Duchess of Malfi Key Quotes

DUCHESS
Diamonds are of most value,
They say, that have pass'd through most jewellers' hands.

DUCHESS
Diamonds are of most value,
They say, that have pass'd through most jewellers' hands.

A repeated motif throughout the dramatic tragedy. Represents the Duchess' inner light, virtuous nature and purity. Her significance and worth in the play is also priceless like "diamonds" and later on has a valuable impact on other characters. She is cherish-able and greatly loved by Antonio.

DUCHESS
I'll never marry.
Let old wives report I winked and chose a husband

Duchess lies and uses deceit but this is justifiable because she does this sinful act out of protection of her family from her brothers' wrath.

DUCHESS
Dear soul, leave me
...
For I am going into a wilderness

The Duchess accepts her troubled fate full of adversity with stoic defiance and nobility as she handles the "wilderness" of the brothers' torment with bravery.

DUCHESS

One of your eyes is bloodshot. Use my ring to’t

…

’Twas my wedding ring and I did vow never to part with it, but to my second husband

Duchess says this to Antonio to hint her love for him and trying to make him realise she intends for them to have an equal relationship despite social expectations and class differences. Their love is eternal and never-ending, their connection transcends beyond the physical realm and into the meta-physical world later on.

DUCHESS

Time will easily scatter the tempest  

Too trusting that her brothers would eventually accept Antonio regardless of their threats of violence and bloodlust. Thus, it is her hamartia that builds the tragic momentum to her inevitable downfall.

DUCHESS

I am Duchess of Malfi still.

Stoic defiance, nobility and bravery by handling the brothers’ torment with princely stature and refusing to give Ferdinand satisfaction at seeing her go mad. A true display of her mental fortitude as she still finds meaning in her purposeless death because she hopes to reunite with her family in the afterlife.

DUCHESS

The misery of us that are born great!

We are forc'd to woo, because none dare woo us.

The Duchess condemns the restrictions that society have placed on her. Despite being a woman of agency and great authority, she is still forced to obey her brothers’ ridiculous demands because of gender and now struggles to find love because of the differences in class which would taint her reputation and “royal blood”. Thus, the Duchess breaks these boundaries for her own personal love and benefit, rather than prioritising her duties which could be criticised by contemporary audiences.

ANTONIO

Flattering sycophants

Sycophants - excessive flattering for self benefits.

Antonio does this to criticise the corruption of the Italian, Aristocratic court in the Jacobean era. Many nobles did this for power, wealth and status.

Pride, greed, wrath, envy, lust, gluttony and sloth

The use of 7 Cardinal Sins foreshadowing its prominence to Bosola, the Cardinal and Ferdinand, the main antagonists who beget tragedy.

BOSOLA - A1 S1

He and his brother are like plum trees that grow crooked over standing pools; they are rich, and o'erladen with fruit, but none but crows, pies, and caterpillars feed on them.

Ominous simile → Outwardly, the Duchess of Malfi's two brothers appear opulent and powerful. But the plum trees to which Bosola compares them grow "crooked" over "standing" (stagnant) water, hinting at disease or corruption. The birds that feed on these trees are scavengers, suggesting the brothers' inner rot, as they are soulless and dead inside.

ANTONIO - A1 S1

But for their sister, the right-noble Duchess, / You never fixed your eye on three fair medals, / Cast in one figure, of so different temper.

Elaborate praise highlights juxtaposition between Duchess and her brothers. Antonio clearly differentiates the Duchess of Malfi from her corrupt, cruel brothers. He singles out the sweetness and eloquence of the Duchess for special praise.

DUCHESS - A1 S1

For I am going into a wilderness

The Duchess uses the striking metaphor to allude to her decision to woo and marry Antonio. Suggests how she is on a dangerous and risky adventure with unpredictable outcomes by subverting gender norms and challenging religious traditions by her clandestine relationship with Antonio.

BOSOLA - A2 S1

Man stands amazed to see his deformity / In any other creature but himself.

Physical corruption by mentioning "deformity." Human beings are curiously sensitive to the ugliness that nature may occasionally produce in nonhuman creatures—but insensitive to their own ugliness and vulnerability to "lice and worms.”

Directly references the narcissism and moral hypocrisy portrayed by Ferdinand and especially the Cardinal as both absolve blame in order to maintain their reputation.

