The Duchess of Malfi

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conversation, stepping to the background to watch as Bosola angrily tries to gain the Cardinal's pardon, speaking of the time he has spent in the galleys in penal servitude, and in the service of the Cardinal. Bosola declares that he is surely done with service, but the Cardinal is not interested in Bosola's new merit and takes his leave. Bosola compares himself to Tantalus, never able to acquire the thing he most desires, like an injured soldier who can only depend on his crutches for support of any kind. When he leaves, Antonio and Delio comment on his past offence, and how he will surely come to no good if he is kept in neglect. Ferdinand comes into the palace, talking to his courtiers about a tournament that Antonio has just won. When the Cardinal, Duchess, and Cariola enter to speak with Ferdinand, Antonio and Delio have a moment to themselves to discuss the Cardinal's character; he is found to be a very dishonest, disagreeable person, as is his brother, Ferdinand. Only their sister, the Duchess, earns the approval of everyone, a very pleasant and gracious woman. After the two gentlemen leave, Ferdinand petitions his sister to make Bosola the manager of her horses; when everyone else leaves, Ferdinand and the Cardinal reveal that it is because Bosola is to spy on their sister. When Bosola is brought in and made aware of this plan, he at first refuses, but ultimately is given no choice. The Cardinal and Ferdinand then turn their attention to their sister, urging her not to marry again, now that she is a widow, going so far as to threaten her with death, in Ferdinand's case. She refuses to be bullied, and once her brothers are out of sight, she proposes to Antonio by giving him her wedding ring. Having Cariola, the Duchess's maid, as their witness, this private ceremony is legally binding and the Duchess and Antonio become husband and wife.

587:: a condition whereby he believes he is a wolf. The doctor thinks there is a chance of a relapse, in which case Ferdinand's diseased behaviour would return; namely, digging up dead bodies at night. Pescara and the doctor make way for the mad Ferdinand, who attacks his own shadow. The Cardinal, who has entered with Ferdinand, manages to catch Bosola, who has been watching Ferdinand's ravings. The Cardinal assigns Bosola to seek out Antonio (by following Delio) and then slay him. After the Cardinal leaves, Bosola does not even make it to the door before he is stopped by Julia, who is brandishing a pistol. She accuses him of having given her a love potion, and threatens to kill him to end her love. Bosola manages to disarm her and convince her to gather intelligence for him about the Cardinal. Bosola then hides while Julia uses all of her persuasive powers to get the Cardinal to reveal his part in the death of his sister and her children. The Cardinal then makes Julia swear to keep silent, forcing her to kiss the poisoned cover of a bible, causing her to die almost instantly. Bosola comes out of hiding to confront the Cardinal, although he declares that he still intends to kill Antonio. Giving him a master key, the Cardinal takes his leave. However, once he is alone, Bosola swears to protect Antonio, and goes off to bury Julia's body. 542:

sneaks in and startles her. He gives her a knife, intending her to kill herself, and his fury increases when she tells him she is married without his knowledge. Ferdinand leaves, declaring he will never see her again. He exits just in time, for Antonio bursts in brandishing a pistol, but the Duchess forces him to leave again when Bosola knocks at the door. Bosola informs the Duchess that Ferdinand has left for Rome again, and she tells him that Ferdinand's bills of exchange (he has so far dealt with her accounts) will no longer work, since Antonio has been false with her accounts. This is, of course, a trick to get Antonio out of Malfi; she calls Antonio back in (once Bosola exits) to tell him to flee to Ancona, where she will send him all her treasure and valuables. The couple puts on a show argument for the benefit of the returning Bosola and officers, where she criticises his faulty record keeping and banishes him. Bosola does not believe the Duchess was justified in banishing Antonio, and tells her that Antonio is a good, honest man. This speech prompts the Duchess to confide the secret marriage to Bosola. He is then left on stage to lament his role as a spy, for now he must reveal all to Ferdinand.

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sneaks in with them, disguised as an old man, and tells the Duchess that he is there to make her tomb. When she tries to pull rank on him, executioners with cords and a coffin come in. Cariola is removed from the room, leaving Bosola and the executioners with the Duchess. The Duchess makes a brave show, telling the executioners to "pull, and pull strongly", welcoming her strangulation. Cariola is brought back, and after struggling fiercely, she too is strangled. Ferdinand comes to view the scene, and is also shown the bodies of his sister's children, who were murdered as well. Ferdinand reveals that he and the Duchess were twins, and that he had hoped, if she had remained a widow, to inherit all her wealth. Bosola, sensing that Ferdinand is ready to turn on him next, demands payment for his atrocities. Ferdinand, distracted, leaves him alone with the bodies. Astonishingly, the Duchess is not dead. A shocked Bosola has no time to call for medicine; he manages to tell the Duchess that Antonio is not really dead; that the figures she saw were fake, before she finally dies. Bosola, remorseful at last, takes her body to the care of some good women, planning to leave immediately thereafter for Milan.

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in a position of power, she is expected to hold the throne and obey the patriarchal figures in the court, specifically her two brothers, the Cardinal and Ferdinand. The Cardinal and Ferdinand are in line to receive the inheritance if the Duchess does not have any children, so controlling her sexual affairs becomes their singular focus. Rather than respecting her autonomy and wishes, they aim to control her sexuality and diminish her independence. In Act I, Scene I, Ferdinand makes this clear when he states, "Nay, / I mean the tongue: variety of courtship. / What cannot a neat knave with a smooth tale / Make a woman believe? Farewell, lusty widow" (1.1.247–250). He is solely focused on preserving her chastity, so he views her as an object, rather than a human being. The continued objectification of the Duchess from her brothers conveys males' perceived ability to control a woman's body in the society of the 16th century.

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remarried. Her assertion of her freedom of choice is best illustrated in her soliloquy following her conversation with her brothers when they strictly advise her to not even think about remarrying. Immediately after telling her brothers that she will never remarry, she says to herself: "If all my royal kindred / Lay in my way unto this marriage, / I'd make them my low foot-steps." The central conflict of the play involves the Duchess' desire to marry for love and her brothers' desire to prevent her from remarrying (either to inherit her estate and control her choices, or perhaps out of Ferdinand's potentially incestuous love for his sister). Throughout, she refuses to submit to her brothers' attempts at control and even asserts her identity and self-control at the moment of her death, announcing "I am Duchess of Malfi still" (4.2).

