How and where does the Duchess distinguish herself as a very remarkable woman in a man's world?
How and where does the Duchess distinguish herself as a very remarkable woman in a man's world? The Duchess is clearly the central figure in the play and manages to dominate proceedings, despite the untouchable power of her brothers and the firmly established patriarchal system in early-16th century Italy. She displays many admirably qualities, although her courageous strength and passion could be perceived as threatening in a male-dominated society. The Duchess is the sole female figure with any sort of power and respect in Webster's play. This is unusual firstly, because he based The Duchess Of Malfi on a version by William Painter in which the Duchess was portrayed as too lusty in a sternly moralistic fashion honourable as opposed to honourable. Also, although the Duchess is never referred to by her name, she is a very individual character and, having no female equals, conducts herself very well as a free spirit in a world of stifling constrictions. The Duchess exhibits her free will and nonchalance toward her brothers' controlling nature by marrying Antonio irrespective of their opinions. In response to Ferdinand and the Cardinal's bitter diatribe against remarriage, the Duchess wittily responds completely unafraid, "I think this speech between you both was studied, / It came so roundly off." Not only does she marry against the rule of jealous men, but also, she
Explore the ways in which Webster introduces his characters and themes in the play The Duchess of Malfi.
Explore the ways in which Webster introduces his characters and themes in the play The Duchess of Malfi In the opening of The Duchess of Malfi takes place between Delio and Antonio, a steward of the Duchess and his friend. Webster makes his audience aware that Antonio has journeyed outside Malfi, to France. The words "France, Frenchman, French" all appear within the first four lines of the text, a blunt indicator to ensure that the audience, however inattentive, grasps the point that Antonio has been absent from Malfi. He supports this point by referring to the timespan since Antonio last saw Delio, "You have been long in France." The word "long" suggests that a considerable time has passed since he was last resident in Malfi. Equally, Delio's description of Antonio, as a "very formal frenchman in habit" infers that Antonio had been in France for long enough to adopt French fashions, rather than his native Italian dress. Altogether, Webster, in the opening burst sets up Antonio as a stranger to Malfi, but an adopted resident of the French court. Thus, when Delio asks the open ended-question the audience appreciate Antonio speaks from experience built from a lengthy duration in France: "How do you like the French court?" Webster's question does not ask a specific question, rather it demands a lengthy reply. Antonio's response is not the view of an outsider whose short
The horrors of act IV, i are less important that the characters' reaction to them
The horrors of act IV, i are less important that the characters' reaction to them "The first necessity of baroque is that the audience should be gripped, excited, moved" 1 - so says Ralph Berry. The fourth act of The Duchess of Malfi certainly succeeds under all these criteria, being the dramatic crux of the play. The events that occur in the first scene are undoubtedly crucial, but it is the characters' vastly varied reactions to them that are vitally important. Rich imagery is deeply interwoven with the fabric of play - indeed, it is an essential part of its function - and the scene's proceedings are completely overshadowed by the telling relationship between Ferdinand, Bosola and the Duchess that is explored throughout act IV, scene i. Often, it is in the most trying times that the true nature of people is allowed to shine through their veiled everyday existence. In this scene, the Duchess is subjected to imprisonment and cruel tortures by her malevolent twin brother who is still unable to come to terms with his sister's independence and intimate relationship with Antonio. Bosola is beginning to experience emotions he had previously repressed or never had the capacity to experience in court life. He is forced to astatically struggle with inner turmoil and design for himself a new system of morality. Because of these simultaneous occurrences, the three major
By close consideration of two extracts of your choice, assess the importance of the Christian perspective in Webster’s presentation of the Duchess
