“Sir, shall I ask you a question?
Ay, pray thee, Cariola.
Wherefore still, when you lie with my lady,
Do you rise so early?”
The fact that Cariola feels comfortable enough to ask such questions, and be so involved in their reserved discussions also emphasises the strength of her relationship with the Duchess, as well as her loyalty which is further demonstrated later on in the play. Moreover, the relationships built on love and trust between these three characters is a direct contrast from the usual corrupt dishonesties between the other characters. The crooked ambience throughout the rest of the play is later on emphasised through the deaths of these three characters, and how they envision the goodness of love and trust, but are ultimately victims to the malevolence of their society.
Ironically, just as Antonio and the Duchess discuss as to whom “rules the night”, the Duchess is shortly going to take control of the situation. The unusually forward and confident nature of the Duchess which has been demonstrated previously in the play with her advances on Antonio, and the way in which she upholds and defends her personal entitlements to her brothers, is once again tested through her argument with Ferdinand.
“For know, whether I am doom’d to live or die,
I can do both like a prince.”
This is another example of the Duchess’ self-security, as she proves to her brother that he shows her no fear, even though he had surprised her with his sudden entrance. Furthermore, the theme of female empowerment is once again displayed, as she describes her abilities to be “as good as a prince”, showing that she chooses to overlook gender discriminations and differences, whereas others choose to enforce them.
Ferdinand is clearly in a state of great anger and hatred towards the Duchess, and he dismisses everything she says as inadequate and unjust.
“Sir- -
Do not speak.
I pray, sir, hear me: I am married- -
So.”
Ferdinand’s anger is unsurprising, as he has been tormented for several years as to the knowledge of who is fathering her children, something which he finds unacceptable. Even though he is angry at the Duchess, and he wishes her dead, he does not attempt to kill her himself, but suggests she should do it.
“Die then quickly.”
This suggests that although he is more troubled with the reputation of the family, his true fraternal concerns for her overcomes him, making him unable to harm her.
Still, the Duchess is persistent in defending herself, but realises that she must appease Ferdinand with something he wants to hear, in order for him to accept anything she has to say.
“I pray sir, hear me: I am married- -
Happily, not to your liking: but for that,
Alas, your shears do come untimely now
To clip the bird’s wings, that’s already flown!”
As she finds that Ferdinand remains dissatisfied with her attempt to compromise, she continues to justify her actions, only angering him more so.
“You are in this
Too strict; and were you not my princely brother,
I would say, too wilful. My reputation
Is safe.
Dost thou know what reputation is?”
This begins an extensive speech by Ferdinand, as he attempts to convince the Duchess that she is wrong, and that her actions are reconcilable. This is yet another way in which John Webster creates a sense of exactly how corrupt Malfi is, and that the characters are so consumed with their own issues, that they prioritise things such as trivial reputation over human emotion.
“You have shook hands with Reputation,
And made him invisible.”
The way in which Ferdinand personifies reputation as if “he” were a person also reinforces the idea that reputation itself is of equal, if not more importance than another human, let alone his own sister.
The themes that Webster explores particularly in this scene, are those which are apparent throughout the entire play, but are certainly highlighted in this particular instance. Firstly, the Duchess’ assertive nature exploring the social discriminations posed against women, and how she combats them was highly unusual in those times. Her evident dominance in her relationship with Antonio (which she initially instigated), and her constant persistence to prove to her brothers that she should be allowed to make her own decisions, even in the face of death, would today be considered as highly admirable. All of her self-assurance and personality is summed up in her most famous sentence,
“I am Duchess of Malfi still.”
Secondly, the corruption of Malfi is certainly highlighted through Ferdinand’s attempts to convince the Duchess that whatever feelings she may have for Antonio, they should come second to the reputation of the family, and how they are perceived by society. Ferdinand’s inability to comprehend why the Duchess would think any other way emphasises how he makes up just part of the immorally consumed society.
The overall balance of the scene is clearly distinguished into two parts, which are both equally powerful in the themes that they both represent. The first half representing the immensely strong love between the Duchess and Antonio, and the second half representing the hatred which the Duchess is subject to from Ferdinand, and subsequently this contrast helps to highlight each theme further, as they both complement each other.
The scene as a whole is vital to the plot development, as well as character exposition, especially in terms of their relationships. So far in the play, never has love or hate been so intense between any of the characters, which is an important part of character revelation in terms of the audience. This turning point also acts as a major instigator for further actions to be taken, thus creating the question of the characters’ destinies, and which will ultimately triumph and – love or hate?