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her that her brother wishes to speak with her, but will not do so where he can see her. She agrees to meet with her brother in the darkness. Once the lights are out, Ferdinand returns. He presents her with a dead man's hand, leading her to believe that it is Antonio's, with her wedding ring on it. He then exits, leaving Bosola to show the Duchess lifelike figures of her husband and children, made to appear as though her family was dead. The Duchess believes them to be the genuine articles, and resolves to die—her despair is so deep it affects Bosola. When she leaves, Ferdinand re-enters; Bosola pleads with him to send his sister to a convent, refusing to be a part of the plot any more. Ferdinand is beyond reason at this point, and tells Bosola to go to Milan to find the real Antonio.

1034:, an acting group to which Shakespeare belonged. The printer was Nicholas Okes and the publisher was John Waterson. However, the play was not printed in quarto (a smaller, less expensive edition than the larger folio) until 1623. The title page of this particular edition tells us that the play was printed privately. The title page also informs readers that the play text includes numerous passages that were cut for performance. The 1623 quarto is the only substantive version of the play in circulation today, and modern editions and productions are based on it. Notable is that, on the title page of the 1623 quarto, a clear distinction is drawn between the play in performance and the play as a text to be read. 834:

to seal my peace with you. / Here's a hand, / To which you have vowed much love. / The ring upon't / You gave"(4.1 42–44). In the darkness, the Duchess thinks that Ferdinand is asking for her forgiveness when he reaches out his hand, and so she kisses it; when the lights come on she sees the dead bodies of her husband and children, and believes she just kissed her husband's severed hand. But in reality, Ferdinand used wax figures to trick her into thinking her family is dead. This deception and cruelty cause the Duchess physical and emotional torment throughout the play. At the end of the play, the Duchess is strangled at the request of her brothers.

254:– The protagonist, sister to Ferdinand and the Cardinal. At the beginning she is a widow whose brothers take every precaution to keep from marriage, though later she secretly marries Antonio, and for this her brothers arrange to have her strangled. She is described as having a sweet countenance and noble virtue, unlike her brothers. She is also witty and clever, helping her keep up with her brothers' banter, and has a tenderness and warmth which they lack. She has three children, two sons and a daughter by Antonio. (There is an inconsistency surrounding earlier children by her deceased husband, put down to a careless mistake by Webster.) Based on 511:

that no amount of make-up would help. He also accuses her of being too like a witch; the old lady and Castruchio leave Bosola alone to muse on the mysterious way the Duchess is acting of late. He believes she is pregnant (no one but Delio and Cariola know that the Duchess and Antonio are married), and aims to prove it by using apricots both to spark her pregnant appetite and to induce labour, as apricots were believed to do. The Duchess, when she enters, accepts the fruit from Bosola, and quickly starts going into labour. She then retires to her chamber claiming to be ill, with a worried Antonio following in her wake.

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previous scene, while they can hear him calling, have no desire to go to his aid (because of his previous order to not at any cost try to help Ferdinand). Bosola kills the servant of the Cardinal first, and then stabs the Cardinal. Ferdinand bursts in, also attacking his brother; in the fight, he accidentally wounds Bosola. Bosola kills Ferdinand, and is left with the dying Cardinal. The gentlemen who heard the cries now enter the room to witness the deaths of the Cardinal and Bosola. Delio enters too late with Antonio's eldest son, and laments the unfortunate events that have passed.

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Julia presents Pescara with a letter from the Cardinal, which states that she should receive Antonio's property, and which Pescara grants to her. When Delio confronts him about this, Pescara says that he would not give an innocent man a property that was taken from someone by such vile means (the Cardinal took the property for himself once Antonio was banished), for it will now become an appropriate place for the Cardinal's mistress. This statement impresses the hidden Antonio. When Pescara leaves to visit an ill Ferdinand, Antonio decides to pay a night-time visit to the Cardinal.

279:– A former servant of the Cardinal, now returned from a sentence in the galleys for murder. Publicly rejected by his previous employer the Cardinal, he is sent by Ferdinand to spy on the Duchess as her Provisor of Horse. (Ferdinand hopes to keep her away from marriage.) Bosola is involved in the murder of the Duchess, her children, Cariola, Antonio, the Cardinal, Ferdinand, and a servant. Witnessing the nobility of the Duchess and Antonio facing their deaths, he finally feels guilty, and seeks to avenge them. This change of heart makes him the play's most complex character. A 414:. She will join them later, while pretending to make a pilgrimage to a nearby town. The Cardinal hears of the plan, instructs Bosola to banish the two lovers, and sends soldiers to capture them. Antonio escapes with their eldest son, but the Duchess, her maid, and her two younger children are returned to Malfi and die at the hands of Bosola's executioners, who are under Ferdinand's orders. This experience leads Bosola to turn against the brothers, and he decides to take up the cause of "revenge for the Duchess of Malfi" (5.2). 263:– Antonio returned from France, full of scorn for the Italian courtiers whom he sees as more corrupt than the French. Antonio is the steward of the Duchess of Malfi's palace. His honesty and good judgment of character are traits well known to the other characters. He accepts the Duchess' proposal of marriage because of her disposition rather than her beauty. Her marrying beneath her status is a problem, however, and their marriage has to remain a secret, as Antonio shares neither her title nor her money. 538:

tells him the ordinary people think the Duchess is a whore. While they talk, the Duchess and Ferdinand enter. He tells her that he has found a husband for her, the Count Malateste. She disregards this, as she is already married (still secretly of course) to Antonio. When left alone, Ferdinand consults with Bosola to discover the father of the three seemingly illegitimate children; Bosola has acquired a skeleton key to the Duchess's room, which Ferdinand takes, telling him to guess what will happen next.

38: 406:), Italy, from 1504 to 1510. The recently widowed Duchess falls in love with Antonio, a lowly steward. Her brothers, Ferdinand and the Cardinal, forbid her from remarrying, seeking to defend their inheritance and desperate to avoid a degrading association with a social inferior. Suspicious of her, they hire Bosola to spy on her. She elopes with Antonio and bears him three children secretly. Bosola eventually discovers that the Duchess is pregnant but does not know who the father is. 595:

unwillingly exit, and Bosola enters to find the Cardinal planning to have him killed. Antonio, unaware of Bosola, sneaks in while it is dark, planning to seek audience with the Cardinal. Not realising who has entered, Bosola attacks Antonio; he is horrified to see his mistake. He manages to relate the death of the Duchess and children to the dying Antonio, who is glad to be dying in sadness, now that life is pointless for him. Bosola then leaves to bring down the Cardinal.

