Suffering quotations

‘Why do you weep? Are tears your justification?’

The Cardinal’s dismissive attitude reflects his abuse of power, as he trivializes Julia’s emotional distress, reducing her suffering to something unworthy of sympathy. The Cardinal’s callousness exacerbates her suffering, and his treatment of her reflects the broader theme of patriarchal oppression that leads to the exploitation of women’s emotions and bodies. 

‘She’s exposed/ Unto the worst torture, pain, and fear.’ (Act 2.2)

Semantic field of torment (‘torture’, ‘pain’, ‘fear’). Antonio does not minimise the Duchess’ suffering & demonstrates genuine concern as she experiences childbirth. Unlike the Cardinal who blatantly disregards/ callously dismisses Julia’s emotions, Antonio is empathetic & acknowledges the physical & emotional pain the Duchess endures which reflects his deep care & compassion. 

‘My laurel is all withered’ (Act 3.5)

The Duchess mourns her loss of status, love, and hope after Antonio’s departure. The laurel, a classical symbol of honour and victory, now decayed, ominously suggests death and moral decline. This metaphor reflects the consequences of corruption and isolation, echoing the fall of Adam and Eve. 

‘I am acquainted with sad misery/ As the tanned galley-slave is with his oar’ (Act 4.2) - Duchess 

At this point the Duchess is accepting her fate, like the slave she won't be able to escape her punishments; galley-slaves were chained to their oars and were usually condemned to a life expectancy of 3 years.

‘And Fortune seems only to have her eyesight/ To behold my tragedy.’ (Act 4.2) 

‘Cover her face; mine eyes dazzle: she died young’ (Act 4.2) 

reveals a moment of possible remorse in Ferdinand, whose initial cruelty and corruption directly caused the Duchess’s suffering. The imperative to cover her face suggests that the sight of her death is unbearable, implying a sudden awareness of the horror he has caused. The line “she died young” is both a recognition of her wasted potential and an implicit admission of guilt. Here, Ferdinand is momentarily overwhelmed by the suffering he inflicted, exposing the emotional consequences of unchecked power and brutality.  

‘I am the Duchess of Malfi still’ (Act 4.2) -

captures the Duchess’s psychological suffering as she clings to her identity amidst brutal dehumanisations. Despite imprisonment, separation from her family, and the mental torture inflicted by her brothers, she asserts her autonomy with quiet defiance. This moment reveals the depth of her suffering—not only physical but existential—yet she maintains dignity and selfhood, resisting the patriarchal forces seeking to erase her. Her suffering is thus not passive but becomes a powerful act of resistance.

 

‘I, I, I took the blows in my face and my body!’  (sc 2)

Blanche’s repetition of “I” emphasises her personal, physical, and emotional suffering, suggesting she has borne the brunt of familial and societal collapse alone. The vivid imagery of “blows” evokes a violent, almost martyr-like endurance, revealing how deeply Blanche has internalised the trauma of her past. Williams uses this outburst to underscore how suffering is not only inflicted externally but also absorbed internally, shaping Blanche’s identity and psychological decline.

Stanley describes Blanche as ‘not just different but downright loco – nuts' in his unrelenting exposure of her past secrets & carefully constructed lies (sc 7)

The use of the colloquial term ‘loco’ highlights how Stanley dismisses Blanche’s emotional trauma and mental instability as nothing more than insanity. Rather than offering compassion, Stanley belittles Blanche & exacerbates her distress by reducing her to a stereotype of a "madwoman" which reflects the harsh and unforgiving social environment that punishes women like Blanche for not conforming to societal expectations.

‘people like you abused her, and forced her to change’ (sc 8)

Stella presents her sister as a victim of patriarchal society. The verb “abused” reveals the cumulative damage caused by societal cruelty and individual mistreatment, highlighting how Blanche’s identity was not simply fragile, but fractured by repeated trauma. Stella's accusation implicates not only Stanley, but a wider social system that punishes women for non-conformity, reinforcing the play’s critique of cultural brutality and emotional violence.

‘[He picks up her inert figure and carries her to the bed]’ (sc 10)

silence of the stage direction adds to the horror, reinforcing how women’s suffering is often ignored, unspoken, or erased. It forces the audience to confront the brutality without the distraction of words. The term “inert” further dehumanises Blanche, portraying her as passive and powerless, while Stanley’s dominant action reinforces the systemic erasure of female agency. 

‘[a look of sorrowful perplexity as though all human experience shows on her face]’ (sc 11)

Blanche seems to transcend her situation & becomes a figure of universal suffering

‘[She sobs with inhuman abandon]’ (sc 11)

presents Stella’s suffering as raw and overwhelming, exposing the emotional consequences of her betrayal. The phrase suggests a loss of control and humanity, reflecting the deep internal conflict caused by choosing Stanley over Blanche. Williams shows how women are emotionally broken by the oppressive structures that force them to prioritise loyalty to men over familial bonds.