot refuse to have Bosola as her head horseman if that is what Ferdinand desires.

The Cardinal - "Be sure you entertain that Bosola for your intelligence. I would not be seen in 't"

Webster indicates here the Cardinal's refusal to be seen in his own illicit dealings, thus is much more cautious and calculating to preserve his position. He allows and orders Ferdinand to control Bosola, highlighting his complete control over all he does although it is Ferdinand who explicitly deals with Bosola, and so the Cardinal is clever enough to keep his illicit deals in the shadows and to people he can trust, highlighting his corruption and corrupting of others.

Bosola - "[Aside]: Never rain'd such showers as these without thunderbolts i' the tail of them. [To Ferdinand]: Whose throat must I cut?"

Webster uses Bosola's astuteness of a potential twist to the bribe Ferdinand has given him to highlight how this string of corruptions will only lead to death and suffering, but because of Bosola's ambition he understands he will do this if he must and without questioning such. Bosola is also presented as astute to other characters' motivations and desires by preemptively assuming that Ferdinand wishes him to 'cut' someone's throat.

Ferdinand - "She's a young widow: I would not have her marry again."

Webster hints here at Ferdinand's desire to exert control over his sister by asking Bosola to watch over what she does and report any she shows affection to as he does not want her to 'marry again' - from this the audience learns of the Duchess being a widow and so associate a higher freedom with her as widows gained more freedom than unmarried women, thus the Duchess should not be as controlled perhaps as she is, so we are asked to question the brothers' desires to not have her marry again. From Ferdinand's underlying incestuous tone here we can perhaps assume his reasons follow such desires however another reason could be that the brothers merely do not want her position, and more importantly theirs, to be disrupted, which would occur if she married.

Ferdinand - "and ere long thou mayst arrive at a higher place by 't."

Webster highlights here how Ferdinand knows exactly how to tempt Bosola to do his bidding by interesting him with a higher status, attracting solely his high ambition which is his main motivation.

Bosola - "Say, then, my corruption grew out of horse-dung: I am your creature."

Webster cleverly employs the use of 'creature' to highlight how Bosola has been dehumanised and understands he is being used by the brothers but allows it to happen because of his ambition. This agreement also shows how their roles have now been defined, with Bosola as the instrument of destruction played by the wills of the brothers. His astuteness will also realise this as there are no illusions in his speech towards this agreement, although he understands that this 'corruption' may ruin him as he accepts this proposal, hinting that he may believe that his obligation to the Duke is stronger than his own moral obligations as he associates such spying with strong religious consequences as this job will 'take me to hell'.

Bosola - "Let good men, for good deeds, covet good fame, since place and riches oft are bribes of shame. Sometimes the devil doth preach."

Webster emphasises here how Bosola knows that spying is wrong and recognises his own moral failings but will do so anyways because he is helpless against his own ambition for a higher status.

Ferdinand - "Their livers are more spotted than Laban's sheep."

Here, Webster employs a hyperbolic biblical reference to showcase Ferdinand's resentment towards women who marry twice, comparing their 'livers', which represented the site of passion and trust in the Jacobean era, to diseased sheep in the Bible, thus we can see how Ferdinand believes women who married twice to be damaged in their pursuit of further love and were only sexually motivated, as reinforced by his note on these women being 'luxurious' and so trying to dissuade the Duchess from marrying again by expressing his own clear distaste.

The Duchess - "Diamonds are of most value, they say, that have pass'd through most jewellers' hands."

Webster employs this phrase to suggest the Duchess' view towards her marrying again and perhaps even her intent to do so for the audience as she suggests that people are more valuable when more people wish to be with them much like a diamond's worth is checked by numerous 'jewellers' hands'. This highlights her ability to match the threats of her brothers concisely and how she is used to their blunt, harsh way of speaking as she is not shocked by the language Ferdinand uses. It may also suggest her desire to not be controlled by her brothers by opposing their clear distaste here because they will be leaving her court and so will have less control over her, leaving them in unease.

The Duchess - "Will you hear me? I'll never marry-"

Webster uses the implication that she was interrupted by the Cardinal to suggest there was more to her agreement that she would not marry again, but this agreement as heard should placate them at least.

Ferdinand - "Such weddings may more properly be said to be executed than celebrated."

Webster uses a pun of her being killed as a threat to showcase the consequences if she were to marry again, thus making it clear that the brothers are inclined to violence and would not celebrate her remarriage, foreshadowing therefore what awaits her.

The Cardinal - "The marriage night is the entrance into some prison."