998:, were lavishly entertained by a subsequent Duchess of Malfi and her son, Innico, in the Castello di Amalfi in 1550. Hoby was clearly very impressed by the decor, by implication superior to what he was used to in England, describing the chamber in which they were accommodated as: 'hanged with clothe of gold and vellett, wherein were two beddes, th'one of silver worke and the other of vellett, with pillowes bolsters and the shetes curiouslie wrowght with needle worke.' 3230: 1810: 1602: 1048: 891: 757: 660: 3218: 3047: 1010:: This was the Jacobean era, and Renaissance clothing, often hand-me-downs from noble patrons, would have been appropriate during this time. Especially since this play takes place among wealthy, prestigious characters who belong to The Royal Court, there would have been long dresses with elaborate sleeves and headpieces for most female characters, and doublets for most of the men as a general rule. Men would wear 440: 990:: As this play would have first been produced in the Globe, the set would probably been a bare stage with movable set pieces such as tables, stools, beds, hangings, and altars, all of which would have been stock pieces used in every show. Props would also have been minimal, with essentials like swords, pistols, and candles, and dummies. The traveller and future translator of Castiglione's 1022:, deep purple was restricted to the nobility of the times. During this period, and until the Restoration (1660) women were not generally accepted on stage. Because of this, the roles of women were played by apprentice boys or the younger men. Padding would be built into their costumes, their heads would be adorned with wigs, and extra make-up would be applied to their faces. 546:

considering him too cowardly to fight in an upcoming battle. Bosola, meanwhile, interrupts the Cardinal's private conference with news of his sister. The Cardinal leaves to petition for her and her family's exile from Ancona, while Bosola goes to tell the Duchess's first child (from her first husband) what has happened with his mother. Ferdinand goes to find Antonio.

637:, was a powerful cardinal under Pope Julius II. Bandello says that the brothers arranged the kidnapping of the Duchess, her maid, and two of her three children by Antonio, all of whom were then murdered. Antonio, unaware of their fate, escaped to Milan with his oldest son, where he was later assassinated by a gang led by one Daniele Bozzolo. 843:

to dismantle her marriage to Antonio while disapproving of their sister's love life. Ferdinand is particularly obsessed with the idea of inheriting the fortune to which his sister is entitled, because it would protect his social and financial status. Ultimately the Duchess is put to death for remarrying into a lower class.

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The Duchess is often criticised (Clifford Leech condemned her for her 'irresponsible overturning of a social code') for stepping out of the societal expectations of a widow in sixteenth century England. As a widow, the Duchess gains a new power and independence, which angers her brothers. As a female

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The spring in his face is nothing but the engend'ring of toads; where he is jealous of any man, he lays worse plot for them than ever was impos'd on Hercules, for he strews in his way flatterers, panders, intelligencers, atheists, and a thousand such political monsters. He should have been Pope; but

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Scene 2—Same place and time as the previous scene: The Duchess and her maid, Cariola, come back, distracted by the noises being made by a group of madmen (Ferdinand brought them in to terrorise her). A servant tells her that they were brought for sport, and lets in several of the madmen. Bosola, too,

510:

Scene 1—The Duchess's palace in Malfi, nine months later: Bosola and Castruchio enter, Bosola criticising his companion's appearance, and telling him that he would make a ridiculous judge. When an old woman intrudes on their conversation, Bosola's insults turn on her, calling her hideous to the point

842:

The Duchess argues that high class is not an indicator of a good man. At the time, Italy was moving into capitalism and one no longer needed to be born into wealth to obtain it. Though the Duchess and her brothers are aware of this, her brothers, concerned with wealth and honour, nevertheless strive

564:

Scene 1—A prison (or the Duchess's lodgings serving as a prison) near Loreto: Ferdinand comes in with Bosola, who is describing to him how the Duchess is dealing with her imprisonment. It seems she is not affected to Ferdinand's satisfaction, and he leaves angrily. Bosola greets the Duchess, telling

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Scene 5—Rome, in Ferdinand's private apartments: An enraged Ferdinand, with the letter from Bosola, and his brother the Cardinal, meet to discuss what they think is an awful treachery by their sister. Ferdinand is angry to the point of shouting about his sister's "whorish" behaviour (he knows of the

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Scene 3—Same place and time as the previous scene: Bosola re-enters the now empty room, having heard a woman (the Duchess) shriek. Antonio discovers him and questions his purpose in being there, since everyone had been commanded to keep to their rooms. Antonio tells him to stay away from the Duchess

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Scene 2—Same place and time as the previous scene: Bosola, alone, realises that the Duchess is indeed pregnant. After accosting the hapless old lady again, he watches as Antonio and the servants in a commotion about a Swiss mercenary who had invaded the Duchess's room, and the loss of several jewels

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The conclusion is controversial for some readers because they find reason to believe the inheriting son is not the rightful heir of the Duchess. The play briefly mentions a son who is the product of her first marriage and would therefore have a stronger claim to the duchy. Other scholars believe the

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In 2010, the production was staged for Stage on Screen at the Greenwich Theatre, London. It was directed by Elizabeth Freestone and starred Aislin McGuckin in a production that set the play in the first half of the twentieth century. In The Guardian, the reviewer noted that 'Much of the pleasure of

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The relationship between the Duchess and her brothers is rooted in cruelty. The brothers often try to manipulate her and drive her mad. This cruelty is first evident when the Cardinal and Ferdinand lock the Duchess in her own home. Ferdinand deceives the Duchess into thinking that he cares: "I come

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The brothers repeatedly abuse their power. Ferdinand is caught committing adultery but is not punished. The Cardinal abuses his ecclesiastical powers to have Antonio's property confiscated and to have the Duchess and her family banished from the state of Ancona. Ferdinand and the Cardinal order the

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The Cardinal gambles, keeps the wife of one of his courtiers as a mistress, and fights duels. Conspiracy and intrigue are the air he breathes. Duke Ferdinand is his brother's willing conspirator in villainy, and at times his rages shock even the Cardinal's sense of decorum. The Duke's corruption in

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Webster's play follows this story fairly faithfully, but departs from the source material by depicting Bozzolo as a conflicted figure who repents, kills Antonio by mistake, then turns on the brothers killing them both. In fact the brothers were never accused of the crime in their lifetimes and died

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Scene 5—The same apartments, near Julia's lodging: The Cardinal, unaware of what has just happened, is reading a book when Bosola enters with a servant, who is bearing Antonio's body. He threatens the Cardinal, who calls for help. Help is not forthcoming, for the gentlemen from the beginning of the

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Scene 4—The Cardinal's apartments in Milan: The Cardinal enters, trying to dissuade Pescara, Malateste, Roderigo and Grisolan from staying to keep watch over Ferdinand. He goes so far as to say that he might feign mad fits to test their obedience; if they come to help, they will be in trouble. They

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Scene 1—Outside Ferdinand and the Cardinal's palace in Milan: Antonio returns to see if he can reconcile with Ferdinand and the Cardinal, but Delio is dubious as to the wisdom of this. Delio asks Pescara, a marquis, to give him possession of Antonio's estate for safekeeping, but Pescara denies him.