FERDINAND - A2 S5

I would have their bodies / Burnt in a coal-pit, with the ventage stopped, / That their cursed smoke might not ascend to heaven.

Extreme cruelty and madness accentuates his later descent to an animalistic, barbaric nature.

FERDINAND - A4 S2

mine eyes dazzle

He feels guilty and regretful about his involvement in her death but has also destroyed her inner light and virtue through jealousy.

Foreshadows his total loss of sanity. In Act 5 he falls victim to lycanthropy, believing himself to be a wolf, a creature he has repeatedly maligned as savage.

CARDINAL - A5 S5

How tedious is a guilty conscience! / When I look into the fishponds, in my garden, / Methinks I see a thing armed with a rake / That seems to strike at me.

The Cardinal is tortured by his inner torment of guilt and regret at the Duchess’ death but he despises emotions because of vulnerability and psychopathic behavior.

BOSOLA - A5 S5

O, this gloomy world! / In what a shadow, or deep pit of darkness, / Doth, womanish and fearful, mankind live! / Let worthy minds ne'er stagger in distrust / To suffer death, or shame for what is just.

Bosola's final lines in the play crystallize both his cynicism and his belated penitence for the evil and treachery of his actions. It also implies how he has no true meaning or purpose in his life since he spends the entire play working for others. He transitions from being the play’s malcontent and intelligencer for the brothers to an agent to avenge the Duchess. Therefore, the audience can pity him because he has been neglected and manipulated many times and has no legacy to leave behind, meaning he would be forgotten.

BOSOLA - A3 S1

Whether we fall by ambition, blood, or lust, / Like diamonds, we are cut with our own dust.

Bosola reflects on the inevitable downfall of individuals driven by ambition, violence, or desire. Our actions have profound consequences.

BOSOLA - A5 S4

We are merely the stars' tennis-balls, struck and banded / Which way please them.

Bosola reflects on the idea of fate and the powerlessness of individuals in the face of larger forces beyond their control. The belief that our lives are determined by a pre-ordained fate.

BOSOLA - A5 S5

Give me some wet hay: I am broken-winded

Bosola's final words before his death symbolize his exhaustion and defeat, as well as his acknowledgment of his own moral corruption and guilt.

ANTONIO - A5 S5

Ambition, madam, is a great man's madness.

Antonio reflects on the destructive nature of ambition and its role in driving individuals to madness and ruin.

BOSOLA - A1 S1

I do haunt you still

Bosola reveals his role as a spy and informant to Ferdinand and the Cardinal, indicating his willingness to serve their interests.

CHARACTER PROGRESSION:

BOSOLA

It can be argued that he is the most dynamic character in the play, besides the Duchess.

Act 1:

• Introduction: Bosola is introduced as a cynical and morally ambiguous character. He is a malcontent who serves Ferdinand, the Duchess of Malfi's brother, as a spy and henchman.

• Loyalty to Ferdinand: Bosola initially demonstrates loyalty to Ferdinand, carrying out his orders without question. He is depicted as a skilled and ruthless servant who will do whatever is necessary to maintain his position.

Act 2:

• Skepticism and Doubt: Bosola begins to question Ferdinand's motives and actions, particularly regarding his treatment of the Duchess. He expresses skepticism about Ferdinand's obsession with controlling his sister's life and shows signs of moral unease.

Act 3:

• Growing Conscience: Bosola's conscience becomes more pronounced as he witnesses the Duchess's suffering at the hands of her brothers. He starts to feel sympathy for her plight and becomes increasingly conflicted about his role in the unfolding tragedy.

Act 4:

• Betrayal of Ferdinand: Bosola's loyalty to Ferdinand begins to wane as he becomes increasingly disillusioned with his employer's cruelty and tyranny. He aligns himself with the Duchess and her husband Antonio, secretly working against Ferdinand's interests.

Act 5:

• Redemption and Tragic End: In the final act, Bosola's character reaches its climax as he confronts Ferdinand and ultimately kills him in a fit of rage. However, he is mortally wounded in the process. Before he dies, Bosola attempts to atone for his sins by confessing his role in the Duchess's death and seeking forgiveness.