Here, Webster could be implying that the Cardinal himself believes marriage is confining and would entrap him, thus hinting at why the Cardinal is not married and perhaps it is related to his position of power since it is his main concern and his illicit dealings would lead to 'some prison', however, the underlying threat directed at the Duchess is also meant to dissuade her from remarriage as they all perhaps would be aware of the control her new husband may hold over her due to the patriarchal society they may live in. The use of stichomythia here is also cleverly constructed by Webster to highlight the distaste of both brothers in the Duchess remarrying and so they threaten her against it. This dramatic technique would also highlight to the audience that this play is a tragedy due to the subtle hints to Greek drama and the suffering the tragic hero will be placed through, but this lets the audience wonder how it would differ for a female protagonist since tragic heroes are so often male.

Ferdinand - "This was my father's poniard, do you see? I'd be loath to see 't look rusty, 'cause 'twas his."

Webster uses the dagger Ferdinand holds to present a very physical threat to the Duchess and so showcase to the audience of the violence associated with the brothers as well as how they would not refrain from killing her in order to uphold their family honour, thus we are told to fear for the Duchess in face of these threats and even feel sympathy for her in her situation.

The Duchess - "as men in some great battles"

"So I through frights and threatenings will assay this dangerous venture. Let old wives report I wink'd and chose a husband."

Webster shows us a comparison of how the Duchess and her desire to marry again is similar to soldiers in 'great battles', connoting how it is exactly like a battle for her autonomy and her own future may also involve violence. The Duchess is determined to marry again in this soliloquy and so will traverse this dangerous path, from her brothers' threats and perhaps potential ruin to her reputation, to fulfil her desires and control her own autonomy.

The Duchess - "Cariola, to thy known secrecy I have given up more than my life - my fame."

The Duchess here also knows she might be condemned by more than her brothers for marrying again as she is also worried about her reputation that could be ruined by her secretly being married, however, she is determined and Cariola understands this. Webster clarifies that, for the Duchess, giving up your reputation is worth more than your life and this is true for the Duchess as it is important for her as a woman in power as well as is all she has.

Cariola - "Both shall be safe; for I'll conceal this secret from the world as warily as those that trade in poison keep poison from their children."

This is key for the audience as we are aware of how secrets can become dangerous within the play and how their impact can be poisonous so they must be kept safe and out of reach of others.

The Duchess - "Saint Winifred, that were a strange will!"

Realises love for Antonio will lead to death but hopes it will not; Welsh reference reinforces fact that this is supposedly an Italian play but set in Post-Reformation England where Saint Winifred is known for having been murdered by her family.

Antonio - "There is a saucy and ambitious devil is dancing in this circle."

Sombre omens are associated with her wedding ring and so Webster hints at death and suffering during their marriage as the devil is associated to it. Antonio realises the dangers inherent to a lower class person trying to move up in society as well as the violent nature of the brothers.

The Duchess - "This goodly roof of yours is too low built; I cannot stand upright in 't nor discourse"

The Duchess comments on the restrictive nature of his low status by way that she must woo him so she must raise him both literally and figuratively to make him her equal because their statues clash. This wooing is also a stereotypical male role that the Duchess must assume as Antonio cannot woo her due to her high status.

Antonio - "Ambition, madam, is a great man's madness."

Social mobility was frowned upon and Antonio assumes this belief, thinking it foolish to take too extreme of a measure to do so. He is nervous and fearful of this marriage thus. The audience may also extend this to Bosola whose ambition drives him and so we can assume he may suffer as a result from it.

Antonio - "Were there nor heaven nor hell, I should be honest: I have long serv'd virtue, and ne'er ta'en wages of her."

References heaven and hell alongside spiritual consequences, seemingly believing that staying in his social status and accepting that virtue and merit do not guarantee benefits are religious obligations, not just cultural norms. Antonio may also be flirting subtly here to showcase his long-lasting admiration of the Duchess and his desire to marry her but is fearful of moving his social status.

The Duchess - "The misery of us that are born great! We are forc'd to woo, because none dare woo us"

"This is flesh and blood, sir, 'tis not the figure cut in alabaster kneels at my husband's tomb"

The Duchess comments on how men don't dare to woo women of a higher status and she is frustrated because no one is her equal and so she is 'forc'd' to woo but with 'riddles' in order to not appear aggressive in a way. This also alludes to Queen Elizabeth, whom a contemporary audience would be aware of, as she did not marry during her reign otherwise her power would be relinquished, which is what could happen to the Duchess but because Antonio is of a lower status it would not. Here, the Duchess also inverts both the tradition of men wooing women and the class hierarchy that says she must marry someone noble. She inverts the power structure by also marrying outside of a church but this quick marriage would be considered legal in the Elizabethan era so long as a witness is present, and Cariola is.