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was perhaps the first to note that the play struck an audience differently in the wake of the revelation of the Holocaust; this note is, from 1945 on, continually struck in discussions of the appropriateness of Webster for the modern age. A 1946 production on Broadway did not fare as well; Rylands

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Act V, Scene iii, features an important theatrical device, echo, which seems to emanate from the grave of the Duchess, in her voice. In its totality, it reads: "Deadly accent. A thing of sorrow. That suits it best. Ay, wife's voice. Be mindful of thy safety. O fly your fate. Thou art a dead thing.

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A vein of corruption runs throughout the play, notably in the character of the deadly Cardinal, a man ready to employ lesser beings (such as Bosola) to commit murders for him, then cast them aside as rotten fruit. He is no stranger to murder himself, however, as he slays his own mistress by making

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Scene 5—Near Loreto: The newly banished family, and the maid Cariola, enter Loreto. Shortly after their arrival, Bosola comes and presents the Duchess with a letter from Ferdinand, which indirectly states that Ferdinand wants Antonio dead. Antonio tells Bosola that he will not go to Ferdinand, and

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Scene 4—The Cardinal's rooms: The Cardinal and his mistress, Julia, are discussing their rendezvous when a messenger calls the Cardinal away with an important message. Delio enters to find Julia alone. He was once a suitor of hers and offers her money. Julia leaves to meet her husband, Castruccio,

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The Cardinal confesses his part in the killing of the Duchess to his mistress, Julia, then murders her with a poisoned Bible. Bosola overhears the Cardinal plotting to kill him, so he visits the darkened chapel to kill the Cardinal at his prayers. Instead, he mistakenly kills Antonio, who has just

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Ferdinand, shown by now to be a depraved lunatic, threatens and disowns the Duchess. In an attempt to escape, she and Antonio concoct a story that Antonio has swindled her out of her fortune and must flee into exile. The Duchess takes Bosola into her confidence, unaware that he is Ferdinand's spy,

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and twin brother of the Duchess. Unlike his rational brother the Cardinal, Ferdinand has rages and violent outbursts disproportionate to the perceived offence. As a result of his regret for hiring Bosola to kill the Duchess, he gradually loses his sanity—he believes he is a wolf and digs up graves

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Scene 1—The Duchess's palace in Malfi, after some time has passed: Antonio greets the returning Delio, who has come from Rome with Ferdinand. Antonio reveals that the Duchess has had two more children in the time Delio was gone. Antonio fears the wrath of the recently arrived Ferdinand, and Delio

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Scene 4—The shrine of Our Lady of Loreto, Italy, in the Ancona province: Two pilgrims are visiting the shrine in Ancona, and witness the Cardinal being symbolically prepared for war. The Cardinal then proceeds to take the Duchess's wedding ring, banish her, Antonio, and their children, while the

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Scene 2—The Duchess's bedchamber: Antonio comes up to the Duchess's bedroom to spend the night, and they banter back and forth about the point of lovers just sleeping together. Antonio and Cariola leave to allow the Duchess to complete her night-time preparations, but she is not alone; Ferdinand

2160:. The first part of the collection was a long poem for a friend who had died young, and the collection also features love poems about unattainable and beautiful women; the title of the book combined both themes, having been taken from the line: "Cover her face; mine eyes dazzle; she died young". 817:

The ideal quality her brothers would foist on the Duchess is that of being submissive to (their) male control, though ironically widowhood was often the first time women might be independent of the control of husbands or male relatives. However, the Duchess went against her brothers' wishes and

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scene, in which a song is sung in honour of the Cardinal, who gives up his robes and invests himself with the attire of a soldier, and then performs the act of banishing the Duchess. The whole scene is commented upon by two pilgrims, who condemn the harsh behaviour of the Cardinal towards the

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Scene 3—A room in a palace at Rome: The Cardinal, Ferdinand, Malateste, Pescara, Silvio and Delio are discussing the new fortifications that are being made in Naples. Ferdinand and his men, leaving the Cardinal and Malateste to speak privately, are very harsh in their critique of Malateste,

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Scene 1—The Duchess's palace in Malfi: Antonio and Delio are discussing the former's return from France, and discussing how the French king runs his court, comparing it to an easily poisoned fountain. They are interrupted by the entry of Bosola and the Cardinal. Antonio and Delio hold their

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who keeps a mistress. He has arranged a spy (Bosola) to spy upon his sister – all this on the quiet, however, leaving others ignorant of his plotting. Of remorse, love, loyalty, or even greed, he knows nothing, and his reasons for hating his sister are a mystery. (Historically, his name was

3050: 1461:. The staging was highly stylised, the scenic backdrop segmented, and the actors' movements tightly controlled. The result, as Jarka Burian noted, was "a unified, consistent mise-en-scene...without enough inner turbulence to create a completely satisfying theatre experience." 590:

Scene 3—A courtyard outside the same palace: Delio and Antonio are near the Duchess's tomb; as they talk, an echo from the tomb mirrors their conversation. Delio leaves to find Antonio's eldest son, and Antonio leaves to escape the distressing echo of his wife's resting

273:'s self-depiction under this name, his purpose is to be the sounding board for his friend Antonio. Because he asks so many pertinent questions, he serves as a source of important information to the audience, and is privy to the secrets of Antonio's marriage and children. 1553:

as Bosola. It was the first production performed in the Globe's Sam Wanamaker Playhouse. The production was filmed and broadcast on BBC4 on 25 May 2014. This production coincided with a representation of the aforementioned Theobald text of 1736 as part of the Globe's

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the end destroys his sanity: incestuous desire for his own sister. Realizing she has married and borne children by Antonio, his rage drives him to do everything in his power to bring his sister to despair, madness and death, but in the end he is driven mad himself.