Practise essay question - The Duchess of Malfi by John Webster By REBECCA HEYS " 'In heroic terms, the Duchess defies the evil in her court and her brothers' hearts; in Christian terms, she makes a good end.' (Elizabeth M. Brennan) By close consideration of two extracts of your choice, assess the importance of the Christian perspective in Webster's presentation of the Duchess." There has been much debate over whether the Duchess of Malfi is a character who is essentially a victim of her brothers' tyranny and the corruption of her court, and whose downfall is caused by such, or is responsible for her own negligent and selfish actions by marrying a man she loved but in doing so abandoning her princely duties. Certainly, Webster's borrowings saw the Duchess as little more than a whore or a strumpet (much like Julia in Webster's version), but modern audiences, with modern sympathies, have preferred to see the Duchess as a heroine who is sacrificed for love. The two passages I have chosen to consider neatly contrast each other in showing how the Duchess is susceptible to religious corruption (III.ii.305-320), but equally, how she dies a Christian, almost a martyr (IV.ii.210-239). In I.i, Antonio, the Duchess' future husband, recounts a description of the French court, the King of which has 'quitted' "his royal palace | Of flatt'ring sycophants, of dissolute, | And
John Webster - Theatrical Language
John Webster - Theatrical Language * Action / Imagery / Characterisation - Use contrasts / parallels / paradoxes / inversions of the norm. Her brothers = Her enemies / Husband who should provide strength merely takes courage. * Conflict between appearance and reality - Bosola and his use of disguise. His invisible disguise of true nature, culminating his eventual conversion. * Death of Duchess - Darkness of evil extinguishing light of good / Liberates her good soul from the prison of darkness into the eternity of the light. * The White Devil - Themes repetitive / Corruption of Princely courts / Corruption of man / An indication of the different ways individuals face death. * Complexity of meaning - Impossible to apprehend in a single reading / Images reflected through action (Combined impact of picture and verse) * Emblematic techniques - Inga Stina Ewbank considered his dramatic art in terms of Renaissance perspective painting. * Juxtaposition of opposites (Nightmare quality) - Appearance + reality / light + dark / love + death. Jaqueline Pearson credited Webster for being in sympathy with the dramatic experiments of his contemporaries. * Jacobean cast lists - Precedence of men. Bosola - Commands more attention than the Duchess herself. * Influenced by contemporaries - Themes and images inseparable from his sources. * Bawdy Humour and Innuendo - Emphasizing the
What impression does Webster create of courtly life in Malfi? How would a contemporary audience react to such a portrayal?
Kate Salmon What impression does Webster create of courtly life in Malfi? How would a contemporary audience react to such a portrayal? The court of Malfi is a treacherous place, with political, religious and personal allegiances in constant conflict. Webster creates this impression of courtly life through the themes of corruption, religion, hierarchy, revenge, malcontent and gender segregation. It is through these themes that Webster is able to convey the hypocritical and sinister world of the court. The court reflects the period in which Webster wrote the play as it echoes the court of James. A modern audience may portray the court quite differently to one of the Jacobean time, as in those days corruption and religious dominance was accepted and came as no surprise to them. We as the audience are able to see how treacherous the court is through each character, as it is them that bring the themes to life within the court. Antonio's opening comments about the virtues of the French court set up a contrast with that of the rulers in Italy. Many political tragedies during this period were set in countries other than England, where "the corruption of the times" could be criticized without fear of the public censor. Through this opposition that Webster creates he depicts that the court of Malfi is a place full of malice and sinister happenings. Corruption is the main source for
"Whether the spirit of greatness or woman reigns most in her, I know not, but it shows a fearful madness. I owe her much of pity" (I.i. 492)How far do you agree with Cariola's lines as a summary of the Duchess?