The Duchess also reinforces the idea that she is not a statue but a living woman with desires asking him to marry her. The use of doubling here also showcases how the Duchess is not a virgin bride and so states this to Antonio, but also showcases to the audience how she is in control of who she is and will follow her own desires as she is not dependent on merely her husband, of which a feminist interpretation might be realised.

The Duchess - "(You speak in me this, for we now are one)"

The Duchess states that their marriage is an equal partnership, subverting the idea of the man being dominant within the marriage. A contemporary audience may have disagreed with this but a modern audience would resonate with this explicit declaration. The Duchess subverts the contemporary notion that women serve men in marriage by this indication of a true equal partnership.

Cariola - "Whether the spirit of greatness or of woman reign most in her, I know not; but it shows a fearful madness. I owe her much of pity."

Cariola highlights how this is a great risk the Duchess has taken and does not know what has spurred her in this way but fears the inevitable result of it. The noun 'madness' is a key theme within the play as well as within tragedy itself, thus the audience might fear the downfall of the Duchess as we know that she has disobeyed her brothers and their anger will not subside easily. Cariola believes she owes her 'pity' and this could perhaps be a ploy from Webster to want to extend this feeling towards the Duchess as the play advances.

Bosola - "Man stands amaz'd to see his deformity in any other creature but himself."

Bosola has moved from prose to blank verse here, showcasing his role as the malcontent and is vitriolic in his speech to the Old Lady and Castruccio, emphasising his position as the malcontent. Here, he comments on how we consider it unnatural and sinister for an animal to possess a human limb but this does not extend to ourselves. His musings on human nature here is dark as he accounts the human form disgusting and comments on the inevitability of death.

Bosola - "She wanes i' the cheek, and waxes fat i' the flank, and, contrary to our Italian fashion, wears a loose-bodied gown."

His soliloquy here remarks how the Duchess is growing bigger, almost as if she is pregnant, and his questioning grows in response to her change in wardrobe that must be hiding her stomach, thus he thinks of a plan with trickery to confirm his suspicions of her having a suitor - an apricot to induce her pregnancy (represents his superstitious beliefs as held in the lower class; used in mediterranean countries so it is a recognised belief). The audience would thus become more nervous due to dramatic irony as we know that the Duchess might indeed be pregnant and so found out by Bosola and the brothers, especially as she does not know he is spying on her.

Bosola - "some of you give entertainment for pure love, but more for more precious reward. The lusty spring smells well, but drooping autumn tastes well."

Bosola here has reverted to prose to highlight how women, no matter the age, offer sex for money and will always be promiscuous, thus his grotesque imagery indicates his poor views towards women.

Delio - "How superstitiously we mind our evils!"

Here, Delio tries to reassure Antonio that everything is normal and to not believe omens or superstitions as they are simply not real. People of the Jacobean era would have been superstitious, particularly in the lower classes, in order to feel more certain and secure due to the mix up of religions then and so a contemporary audience might frown upon this dismissal of superstitions.

Delio - "Old friends, like old swords, still are trusted best."

Delio and Antonio are old friends and so he won't betray him ever, keeping this pregnancy and marriage secret from all - a parallel to the Duchess and Cariola's relationship.

Antonio - "I'll presently go set a figure for 's nativity."

Antonio here, instead of going to see his newborn son and his stressed wife, follows his astrological beliefs and superstitions to cast a horoscope to see the future and life of his son. This could perhaps suggest his fear in his son's future not turning out well and so his superstitious nature compels him to seek out his fortune.

Bosola - "[Enter Bosola, with a dark lantern]"

"It may be 'twas the melancholy bird, best friend of silence and of solitariness, the owl, that screamed so."

Webster employs a prop to indicate it is night and so we can associate Bosola with dark imagery as the scene is set ominously. This use was also a Jacobean convention to show it was nighttime, however, it may also be a comment on Bosola's nocturnal and murky career in the play as the lantern becomes a motif for the dark as well as confusion in scenes of suffering and torture later on in the play as it is in the dark that misunderstandings may happen.

Bosola is suspicious of the Duchess and reasons the shriek he heard could have been 'the owl' but doubts it. The use of this owl connotes a solitary creature that works best in the dark which could be symbolic of Bosola, especially as he is often associated with 'melancholy'. This bird imagery is continued throughout the play.

Antonio - "[Aside] My nose bleeds. One that were superstitious would count this ominous, when it merely comes by chance."

Antonio goes back on his superstitions and it is ironic that this thought occurrence was merely 'chance' is what undoes the Duchess as Antonio drops the nativity that confirms the Duchess has had a child, of which Bosola reports back to the brothers.

Bosola - "doth threaten a violent death."