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The play begins as a love story, when the Duchess marries beneath her class, and ends as a nightmarish tragedy as her two brothers undertake their revenge, destroying themselves in the process. Jacobean drama continued the trend of stage violence and horror set by

1004:: Lighting for a theatre like the Globe is completely dependent upon the sun. Performances would occur in the afternoon so as to see the performers, since no other sources of lighting were accessible. However, indoor playhouses would have been lit with candles. 2309:

Matteo Bandello, «Il signor Antonio Bologna sposa la duchessa di Malfi e tutti dui sono ammazzati», Novelle, Novella XXVI. In: La prima parte de le novelle del Bandello. Tomo secondo, Londra: presso Riccardo Bancker (i.e. Livorno: Tommaso Masi), 1791, pp. 212

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Antonio's elder son by the Duchess appears in the final scene and takes his place as the heir to the Malfi fortune. The son's decision is in spite of his father's explicit wish that he "fly the court of princes", a corrupt and increasingly deadly environment.

364:– The Duchess's waiting-woman who is privy to her secrets. She witnesses the Duchess's wedding and delivers her children. She dies tragically by strangling following the murder of the Duchess and the youngest children. Her name plays on the Italian 1100:

The play was written for and performed by the King's Men in 1613 or 1614. The double cast lists included in the 1623 quarto suggest a revival around 1619. Contemporary reference also indicated that the play was performed in 1618, for in that year

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in 1892, with Mary Rorke as the Duchess and Murray Carson as Bosola. Poel's playscript followed Webster's text closely apart from scene rearrangements; however, reaction had set in, and the production received generally scathing reviews.

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since he doesn't trust Bosola. In Antonio's agitation, he accidentally drops a horoscope for his son's birth, which Bosola retrieves. He realises what it means, and resolves to send it to the Duchess's brothers with Castruccio.

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and gold utensils. Even with all the uproar, Antonio is not distracted from his wife's "illness"; she is actually in labour. Cariola, the lady's maid, enters with good news once Antonio is alone—he is the father of a son.

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the Duchess urges him to take the oldest child and go to Milan to find safety, which he promptly does. Bosola and masked guards then take the Duchess and her remaining children captive, on the orders of her brothers.

2086:(1958), the character Cully quotes from the play: "Why, but two nights since, one met the duke 'bout midnight in a lane behind Saint Mark's Church, with the leg of a man upon his shoulder: and he howled fearfully." 632:

in Milan before his assassination. He recounted the story of Antonio's secret marriage to Giovanna after the death of her first husband, stating that it brought down the wrath of her two brothers, one of whom,

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Never see her more." The echo repeats the last words of what Antonio and Delio speak, but is selective. It adds to the sense of the inevitability of Antonio's death, while highlighting the role of fate.

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instead of coming to it by the primitive decency of the church, he did bestow bribes so largely and so impudently as if he would have carried it away without heaven's knowledge. Some good he hath done.

380:– A hanger-on at the Cardinal's court. The name means 'headache'. Referred to as a "mere stick of sugar candy" by the Duchess, he is yet another interchangeable courtier serving the sycophantic court. 1195:

on the play, for instance by eliminating the Duchess's child and preserving the Duchess at the end. By mid-century, the play had fallen, with Webster, out of the repertory, where it stayed until the

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child, but not of the marriage), and the Cardinal struggles to control his brother's temperamental outburst. Ferdinand resolves to discover the man his sister is seeing, threatening all and sundry.

1237:." These would become the cornerstones of criticisms of Webster for the next century. Still, the play was popular enough for Glyn to revive her performance periodically for the next two decades. 2849: 1274:

as the Duchess; Robert Farquharson played Ferdinand. The production was widely disparaged. For many of the newspaper critics, the failure indicated that Webster had become a "curio";

1233:, however, registered disapproval of the play's violence and what he termed its shoddy construction: "Instead of 'holding the mirror up to nature,' this drama holds the mirror up to 418:

returned to Malfi to attempt a reconciliation with the Cardinal. Bosola then stabs the Cardinal, who dies. In the brawl that follows, Ferdinand and Bosola stab each other to death.

2106:, most notably the line "hairy on the inside", but also "the howling of the wolf is music to the screech-owl", and "I'll go hunt the badger by owl-light. 'Tis a deed of darkness." 2377: 821:

The internal struggle faced by the Duchess when fighting her brothers and hiding her marriage was all part of Webster's intention to reflect and refer to the Roman paradigms and

454: 2644: 2582: 327:", suggesting impotence. He's the conventional elderly man with a young, unfaithful wife (Julia). He is genial and easygoing, attempting to stay on good terms with all. 1248:

Stark added, in which the Duchess and Ferdinand are reunited in heaven. The most popular American productions, however, were produced by Wilmarth Waller and his wife

1018:, very royal members of The Court might wear doublets and jerkins and both men and women would be able to wear clothing with some type of colour to it. Due to the 283:

and cynic, he makes numerous critical comments on the nature of Renaissance society. (He is based on the historical Daniele de Bozolo, about whom little is known.)

1278:, conversely, argued that the production had failed to uncover the elements that made Webster a great dramatist—specifically his poetry. A 1935 production at the 1267:, England's chief proponent of Ibsen's new drama, took advantage of the occasion to lambast what he saw as the overestimation of Elizabethan theatre in general. 1588:

as the Duchess. This production was a part of the Sam Wanamaker Playhouse 10th Anniversary collection, the 2014 production opening the theatre 10 years prior.

1151:; however, in tone and in some details of staging (particularly the use of special lighting effects) the play is clearly meant primarily for the indoor stage. 1244:

came to the United States. Working with Horne's text, director James Stark staged a production in San Francisco; this version is noteworthy for a sentimental

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Pandey, Nandini B. (1 October 2015). "Medea's Fractured Self on the Jacobean Stage: Webster's Duchess of Malfi as a Case Study in Renaissance Readership".

1909:(initial copyright 1962) uses the first part of the quote as the title and as a comment made by the first witness on the scene of a young murdered woman. 234:. The complexity of some of the play's characters, particularly Bosola and the Duchess, and Webster's poetic language, have led many critics to consider 2181:'s novel "Next Season" a small company is staging a production of The Duchess of Malfi, with the protagonist playing the supporting role of the Doctor. 1341:

adapted Webster's text for the modern audience. However, the production's most notable innovation was in the character of Bosola, which was played by

1507:. The production was staged in a promenade style and performed at a mysterious vacant site at Great Eastern Quay in London's Royal Albert Basin. 2319:

Charles R. Forker, Skull beneath the Skin: The Achievement of John Webster, Southern Illinois University Press, Carbondale, IL., 1986, p.115ff.