"Whether the spirit of greatness or woman reigns most in her, I know not, but it shows a fearful madness. I owe her much of pity" (I.i. 492) How far do you agree with Cariola's lines as a summary of the Duchess? You should base your answer on an examination of two or more appropriate sequences of your choice. The Duchess certainly has the spirit of greatness in her, as she shows in her death scene, where her nobility and courage are proved. However, she is also subject to the 'spirit of woman', shown in the scene where she woos Antonio, as it is essentially this which leads to her downfall and can be seen as her hermatia, her fatal mistake which was part of the typical structure of a revenge tragedy. It is her longing for a loving relationship regardless of her public responsibilities, a completely new philosophy in the Jacobean time, and her blindness to the impossibility of what she is trying to achieve (the separation of her private and public bodies), which lead to her death. Cariola's lines are a fair assessment of the Duchess, who has both the spirit of greatness and woman in her, although I think that by the end of the play her spirit of greatness certainly reigns most in her. The Duchess has the spirit of woman in her, she makes her judgements, like her decision to woo and marry Antonio, as a woman and essentially without reasoning and rationalising the
The Duchess Of Malfi - Commentary On Important Scenes
The Duchess Of Malfi - Commentary On Important Scenes Act I, Scene I Genres: Renaissance Tragedies - Revenge Tragedy / Romantic Tragedy / Political Tragedy Bosola: Complex / Contradictory character / Anti-hero / Dark perspective Spokesman for the play - Demands audiences attention "Valiant" / "Melancholic moods, poisoned his goodness" Sees self as realist. Actually more of a dillusioned idealist Antonio: Noble in character - Not in birth Describes the virtues of the French Court - Contrast to Italian rulers of the time European setting - Allows corruption of the time to be criticized without public censor Act I, Scene II Duchess and Brothers present - Duchess never referred to by Name. Brothers: Antonio describes them as showing outward hypocracy - "mirth is... outside" Frequently compared to the Devil Ferdinand: Public role Totally against marriage - Shades of incestuous tendancies - Describes sister as "Lustful whore" Cardinal: Behind the scenes - Employs aid of spies Agrees with marriage, only if the families status is maintained Duchess: Strong / Passionate / Courageous / Sensual / Independant / Ambitious Threatens society - "In temperament she is a heroine of Shakespeares Romantic Comedies" Modern context - James had his Cousin imprisoned for marrying beneath herself Representation of new, less conventional concepts being explored - Given the status
"Webster's view of the world is utterly bleak." Use your knowledge of three specific episodes in 'The Duchess of Malfi' to discuss this statement.
"Webster's view of the world is utterly bleak." Use your knowledge of three specific episodes in 'The Duchess of Malfi' to discuss this statement. Like other tragedies, 'The Duchess of Malfi' is abundant in exploring darker and more unpleasant elements such as death and murder. Additionally, Webster portrays a variety of these themes including secrecy, deceit, and the general corruption of society; these are contrasted with themes such as love, honesty and courage, and thus all of the elements are highlighted as they complement each other. Webster's view of the world may be considered as "utterly bleak" on account of this wide variety of negative themes which are powerful enough on their own, and how they all contribute to the destruction of the little good that there is in Malfi. Moreover, the language and actions carried out by many of the characters are particularly graphic and at some times even morbid and unnerving. It has often been said that Webster uses Bosola as the narrator to the audience; a commentator giving his opinion on certain situations and his view of the world as a whole. This can be seen through his frequent descriptions of what he sees as the deeper meaning of the situations that are occurring on the surface. "And though continually we bear about us A rotten and dead body, we delight To hide it in rich tissue." Bosola generally has a very cynical
IT HAS BEEN SAID THAT THE WHITE DEVIL IS BLOODY AND FULL OF HORROR. IS THE WHITE DEVIL ANYTHING MORE THAN A HORROR STORY?
IT HAS BEEN SAID THAT 'THE WHITE DEVIL' IS 'BLOODY AND FULL OF HORROR'. IS 'THE WHITE DEVIL' ANYTHING MORE THAN A HORROR STORY? When considering the above statement, it must be acknowledged that 'The White Devil' does indeed contain many instances of graphic violence, which serve to shock the audience. However, to assume that this means that the play is nothing more than a 'horror story', that Webster's incorporation of bloody horror constitutes nothing more than sensationalist shock, would be reductionist. The play provides a dramatic insight into the corruption of the social elites and of the Catholic Church, with both the physical violence and violent imagery therein contributing to this overarching theme rather than standing alone as a kind of exercise in mindless bloody horror, as the view in the title would seem to suggest. Despite the shortcomings of the given view, the quote it is derived from is fairly valid; there is no escaping the fact that 'The White Devil' is "bloody and full of horror". Indeed, the quote appears to have come from the lips of Gasparo, a minor character in the play, who states that Lodovico has "acted certain murders here in Rome, bloody and full of horror" in the opening scene of the play. From the offset, then, Webster leaves no doubt that the goings-on in the play are bloody and horrible. However, the fact that the audience learns of