Bosola now knows that the Duchess has had a child and reads out the child's future to the audience, which is not hopeful but signifies death shortly. However, the horoscope has not been completed and so there is hope offered for the child as it is the first-born who survives by the end of the play. Webster offers astrological terminology to contribute to the general atmosphere of menace and emphasises the sinister nature of the play.

Bosola - "She's oft found witty, but is never wise."

Bosola remarks that the Duchess is often intelligent but also makes stupid mistakes, as he has found her out and she will suffer the consequences. This invokes sympathy and pity from the audience who wonder how the Duchess will be able to save herself and her family.

Julia - "I came to visit an old anchorite here for devotion."

Webster offers light relief for the audience by way of Julia's affair with the Cardinal. She uses sexual innuendos here to describe how she lied to her husband, Castruccio, to get away from him, however, she has told the truth but deceivingly as an 'anchorite' connotes a religious person, of which the Cardinal is, but for a different type of 'devotion' - not towards God but towards the Cardinal. This religious corruption would be considered perverse by the audience, and even more so since this affair would also be considered a great sin.

The Cardinal - "You fear my constancy, because you have approv'd those giddy and wild turnings in yourself."

The Cardinal is brutal and cold in his manner towards Julia as he criticises her adultery, of which he is benefiting from, thus we observe the Cardinal's poor views towards women which were common in the Jacobean era, namely that men often criticised women who fought for their sexual autonomy but were the ones who benefited from it. This harsh affair is a contrast to the Duchess and Antonio's relationship, which is loving and features an equal partnership where the Duchess can express her sexuality freely and not as constrained as Julia is. However, both relationships are deceptive but in different ways (we can understand the Duchess' reasons, but not the Cardinal's) and both feature an emphasis on physical intimacy.

The Cardinal - "A man might strive to make glass malleable, ere he should make them fixed."

The Cardinal's poor views towards women continue here as he states how all women are inconsistent and that it is easier for a man to make glass 'malleable' than find a woman to be constant. This misogynistic belief reminds us of Bosola's behaviour and the common attitude towards women from men in the Jacobean era.

The Cardinal - "I am very certain you cannot make me cuckold."

The Cardinal is extremely paranoid of Julia cheating on him but due to her being his mistress he recognises that she will not be more than that and so he cannot be made a 'cuckold'. The Cardinal is also a priest so this affair is extremely weighty as a sin.

The Cardinal - "I have taken you off your melancholy perch, bore you upon my fist, and show'd you game, and let you fly at it."

The Cardinal wants Julia to thank him for supposedly rescuing her from the stagnant nature of her marriage and describes her as a wild animal here being tamed by a man, thus we are aware that he dominated the relationship and controls her although it was her fighting for her sexual autonomy that lead her to this affair and so we question if Julia is really independent like the Duchess is if she is still controlled in the sexual relationships she seeks.

Delio - "Lady, I know not whether you want money, but I have brought you some."

Delio offers money for sex with Julia, as he is one of her 'old suitors', and this manner is quite demeaning and degrades Julia so we are forced to reconsider Delio's character as he also knows she is married. Thus, we question Julia's reputation and the morally unsound nature of these affairs. Julia is also thus presented as an object of exchange between men from the phrasings of the Cardinal and Delio.

Delio - "Is this her wit, or honesty, that speaks thus?... I do fear Antonio is betray'd."

Delio here should be more worried about Antonio for the brothers have found out about the Duchess' pregnancy and suitor, but he is initially only concerned about Julia, so perhaps Webster is hinting at the dubious morals of Delio of which we must keep in mind and consider if the ending is really hopeful as it is Delio who will help to raise the surviving son.

Ferdinand - "Read there, a sister damn'd: she's loose i' the hilts; grown a notorious strumpet."

Ferdinand is furious at the Duchess for disobeying them and uses religious references to highlight her behaviour being a crime against God as well as being disgraced as 'strumpet' is a strong insult that would degrade the Duchess. This intense fury from Ferdinand would be much more fitting for a lover than a brother as he acts as if he has been wronged, and this is reinforced by his allusion to her pregnancy being a 'mandrake', this metaphor connoting something atrocious explicitly but could also be a Freudian slip as the roots would be associated with its sexual organs and so be considered a sexual disgrace done to him. Therefore, Ferdinand could be subconsciously acknowledging this incestuous perversion. His fiery fury also contrasts against the cold anger radiated by the Cardinal who would rather hide the matter and have Ferdinand 'speak lower' in order to control and manage the situation.

The Cardinal - "Shall our blood, the royal blood of Arragon and Castile, be thus attainted?"