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Scene 2—Inside the same palace: Pescara, come to visit Ferdinand, is discussing his condition with the doctor, who believes Ferdinand may have

2850:"Morfydd Clark, Sam Riley & Dominic Cooper Circling 'The Duchess of Malfi' For Guillem Morales, Good Films Collective & WestEnd Films" 2823: 2863: 458: 1426:. This production received excellent notices; it was transferred to London, where it won the London Drama Critic's Award for best play. 2421:

Jankowski, Theodora A. (1990). "Defining/Confining the Duchess: Negotiating the Female Body in John Webster's 'The Duchess of Malfi'".

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DVD – 2010, Stage on Screen, with Aislin McGuckin (Duchess), Tim Treloar (Bosola), Tim Steed (Ferdinand) and Mike Hadfield (Cardinal).

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Hemming, Sue (2010). "'Farewell, lusty widow': Sue Hemming examines the significance of the marital status of the Duchess of Malfi".

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Richard Sharpe played the title role not in the original 1612 production, presumably due to his age, but in the revival of 1619–23.

1155:, a regular composer for Blackfriars, wrote incidental music for the play and composed a setting for the "madmen's song" in Act 4. 955: 255: 199: 2648: 1345:

in whiteface. The production received savage reviews from the popular press, and it fared little better in the literary reviews.

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noted that the audience left "rather with superior smiles than with emotional surrender." In 1938, a production was broadcast on

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in his delirium – "I bade thee when I was distracted of my wits go kill my dearest friend, and thou hast done it", according to

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chose Webster's play as one of their first productions. The production opened in January 1986 in the Lyttelton Theatre of the

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Dowd, Michelle M. (September 2009). "Delinquent Pedigrees: Revision, Lineage, and Spatial Rhetoric in The Duchess of Malfi".

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includes a visit to a performance of the play, where the minor character Moreland is in love with the actress playing Julia.

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There are also minor roles including courtiers, servants, officers, a mistress, the Duchess's children, executioners, etc.

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this revival lies in re-encountering Webster's language...full of savage poetry.' The production is now available on DVD.

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These two perverse villains destroy or poison all that is within their reach, all semblance of warmth or human affection.

3256: 1423: 1117: 3221: 1316:, as Ferdinand, accentuated the element of incestuous passion in that character's treatment of the Duchess (played by 941: 3301: 3296: 3000: 2919: 2127:

Mr. Merryman, a retired school teacher and one of several passengers suspected of being a serial killer, argues that

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In 1919, the Phoenix Society revived the play in London for the first time in two decades. The production featured

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Kathman, David (2004). "Grocers, Goldsmiths, and Drapers: Freemen and Apprentices in the Elizabethan Theater".

1831: 1623: 1069: 912: 782: 685: 3281: 2170:, with its strong theme of theatrical tragedy, features troubled actress Lilith starring in a performance of 629: 211: 2456:

Brückl, O. (March 1965). "Sir Philip Sidney's Arcadia as a Source for John Webster's The Duchess of Malfi".

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By the early eighteenth century, Webster's violence and sexual frankness had gone out of taste. In 1733,

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ambassador to England, complained of the play's treatment of Catholics in the character of the Cardinal.

239: 2705: 374:– Castruchio's wife and the Cardinal's mistress. She dies at the Cardinal's hands from a poisoned Bible. 3105: 3067: 2498:

University, The Open . John Webster, The duchess of malfi . Milton Keynes: Monica Kendall, 1969. Print.

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Published in 1623, the play is loosely based on events that occurred between 1508 and 1513 surrounding

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in 1630; there is little reason to doubt that it was performed intermittently throughout the period.

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put it, "Blood runs right over the footlights, spreads slowly up the aisle and spills well out into

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and Delio fears that her husband's arrival means Antonio's secret marriage is about to be revealed.

1207:. In 1850, after a generation of critical interest and theatrical neglect, the play was staged by 948: 3177: 3153: 2944: 2756: 1930: 1820: 1612: 1581: 1264: 1058: 901: 873:, a religious place, adds to its sharp distinction between good and evil, justice and injustice. 771: 674: 449:

may contain an excessive amount of intricate detail that may interest only a particular audience

3286: 3266: 2122: 2047: 2040: 1667: 1577: 1526: 1515: 1496: 1454: 3085: 3276: 3098: 2438: 2113:, Detective Chief Inspector Barnaby's actress daughter, Cully, rehearses lines from the play. 2093: 1200: 215: 207: 1173:

reports seeing the play several times; it was performed by the Duke of York's company under

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collaborated to stage the production, which had been commissioned by the ENO from composer

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played Bosola. The production received generally favourable but lukewarm reviews. In 1971,

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The Evolution of the Grand Tour: Anglo-Italian Cultural Relations since the Renaissance

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played Ferdinand, casting which highlighted the sexual element of the play's siblings.

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played Forobosco, and Robert Pallant doubled numerous minor roles, including Cariola.

1112:

The quarto's cast list allows more precision about casting than is usually available.

994:, Thomas Hoby, together with his friend Peter Whitehorne, translator of Machiavelli's 3039: 2996: 2966: 2956: 2915: 2875: 2736: 2622: 2551: 2529: 2363: 2296: 2288: 2242: 2178: 2056: 1986: 1938: 1530: 1481: 1334: 1309: 1212: 1192: 2948: 2517: 2465: 2351: 2284: 2219: 2110: 2019: 1473: 1376: 1352:

in 1957. Directed by Jack Landau, who had earlier staged a brief but well-reviewed

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The first successful postwar performance in America was staged at the off-Broadway

1271: 1174: 1163: 309: 2757:"Radio plays drama, BBC, The Duchess of Malfi, by John Webster, DIVERSITY website" 3161: 3025: 2730: 2442: 2014:. The play is abbreviated and made into a 'McMalfi' script by Heathcote Williams. 2003: 1893: 1888: 1869: 1864: 1792: 1745: 1737: 1585: 1511: 1372: 1234: 1204: 1137: 1113: 1102: 1011: 861: 822: 621: 294: 270: 180: 138: 410:

and arranges for him to deliver her jewellery to Antonio at his hiding-place in

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The play makes use of various theatrical devices, some of them derived from

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death of the Duchess without any proper judgement passed by a court of law.