Overall, Bosola's character progression in "The Duchess of Malfi" follows a trajectory from blind loyalty and moral ambiguity to redemption and tragic self-awareness. He evolves from a cynical opportunist to a conflicted figure who ultimately seeks redemption for his actions, making him one of the most complex and compelling characters in the play.

CHARACTER PROGRESSION:

DUCHESS

Act 1:

• Introduction: The Duchess is introduced as a strong, independent woman who defies societal expectations by marrying beneath her station and without her brothers' consent. She is depicted as intelligent, courageous, and willing to pursue her own desires despite the risks.

Act 2:

• Assertion of Independence: The Duchess continues to assert her independence and autonomy, defying her brothers' attempts to control her life. She shows her determination to live on her own terms, even in the face of threats and intimidation.

Act 3:

• Vulnerability and Fear: As Ferdinand and the Cardinal escalate their campaign against her, the Duchess begins to show signs of vulnerability and fear. She realizes the extent of the danger she faces and the consequences of defying her brothers' authority.

Act 4:

• Tragic Romance: The Duchess's relationship with Antonio becomes increasingly central to the plot. Despite the dangers and risks involved, she continues to pursue her love for him, even as her brothers' machinations threaten to tear them apart.

Act 5:

• Defiance and Tragedy: In the final act, the Duchess's character reaches its climax as she faces imprisonment, torture, and ultimately death at the hands of her brothers. Despite her tragic fate, she maintains her dignity, courage, and defiance to the end, refusing to capitulate to their cruelty.

Overall, the Duchess's character progression in "The Duchess of Malfi" follows a trajectory from independence and strength to vulnerability and tragic defiance. She is a complex and multi-dimensional character whose resilience and courage make her a compelling protagonist in the face of overwhelming adversity.

CHARACTER PROGRESSION:

ANTONIO

Act 1:

• Introduction: Antonio is introduced as a character of integrity and intellect, serving as the Duchess's steward. He is depicted as honest, principled, and respectful of the Duchess, despite her noble status.

Act 2:

• Romance with the Duchess: Antonio's relationship with the Duchess deepens, and their love for each other becomes more evident. He demonstrates his willingness to defy social conventions and risks his own safety to be with her.

Act 3:

• Recognition of Danger: Antonio becomes increasingly aware of the dangers posed by the Duchess's brothers, Ferdinand and the Cardinal. He realizes the extent of their hostility toward him and the Duchess and begins to fear for their safety.

Act 4:

• Struggle and Tragedy: Antonio's loyalty to the Duchess is tested as he is caught in the midst of her brothers' schemes and machinations. Despite his best efforts to protect her, he finds himself powerless to prevent her tragic fate.

Act 5:

• Grief and Resolution: In the final act, Antonio grieves the loss of the Duchess and reflects on the events that led to her death. He emerges as a figure of moral clarity, denouncing the corruption and cruelty of the world around him and expressing his resolve to seek justice for the Duchess's memory.

Overall, Antonio's character progression in "The Duchess of Malfi" follows a trajectory from loyalty and love to grief and moral clarity. He is a character who remains steadfast in his principles despite the tragic events that unfold around him, making him a sympathetic and relatable figure in the play's exploration of themes of love, loyalty, and corruption.

CHARACTER PROGRESSION:

DELIO

Act 1:

• Introduction: Delio is introduced as a close friend and confidant of Antonio. He is depicted as a trustworthy and honorable character who is loyal to the Duchess and sympathetic to her desire for love and autonomy.

Act 2:

• Support for the Duchess: Delio continues to support the Duchess and Antonio in their relationship, offering encouragement and advice. He demonstrates his loyalty by standing by them despite the risks involved.

Act 3:

• Awareness of Danger: Delio becomes increasingly aware of the dangers facing the Duchess and Antonio as their situation becomes more precarious. He offers warnings and advice, urging them to be cautious and vigilant in the face of their enemies' machinations.

Act 4:

• Confrontation with Corruption: Delio's character is tested as he confronts the corruption and deceit that pervades the court of the Duchess's brothers. He struggles to reconcile his loyalty to Antonio and the Duchess with the treachery and violence that surrounds them.

Act 5:

• Resolution and Reflection: In the final act, Delio reflects on the tragic events that have unfolded and expresses his grief and sorrow over the loss of the Duchess. He emerges as a voice of reason and morality, denouncing the cruelty and corruption that have led to her demise.