The Cardinal thus is more concerned with their family lines (whereas Ferdinand is more concerned about her sexuality) as he comments on their 'royal blood' being tainted due to the baby being born out of wedlock, as they believe it is, and the uncertainty of the father is also reminded.

Ferdinand - "Talk to me somewhat quickly, or my imagination will carry me to see her in the shameful act of sin."

"Happily with some strong-thigh'd bargeman"

Webster also reveals Ferdinand's incestuous desires here as he visualises the Duchess having sex, restricting him to the act of a voyeur that sends him more into a rambling, furious frenzy as it may also be his perverse delight to witness so. He then switches this to question the identity of the father, thinking about who it could be and that the Duchess may have had sex with various suitors, thus enraging him more, but his view of the men as all strong could be a fantastical image Webster has employed to suggest Ferdinand's own insecurity towards strength as he associates this with control which he has subsequently lost over the Duchess and so they must be strong. However, this may also be an insight into Ferdinand's homoerotic desires, which would be steadily more discussed in the Jacobean era as Shakespeare presented openly more characters of varying sexualities.

Ferdinand - "for I do think it is some sin in us heaven doth revenge by her."

Ferdinand her believes that their corruption may have lead to the Duchess betraying them as a somewhat sort of karma, thus this brief moment of clarity and awareness suggests that Ferdinand does believe God will take action for their immoral behaviour as their actions may have brought these consequences. Of this, the Cardinal immediately and bluntly dismisses, which, as a supposedly religious man, highlights his lack of belief in religion since he disputes this ironically. Yet, Ferdinand then continues his violent and horrific description of the methods he would use to exact revenge on the Duchess, expressing his sadism, of which the Cardinal does not share. Ferdinand also discusses the punishment from God here and yet describes how he will punish his sister, thus this distortion of religious beliefs highlight his corruption.

Antonio - "She hath had two children more, a son and a daughter."

As we enter Act 3, Webster provides us with a recap of the events and explains that a lot of time has passed in the play's world as the Duchess has had 'two children more', and we can also perhaps see how the Duchess' family represents her and her brothers, with these children perhaps even being twins like she and Ferdinand is.

Delio - "Let me but wink, and not behold your face, which to mine eye is somewhat leaner, verily I should dream it were within this half hour."

Webster here uses metatheatre as Delio acknowledges the time pass within the play by the employment of 'within this half hour'. The light relief provided by this reunion of friends also delays the inevitable end of the family, enhancing the tension of the atmosphere as the audience dread what the brothers have done since Ferdinand vowed a torurous revenge.

Antonio - "The common rabble do directly say she is a strumpet."

Webster shows here how the public no longer respect the Duchess as they believe she has had children born out of wedlock, thus insulting and ruining her reputation - the main dilemma between her fight for both herself and her powerful position.

Antonio - "They do observe I grow to infinite purchase, the left hand way... For other obligation of love or marriage between her and me they never dream of."

The rigidity of class structure is hinted at here since no one guesses that Antonio is the Duchess' husband or suitor because of his low class. Webster also updates us on what the public think is happening, the common opinion being that there is corruption by the 'left hand way' against the Duchess as they believe Antonio might be stealing money through his position as Master of the Household, but none suspect 'love or marriage'.

The Duchess - "When I choose a husband, I will marry for your honour."

The Duchess here refuses the husband Ferdinand offers to subdue her and instead tries to assure them that she will marry someone they will approve of, thus attempting to placate Ferdinand upon hearing he does want her to remarry as her brothers were more worried earlier in the play about her bringing dishonour if she married someone of a lower status, therefore she appeals to this argument once more.

The Duchess - "But, sir, I am to have private conference with you about a scandalous report is spread touching mine honour."

The Duchess interrupts her brother, hinting at her stronger independence here, to confess the rumours we are already aware of about what the public think of her as ('a strumpet'). The audience is also nervous here as, due to dramatic irony, we know that Ferdinand is already aware of her children but the Duchess is not completely certain and so needs to ease her brothers before they hear her public. We can also see here how 'honour' is increasingly important within the play due to reputation but also because honour would be considered in the Jacobean era all a woman has to essentially prove her worth to all who meet her - without it, she is shamed.

Ferdinand - "Let me be ever deaf to 't... Yet, say that it were true, I pour it in your bosom, my fix'd love would strongly excuse, extenuate, nay, deny faults, were they apparent in you. Go, be safe in your own innocency."

Here, Ferdinand won't listen to the Duchess' confession but deceives her by stating exactly the opposite of what he thinks, stating he would love her despite what's she has done and so not listen to what the public says - of which the audience knows is a complete change from his intense descriptions of the ways he will make her suffer as told in Act 2, thus we fear what awaits the Duchess and her family, especially as he does not believe her 'innocency' and so we can assume that a subtle threat is present as he warns she will not 'be safe' if not innocent, which he believes she is not.