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any relevant information, and removing excessive detail that may be against

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which includes violence and bloodshed on the stage. Act III, Scene IV is a

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The quarto title page announces that the play was performed at both the

2434: 1834: in this section. Unsourced material may be challenged and removed. 1723:

Radio – on BBC Radio 3, 12/10/2008, with Sophie Okonedo as the Duchess.

1709: 1626: in this section. Unsourced material may be challenged and removed. 1400: 1384: 1342: 1283: 1245: 1133: 1125: 1072: in this section. Unsourced material may be challenged and removed. 915: in this section. Unsourced material may be challenged and removed. 280: 120: 42: 2198:

Equestrian steward; one who had the care of providing for her stables.

1030:

The Duchess of Malfi was first performed between 1613 and 1614 by the

2329: 2024: 1963: 1786: 1290:; it was no better received than the previous two stage productions. 1169:

The play remained current through the first part of the Restoration.

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Radio – on BBC Radio 3, 11/07/2021, with Pippa Nixon as the Duchess.

1601: 1047: 890: 756: 659: 3056: 2821: 2002:. The actors playing the Duchess, Antonio and Bosola are played by 1995: 1705:

Radio – In 1988 on Australia's ABC, with Fay Kelton as the Duchess.

1519: 1015: 352: 368:, meaning "trundle-bed", where personal servants would have slept. 2824:"Dylan Thomas Unabridged: The Caedmon Collection [audio]" 2145: 2139: 1480:

played the Duchess and Ferdinand respectively in a production at

124: 2550:. Manchester, England: Manchester University Press. p. 25. 2133: 1883:

as Ferdinand and Donald Burton as Bosola, is shown in the 1987

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in a Victorian castle theatre. The novel takes its title from

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Stage – Upcoming London West End theatre adaptation will star

825:. This is compelled through the Duchess's speech and actions. 1736:

Recording – (full dramatisation) In 1969 by Caedmon starring

1371:

Ashcroft returned as the Duchess in a 1960 production at the

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mention of a prior son is just a careless error in the text.

386:– Sent for to diagnose Ferdinand's madness and his supposed " 156: 1442:

was Antonio. Mirren's performance received special acclaim.

1872:(Williams, Collins Sons & Co Ltd. 1976) uses the lines 869:

Duchess. That the scene is set against the backdrop of the

550:

pilgrims muse over the reason for what they have just seen.

289:– The brother to the Duchess and Ferdinand. A corrupt, icy 152: 1929:'s famous characterisation of Webster's work in his poem ' 2027:, a character that does not want to tell his name quotes 1884: 2671:"BBC Four – the Duchess of Malfi: BBC Arts at the Globe" 2044:, the students produce and rehearse lines from the play. 721:

her kiss a poisoned bible. Antonio describes him thus:

317:). (In reality, his name was Carlo, Marquis of Gerace.) 2597:"Theatre Download | Theatre Play Download Or DVD" 202:(d. 1511), whose father, Enrico d'Aragona, Marquis of 187:

in 1612–1613. It was first performed privately at the

2864:"Cast Announced for The Duchess with Jodie Whittaker" 2328:

Chandra, Sandhita. "Webster and the Social Tragedy."

1970:

as a quote from Lestat to his vampire child, Claudia.

1921:

centres around an aging actress who plans to perform

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In 1937, it was performed in Dublin, Ireland, at the

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in which the names of all the characters are changed

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Inside the Bloody Chamber: Aspects of Angela Carter