Overall, Delio's character progression in "The Duchess of Malfi" follows a trajectory from loyalty and support to a deeper awareness of the corruption and violence that permeates the world of the play. He serves as a moral compass and a voice of reason amidst the chaos and tragedy, highlighting the themes of loyalty, friendship, and the struggle against injustice.

CHARACTER PROGRESSION:

FERDINAND

Act 1:

• Introduction: Ferdinand is introduced as the Duchess of Malfi's brother and a powerful nobleman. He initially appears to be protective of his sister, but there are hints of his possessiveness and control over her.

Act 2:

• Growing Obsession: Ferdinand's obsession with controlling his sister becomes more apparent as he reacts with anger and jealousy to news of her secret marriage to Antonio. He begins to exhibit signs of irrational behavior and a desire to assert his authority over her.

Act 3:

• Descent into Madness: Ferdinand's jealousy and obsession escalate to dangerous levels as he becomes increasingly paranoid and delusional. He hires Bosola to spy on the Duchess and orchestrates a series of plots to destroy her and Antonio.

Act 4:

• Violence and Betrayal: Ferdinand's madness reaches its peak as he descends further into violence and cruelty. He becomes complicit in the murder of the Duchess and her children, driven by his irrational hatred and desire for revenge.

Act 5:

• Tragic End: In the final act, Ferdinand's character meets a tragic end as he confronts the consequences of his actions. He descends into madness, haunted by guilt and remorse for his role in the deaths of his sister and her children.

Overall, Ferdinand's character progression in "The Duchess of Malfi" follows a trajectory from jealousy and obsession to madness and self-destruction. He serves as a tragic figure whose descent into madness ultimately leads to his downfall, highlighting the themes of power, corruption, and the destructive nature of unchecked ambition.

CHARACTER PROGRESSION:

CARDINAL

Act 1:

• Introduction: The Cardinal is introduced as a powerful and manipulative figure in the court of Malfi. He is depicted as cunning and ambitious, willing to resort to deceit and treachery to achieve his goals.

Act 2:

• Machiavellian Machinations: The Cardinal's true nature becomes more apparent as he conspires with his brother Ferdinand to maintain control over their sister, the Duchess. He shows his willingness to use violence and manipulation to further his own interests.

Act 3:

• Exploitation and Corruption: The Cardinal's corruption and depravity are further revealed as he engages in an illicit affair with Julia, the Duchess's maid. He shows his disregard for moral boundaries and his willingness to exploit others for his own pleasure and gain.

Act 4:

• Betrayal and Murder: The Cardinal's character reaches its climax as he becomes directly involved in the plot to murder the Duchess and her children. He demonstrates his ruthlessness and cruelty as he carries out his plans with cold calculation.

Act 5:

• Consequences and Damnation: In the final act, the Cardinal faces the consequences of his actions as his schemes unravel and he is ultimately brought to justice. He meets a fitting end as he is condemned for his sins, highlighting the themes of justice and divine retribution.

Overall, the Cardinal's character progression in "The Duchess of Malfi" follows a trajectory from manipulation and corruption to betrayal and downfall. He serves as a symbol of the destructive nature of unchecked ambition and the consequences of moral depravity.

BOSOLA - A4 S1

A behavior so noble as gives a majesty to adversity

BOSOLA - A4 S1

All comfort to your grace

DUCHESS - A4 S1

Why dost thou wrap thy poison’d pills in gold and sugar?

FERDINAND - A4 S1

Darkness suits you well

…

Gives her a dead man’s hand

…

artifical figures of Antonio and his children

FERDINAND - A4 S1

Law distinguish bastards from true legitimate issue, compassionate nature makes them all equal

ANTONIO - A1 S2

Melancholy Churchman

…

engendering of toads

…

he lays worse plots for them than was ever imposed on Hercules

…

political monsters

…

most perverse and turbulent nature

…

bestow bribes so largely, carried it away without heaven’s knowledge

DELIO - A1 S2

Then the law to him is like a foul black cobweb to a spider

ANTONIO - A1 S2

right noble Duchess

…

She throws upon a man so sweet a look, that it were able to raise one to a galliard that lay in a dead palsy

…

sweet countenance

…

divine

…

noble virtue

…

heaven

BOSOLA - A3 S2

The virgins of your land, that have no dowries, shall hope your example will raise them to rich husbands

…

living princes

…

princely progress

…

a politician is the devil’s quilted anvil

…

what rests, but I reveal all to my lord?