The Duchess - "[Aside] O bless'd comfort! This deadly air is purg'd."

The Duchess is genuinely relieved and grateful here, as expressed to the audience, but we know she is not at all safe. Irony is also present in the 'deadly air' being 'purg'd' as we know that Ferdinand wants to purge her infected blood.

Bosola - "I do suspect there hath been some sorcery us'd on the duchess."

Bosola here reveals his superstitious beliefs which would be symbolic of his lower class since lower class held steadfast beliefs in the supernatural, thus his talk of witchcraft would resonate with a contemporary audience but we cannot help but feel this seems strange for his character to believe in things such as omens and witchcraft due to his intelligence. Thus, it speaks to his slight naivety as he cannot find out who the suitor is or why she has kept him secret.

Ferdinand - "Can your faith give way to think there's power in potions or in charms, to make us love whether we will or no?"

Ferdinand disbelieves Bosola's superstitions and uses religion to trump them, which may be representative of the mix of religions and beliefs in Post-Reformation England.

Ferdinand - "These are mere gulleries, horrid things... The witchcraft lies in her rank blood."

Ferdinand does not believe in love potions and discredits Bosola's superstitions - a second dismissal that we fear has become a motif, particularly as it seems that these superstitions have, in a way, appeared true, thus it could be said that the Duchess has become helpless against her sexual autonomy and domestic desires as these may eventually undo her, so we become more nervous her as the play advances. Ferdinand also insults her blood once more in regards to her status before announcing his plan to the audience of what he wishes to do (sneak into her bedchamber, where we know Antonio will be, and this also hints at the underlying sexual tones of Ferdinand's words).

The Duchess - "Must! You are a Lord of Misrule."

There is a dramatic contrast here between the beginning and end of scene 2 as the tension increases alongside a change in pace and tempo, but Webster allows the audience to witness the happy, domestic atmosphere that fulfils the Duchess' marriage with Antonio before this is ruined by Ferdinand. We witness jokes between the couple, as seen here with Antonio wanting to sleep with the Duchess in her bed and her declaring he shall not whilst her brother is there, hinting at his change of status as well as the prominent reminder of deception within the play and Malfi as a whole due to the inclusion of 'Misrule'. The atmosphere for now, however, is intimate, teasing, playful, loving, and humorous - of which the audience is grateful for but also bittersweet as we know it shall not last for much longer.

Antonio - "those which married... became flowers, precious stones, or eminent stars."

Here, Antonio discusses marriage and gives us an insight into perhaps a man's perspective of it, which is that great things happen to those who marry. Webster alludes to Ovid's Metamorphoses to emphasise the transformation of those in couples, especially women, into beautiful things. There is irony present here as the Duchess and Antonio will suffer because of their marriage. Cariola's resistance to marriage also showcases a female perspective on it as it can be confining and she may lose her independence, especially as being of a lower class and so gender expectations are more emphasises for her than women like the Duchess.

The Duchess - "For know, whether I am doom'd to live or die, I can do both like a prince."

The Duchess has gave herself away, confirming her relationship and so, upon seeing Ferdinand in her mirror behind her instead of Cariola and Antonio, talks clearly without bluffing in a dignified and honourable manner but the audience fears her sealed future as her death is foreshadowed here and Ferdinand may guarantee it. The Duchess is concisely expressing here how she can both live and die gracefully, the employment of 'prince' referencing perhaps the Machiavellian story of The Prince wherein virtue must be shown naturally, as the Duchess displays, but Machiavelli also wrote the story to win the favour of the governor of Florence, so perhaps this is also an allusion to the Duchess wanting, but not needing, to win the favour of Ferdinand.

Ferdinand - "Die, then, quickly! [Giving her a poniard]"

We can assume here that this is the poniard Ferdinand directed to her in Act 1 when she promised not to marry and swore he would use it on her if she disobeyed them, thus this physical threat to her life scares the audience. A feminist interpretation might find this dagger to be a symbol of the patriarchy which have been a very real threat to the Duchess by way of controlling her and executing her if she disobeyed the male characters, namely her brothers, and we can see how the Duchess might represent all victims of the patriarchy who simply desire independence away from it.

The Duchess - "Alas, your shears do come untimely now to clip the bird's wings that's already flown!"

The Duchess is associated with bird imagery so this can be used to indicate the freedom she has experienced already in her marriage and the shears, like the dagger, are once again attempting to control her. Webster may also have used this metaphor to showcase how the Duchess is entrapped by the patriarchy as a feminist interpretation might associate the shears with the patriarchy in an attempt to control her and take away her independence once more.

