The Cardinal - corruption

In Act 3, Scene 3 -

Webster utilises the restrained character of the Cardinal in this excerpt to highlight the undercurrents of selfish intentions within the court and the extent to which he and his brother will go to establish their anger, as well as the consequences for the Duchess. The scene develops the brothers’ understanding of the situation and reveals an intense rage from the Cardinal, which is amplified from his customary reserved nature. Despite this vocalised rage the cardinal expresses, his brother Ferdinand contrasts his temperament starkly, furthering the differences between them as siblings and indicating a deviation in their approach to the duchess and her marriage to Antonio. This can be seen in the Cardinal’s hypocritical remark, “Doth she make religion her riding hood ?” From his perspective, the duchess has committed a blasphemous act by disguising her sin through her facade of innocence. However, his own acts of adultery with Julia are dismissed despite his position as a respected member of the Catholic church. The Cardinals’ confidence in criticising his sister’s wrongdoings reflects the safety within the court to act immorally and pursue personal interest. Webster writing from a 17th-century lens could hint at the Jacobean courts, specifically Whitehall, infamous for its intermingling of public office for private profits. The cardinal speaks sporadically, and when done is clear in his resentment. The Cardinal’s power is clearly unmatched and vastly advantageous, as he immediately decides to “solicit the state of Ancona to have them banished.” His authoritative status allows him the opportunity to use his connections for personal circumstances that are unimportant to his court. Furthermore, his decision to “solicit” directly refers to obtaining and seeking something from others, which aligns consistently with his manipulative characteristic. In relation to Webster’s period, the four humours were fundamental in differentiating individuals; for the Cardinal, his excess of phlegm is evident as he demonstrates impassive and restrained emotions. 

In the entire play summary 

The Cardinal acts as a symbol for the corruption of the court of Malfi and specifically the amoral figures who puppeteer the system. For instance, the cardinal’s initial introduction positions him as a deceitful and cunning man, as Bosola states, “this great fellow was able to possess the greatest devil and make him worse”. This characterisation of evil alludes to the Cardinal’s threatening nature and ability to inflict severe harm onto his subjects, outside and within the court. Bosola’s use of “possess the greatest devil ” implies the Cardinal has overriding authority and control over even the most powerful, reinforcing his image as corrupt and rooted in manipulation. The Cardinal imposes another level of corruption when he is revealed to be committing adultery with Julia. This is evident specifically in Act 2, Scene 4, where he uses his religious superiority complex to justify his acts, whilst also placing fault onto Julia. His Machiavellian character is developed when he questions, “Are tears your justification?” This icy and emotional detachment alludes to the archetype and reinstitutes the Cardinal as a self-interested individual who takes pleasure in manipulation. When questioning Julia, he appears to reverse the subject onto her infidelity, suggesting he is accustomed to disguising his unfaithfulness and responsibilities of his religious profession.