…

intelligencer

DUCHESS - A3 S2

I have had three children by him

…

You shall take charge of all my coin, and jewels

…

he retires himself to Ancona

…

superstitious fool

DUCHESS - A3 S2

You have cause to love me: I entered you into my heart

…

pray, sir, hear me

…

I will plant my soul in mine ears to hear you

…

To clip the bird’s wings that’s already flown

FERDINAND - A3 S2

holds a poniard

…

Die then, quickly

…

imperfect light

…

if I could change eyes with a basilisk

…

howling of a wolf

…

Enjoy thy lust still, and a wretched life, on that condition

…

Let not the sun shine on him, till he’s dead

Exposition - A1 S2

Lord - establishing it is a classical tragedy about the Italian aristocracy

DELIO - A1 S2

temper? - Cardinal

…

five thousand crowns

FERDINAND - A2 S5

I have this night digg’d up a mandrake

…

she’s loose I’ the hilts; grown a notorious strumpet

…

cunning bawds

…

we must not now use balsamum, but fire

…

to purge infected blood

…

shameful act of sin

…

happily with some strong-thigh’d bargeman

…

‘Tis not your whore’s milk that shall quench my wild-fire, but your whore’s blood

CARDINAL - A2 S5

so wild a tempest - Ferdinand

…

shall our blood, the royal blood of Aragon and Castille, be thus attainted?

…

Curs’d creature! unequal nature, to place women’s hearts so far upon the left side!

…

ignorance, when it hath purchas’d honour, it cannot wield it

ANTONIO - A1 S2

Ambition, madam, is a great man’s madness

…

I aim to whereto your favors tend

…

O my unworthiness!
…

I have long served virtue, and ne’er ta’en wages of her

DUCHESS - A1 S2

You may discover what a wealthy mine I make you lord of

…

breathes a complete man

…

turn your eyes, and progress through yourself

…

we are forced to woo, because none dare woo us

…

tyrant doubles with his words

…

violent passions

…

I hope ‘twill multiply love there

…

This is flesh and blood, sir;

‘Tis not the figure cut in alabaster

…

Kisses him

BOSOLA - A4 S2

pair of hearts are hollow graves

…

rotten

…

and your vengeance like two chained-bullets

…

plague

….

sweet and golden dream I am angry with myself

…

neglected

…

rather sought to appear a true servant than an honest man.

…

I would not change my peace of conscience for all the wealth of Europe

…

sensible hell

…

I will melt my heart

…

to take me up to mercy

…

cords of life broke

…

a sight as direful to my soul as is the sword unto a wretch hath slain his father

…

speedily enact worth my dejection

…

Exit (with the body)

CARIOLA - A4 S2

Villains, tyrants, murderers!

…

I will die with her

…

I will not die

DUCHESS - A4 S2

many hungry guests have fed upon me

…

I pray thee look thou giv’st my little boy some syrup for his cold, and let the girl say her prayers, ere she sleep.

…

apoplexy

…

knowing to meet such excellent company in th’ other world?

…

throat cut with diamonds?

…

death hath ten thousand several doors

…

heaven’ gates are not so highly arched as princes’ palaces

BOSOLA - A4 S2

Remove that noise - Cariola

…

Doth not death fright you?

…

Some other strangle the children

…

You are so well prepared for’t

CARDINAL - A1 S1

I would not be seen in’t

…

many times I have slighted him

…

nature is too honest - Antonio

…

Exit (right before Bosola re-enters)

FERDINAND - A1 S1

Distrust doth cause us seldom to be deceived

…

oft shaking of the cedar tree fastens it more at root

…

there’s gold

…

your inclination to shed blood rides post before my occasion to use you

…

provisorship o’ the horse

BOSOLA - A1 S1

lured

…

no more credit to be given to the face than to a sick man’s urine

…

physician’s whore

…

whose throat must I cut?

…

quaint invisible devil in flesh: an intelligencer

…

cursed gifts

…

You a corrupter, me an impudent traitor

…

villain

…

heaven terms vile