Ferdinand - "The howling of a wolf is music to thee... Let not the sun shine on him till he's dead; let dogs and monkeys only converse with him"

Webster uses animal imagery to foreshadow the descent into lycanthropy Ferdinand will experience due to his madness. More clearly, we can see how Ferdinand is violent in his words and does not wish to ever see Antonio or hear his name 'lest it bewray him' as he will kill him. Thus, Ferdinand seems aware again that he is on the verge of committing a sin so severe it will land him in hell.

The Duchess - "Why might not I marry? I have not gone about in this to create any new world or custom."

"my reputation is safe"

The Duchess stands her ground courageously here and defends her marriage against Ferdinand, explaining she has done this for love and to be happy, not to change the 'world or custom' for all - of which a feminist interpretation might not resonate with but understand the context of the Jacobean era enough to suggest that the Duchess might be so restrained by her society that she cannot attempt to change its nature anyway.

The Duchess attempts to reassure Ferdinand that her honour and title are safe, reinforcing her defence.

Ferdinand - "Dost thou know what reputation is? I'll tell thee."

"You have shook hands with Reputation, and made him invisible. So, fare you well: I will never see you more."

Ferdinand's dramatic monologue and homily here highlights his melodramatic characterisation as well as how he believes that the Duchess has lost her reputation so she cannot even know what it is. Ferdinand goes on to say he 'will never see' her again because once your reputation is gone, you cannot regain it. It can also be implied that the reputation indicated her title which also reflects him, thus he must leave as well and be 'invisible' to her.

The Duchess - "Why should only I, of all the other princes of the world, be cas'd up, like a holy relic?"

The Duchess continues her defence and argues with dignity, emphasising how she is living and animate with feelings - not an object to be hidden away from the world.

The Duchess - "I stand as if a mine beneath my feet were ready to be blown up."

The use of 'stand' indicates her dignified manner in this situation but she is precarious and aware that she is undone, thus she takes charge and worries what will come next as well as plans what they should do cunningly and quickly - saying that Antonio has stolen her 'treasure and my jewels' thus he must leave (with the children) and so does this to protect her family. This hints at metatheatricality as Antonio and the Duchess put on a little show to seem like they are not married, but the double entendre present shows their true feelings to each other in this quick goodbye as the Duchess claims she has 'got well by' Antonio and he accounts 'I am all yours; and 'tis very fit all mine should be so.' - a last statement to convey their love and commitment to each other.

Bosola - "Can this ambitious age have so much goodness in 't as to prefer a man merely for worth, without these shadows of wealth and painted honours? Possible?"

This might appear insincere to an audience who are aware of Bosola's spying on the Duchess and he has manipulated the Duchess into saying who her husband is, thus his job is done. He also finds out their plan as well as changes it to better suit the brothers, to the disappointment and agitation of the audience who despair over the Duchess being foiled. However, this may also be a true insight into what Bosola thinks as he praises her decision and her admiration of worth over riches, honour, and status (unlike him).

Cariola - "I do not like this jesting with religion, this feigned pilgrimage."

Cariola does not trust nor like this 'feigned pilgrimage' as it is sacrilegious and, for the audience, this religious corruption is a bad omen for the future as suffering is foreshadowed here. We can further associate this a superstitious belief with Cariola as she is of a lower class and so more likely to hold such beliefs.

The Duchess - "Thou art a superstitious fool."

This is a second thrust of the Duchess into her downfall as she is dismissive of her kinswoman and doubts her superstitions, showcasing her naivety as she trusts Bosola instead. These superstitions have also been accurate so far in the play so we fear what awaits as the play advances.

The Cardinal - "Must we turn soldier, then?"

The Cardinal is returning to his roots as a soldier here, insinuating this is like a military concern and so we realise it is very much the battle the Duchess suspected it would be earlier in the play as the tension rises. This revert from cardinal to soldier also highlights his belligerent nature that better suits him than the place of a cardinal and we also question why the Cardinal advanced to such a position from a soldier in the first place, emphasising the corruption of religion here.

Pescara - "These factions amongst great men, they are like foxes, when their heads are divided, they carry fire in their tails, and all the country about them goes to wrack for 't."

Webster uses fire and fox imagery to represent the slyness of the rulers and how their disagreements have an unjust effect on the entirety of the country. The devilish connotations here are ironic considering the religious nature of these 'great men', further emphasising their own corruption as well as how they inflict a resemblance of hell on their countries since they do damage when separated - a critical observation by Pescara about what happens when powerful men don't agree and the havoc they wreak following disagreements.

Delio - "a fantastical scholar"

Bosola's character is further complicated here by the knowledge that he is a 'fantastical scholar' so he is at once scholarly and a murderer, both honest and dishonest - thus, Webster highlights the complexity of his character and perhaps intends for us to not know how to feel about Bosola deliberately as he is a morally grey character.

Pescara - "Mark Prince Ferdinand: A very salamander lives in 's eye, to mock the eager violence of fire."

Pescara's astute observation of Ferdinand highlights his association with fiery imagery, stating that there is fire in his eyes since salamanders are supposed to live in such conditions, thus we see that his face is betraying his emotions, which are passionate, emotional, and pure rage.

The Cardinal - "Doth she make religion her riding-hood to keep her from the sun and tempest?"

There is irony here as the Cardinal criticises the Duchess for feigning a pilgrimage to Loreto as a means of escape when he is religiously corrupt himself. Ferdinand agrees with this and states it 'damns her', further highlighting his concerns with sin and damnation.

First Pilgrim - "But I would ask what power hath this state of Ancona to determine of a free prince?"

Sympathetic view towards the Duchess and her family from an outside perspective; questioning how the Cardinal is able to banish her here in the 'state' belonging to the Pope - clear religious corruption here as the Pope has allowed this abuse of power by the Cardinal for his own personal revenge with the benefit of her title being given to the church.

The Cardinal combines his religious influence with a stately soldier's power to take this essentially unjustified legal action as witnessed by the pilgrims. This is also the first time the Cardinal is blatantly carrying out things.

This use of dumb show is of a typical Jacobean style and allows the pilgrims to comment without bias or emotional connections as they pay attention and give a neutral perspective that is both critical and detached since they can give an honest and frank framing of the events for the audience. The use of dumb show also highlights the action and importance of the Duchess and her family being banished, as well as the role of the Cardinal as a soldier, donning the proper uniform to exemplify his physical transformation which correctly showcases his inward appearance as well as to showcase the physicality of their banishment - being forced away from the stage, which is a greater humiliation as this is the first time the entire family is together publicly.

The Duchess - "They have done wisely. This puts me in mind of death"

The Duchess is immediately foreshadowing her own death here. She also understands why her sycophantic courtiers would leave and is not critical of this, instead giving a dignified answer before despairing herself.

The Duchess - "I had a very strange dream tonight."

"Methought I wore my coronet of state, and on a sudden all the diamonds were chang'd to pearls."

Symbolism of dreams and sadness invoked in audience. Dreamt of her crown's diamonds turning to pearls (both turned beautiful under pressure).

Antonio - "My interpretation is, you'll weep shortly; for to me the pearls do signify your tears."

Antonio gives a pessimistic view of the Duchess' dream which might be accurate but accounts for a future full of misery which might not have been the best to comfort his wife, but he stays true to his honesty and superstitions here.

The Duchess - "The birds that live i' th' field on the wild benefit of nature live happier than we; for they may choose their mates, and carol their sweet pleasures to the spring."

The Duchess is envious of the freedom of birds and we can assume that the birds might symbolise women, particularly the Duchess. She pities herself here as she cannot live happily in her marriage without this misery and so humans are separate from the joys and simplicity of nature, according to the Duchess. Thus, she is also criticising the rules imposed on humans that she must submit to.

The Duchess - "false hearts speak fair to those they intend most mischief."

"the devil is not cunning enough to circumvent us in riddles."

"I suspect some ambush."

The Duchess is more astute to her brothers' intentions to hurt her, thus they have apparently become less and less skilled at concealing their true selves by this point in the play. She is now more sceptical, which is a contrast to the start of the play.

The Duchess sees through their lies and refuses to let them meet Antonio as she is right in that an 'ambush' might occur.

The Duchess - "In the eternal church, sir, I do hope we shall not part thus."

The Duchess is foreshadowing their deaths here and hopes to see them again as they split up strategically to have a higher chance of survival but this moment is bleak as this parting is like death to her. Hint of hope here and belief in the afterlife.

The Duchess - "Must I, like to slave-born Russian, account it praise to suffer tyranny?"

The Duchess is in despair here as she knows she will not see her oldest son again. She feels like she is being controlled by a tyrant but is trying to regain her strength and composure by angrily defending herself and opposing the 'tyranny' of her brothers.

The Duchess - "Let me look upon you once more, for that speech came from a dying father. Your kiss is colder than that I have seen an holy anchorite give to a dead man's skull."

Antonio's farewell is bless and not emotionally reassuring for the Duchess, thus she demands more passion in her goodbye, showcasing her being consumed with love for her family. Antonio, however, may be finding it more difficult and may be more afraid so emotionally leaves her as his heart has 'turn'd to a heavy lump of lead'.