2541: 2539: 2572: 1694:Radio – on BBC Third Programme, 16 May 1954, with 747:Status of women and responsibility for the tragedy 2218: 1968:Cover her face. Mine eyes dazzle. She died young, 1682:A Question of Happiness #1: A Question About Hell 3248: 2801:"BBC Radio 3 – Drama on 3, The Duchess of Malfi" 2779:"BBC Radio 3 – Drama on 3, The Duchess of Malfi" 2645:"the duchess of malfi – Sam Wanamaker Playhouse" 2621:. Oldvictheatre.com. 1 June 2013. Archived from 2536: 2344:International Journal of the Classical Tradition 2050:mentioned this play along with John Webster and 1874:Cover her face; mine eyes dazzle; she died young 1982:takes its title from Bosola's line in the play. 1879:A fragment of Scene 2, Act 4 of the play, with 1356:, the production emphasised (and succeeded as) 1329:attempted to duplicate his London staging with 269:– A courtier, who tries to woo Julia. Based on 3086:Summary of John Webster’s The Duchess of Malfi 2941:The Oxford Companion to New Zealand Literature 3106: 2939:. In Robinson, Roger; Wattie, Nelson (eds.). 1729:Recording – (excerpts only) In 1952, read by 1158:The play is known to have been performed for 2677: 2109:In "Death's Shadow," season 2, episode 1 of 2031:The quotation allows Nero Wolfe to find him. 1465:played the Duchess; McKellen played Bosola, 1223:. The production was favourably reviewed by 2489:, 2nd ed., Routledge, 2000, pp. 65–7, 139n. 2226:. Oxford, England: Oxford University Press. 2092:drew inspiration for her werewolf stories, 1219:in the title role. The text was adapted by 785:. Unsourced material may be challenged and 688:. Unsourced material may be challenged and 323:– An old lord. His name plays on the word " 3113: 3099: 2241:. Cambridge, England: Polity. p. 12. 2224:The Oxford Companion to English Literature 2029:Other sins only speak; murder shrieks out. 1469:Ferdinand, and Petherbridge the Cardinal. 36: 3120: 2822:Christopher White and Huw Collingbourne. 2420: 2152:The first collection of New Zealand poet 1850:Learn how and when to remove this message 1677:Television – In 1972, produced by the BBC 1642:Learn how and when to remove this message 1088:Learn how and when to remove this message 975:Learn how and when to remove this message 805:Learn how and when to remove this message 708:Learn how and when to remove this message 481:Learn how and when to remove this message 2909: 2332:. N.p., 25 Oct. 2005. Web. 5 March 2017. 2054:in their song "My White Devil" on their 1708:Radio – on BBC Radio 3, 8/11/1992, with 2990: 2647:. shakespearesglobe.com. Archived from 2507: 2401: 2261:Jack, Ian. "The Case of John Webster." 2222:, ed. (2000). "Duchess of Malfi, The". 402:The play is set in the court of Malfi ( 210:. As in the play, she secretly married 3249: 3217: 2934: 2732:The Grove Dictionary of American Music 2570: 2455: 2341: 1994:involves a film crew trying to make a 1946:is reported to have been quoting from 1936:In the culmination of John le Carré's 1748:as Bosola and Jeremy Brett as Antonio. 3094: 2894: 2723: 2545: 2397: 2395: 2236: 1799: 1691:Audio – In 1980, produced by the BBC. 1312:that at last caught the public mood. 1282:received similarly negative reviews; 880: 855: 256:Giovanna d'Aragona, Duchess of Amalfi 214:after the death of her first husband 200:Giovanna d'Aragona, Duchess of Amalfi 191:, then later to a larger audience at 173:The Tragedy of the Dutchesse of Malfy 21:The Duchess of Malfi (disambiguation) 2953:10.1093/acref/9780195583489.001.0001 2914:. Oberon Books. pp. Chapter 2. 2826:. Greenmanreview.com. Archived from 2619:"the duchess of malfi – The Old Vic" 2274: 1832:adding citations to reliable sources 1803: 1624:adding citations to reliable sources 1595: 1591: 1565:In 2018, a production was staged in 1297:, with incidental music composed by 1070:adding citations to reliable sources 1041: 913:adding citations to reliable sources 884: 783:adding citations to reliable sources 750: 686:adding citations to reliable sources 653: 433: 3073:Web links for Webster and his plays 2571:Wardle, Irving (19 February 1995). 616:(1567), which was a translation of 13: 3063:The Duchess of Malfi 2706:"The Duchess of Malfi | What's On" 2585:from the original on 18 June 2022. 2392: 2330:https://thefablesoup.wordpress.com 1510:From March to June 2012, London's 1424:Royal Exchange Theatre, Manchester 1304:In the aftermath of World War II, 1184:wrote and directed an adaptation, 1025: 846: 608:Webster's principal source was in 14: 3313: 3013: 2036:Oxford University Film Foundation 1754:Television – 2014. BBC, starring 1514:staged a production, directed by 1457:and was directed and designed by 1411:as the Cardinal. Dench's husband 1120:successively played Ferdinand to 1038:Reception and performance history 737: 3228: 3216: 3045: 2759:. Suttonelms.org.uk. 16 May 1954 2574:"The spies who loved each other" 2289:10.1111/j.1475-6757.2009.01055.x 2156:, published in 1950, was titled 2149:is much better than all of them. 1808: 1781:Film – Upcoming film will stars 1600: 1529:staged a production directed by 1445:The actor-centred troupe led by 1046: 889: 755: 658: 438: 238:among the greatest tragedies of 2984: 2928: 2903: 2888: 2856: 2842: 2815: 2793: 2771: 2749: 2698: 2663: 2637: 2611: 2589: 2564: 2501: 2492: 2476: 2449: 2414: 2384:. February 2017. Archived from 2370: 1876:as the novel's central refrain. 1819:needs additional citations for 1611:needs additional citations for 1057:needs additional citations for 900:needs additional citations for 2910:Frayling, Christopher (2016). 2335: 2322: 2313: 2303: 2268: 2255: 2230: 2212: 2192: 1518:and starring, amongst others, 644: 1: 3292:Plays set in the 16th century 2205: 1308:directed a production at the 871:Shrine of Our Lady of Loretto 649: 630:Antonio Beccadelli di Bologna 245: 212:Antonio Beccadelli di Bologna 206:, was an illegitimate son of 183:written by English dramatist 2546:Brown, John Russell (1997). 2277:English Literary Renaissance 2070:A Dance to the Music of Time 463:Knowledge's inclusion policy 16:1612/13 play by John Webster 7: 3055:public domain audiobook at 2852:. Deadline. 27 August 2021. 1663:, staged at Oxford in 1971. 1580:staged a production at the 1375:. The play was directed by 628:(1554). Bandello had known 397: 10: 3318: 3068:Internet Broadway Database 2880:: CS1 maint: url-status ( 2685:"Globe Read Not Dead 2014" 2154:Alistair Te Ariki Campbell 1914:The Skull Beneath the Skin 1403:took the title role, with 1395:directed the play for the 828: 603: 18: 3257:English Renaissance plays 3212: 3186:Anything for a Quiet Life 3132: 2735:. OUP USA. January 2013. 2470:10.1080/00138396508691115 2458:English Studies in Africa 2356:10.1007/s12138-015-0372-4 1571:Royal Shakespeare Company 1422:directed the play at the 1397:Royal Shakespeare Company 240:English renaissance drama 230:, under the influence of 170:(originally published as 144: 134: 116: 106: 95: 87: 63: 53: 35: 30: 3302:Fiction set in the 1510s 3297:Fiction set in the 1500s 2897:The Once and Future King 2185: 2083:The Once and Future King 837: 620:'s French adaptation of 573: 558: 531: 504: 493: 2991:Purcell, Laura (2023). 2945:Oxford University Press 2935:Wattie, Nelson (2006). 2048:Echo & the Bunnymen 1979:The Stars' Tennis Balls 1931:Whispers of Immortality 1582:Sam Wanamaker Playhouse 1430:played the title role; 1258:staged the play at the 618:François de Belleforest 429: 321:Castruchio (Castruccio) 2868:Theatre Tickets London 2781:. BBC. 12 October 2008 2378:"The Duchess of Malfi" 2237:Clark, Sandra (2007). 2123:Singing in the Shrouds 1668:Stephen Douglas Burton 1497:English National Opera 1455:Royal National Theatre 1434:played Ferdinand, and 1105:, the chaplain to the 924:"The Duchess of Malfi" 728: 614:The Palace of Pleasure 3272:Plays by John Webster 2522:10.1353/shq.2004.0049 2510:Shakespeare Quarterly 2388:on 21 September 2015. 2094:The Company of Wolves 1558:series – directed by 1383:played Ferdinand and 723: 216:Alfonso I Piccolomini 208:Ferdinand I of Naples 3282:House of Piccolomini 3194:A Cure for a Cuckold 3178:The Devil's Law Case 3170:The Duchess of Malfi 3079:The Duchess of Malfi 3052:The Duchess of Malfi 3035:The Duchess of Malfi 3021:The Duchess of Malfi 2895:White, T.H. (2016). 2548:The Duchess of Malfi 2423:Studies in Philology 2172:The Duchess of Malfi 2129:The Duchess of Malfi 2104:The Duchess of Malfi 2000:The Duchess of Malfi 1948:The Duchess of Malfi 1923:The Duchess of Malfi 1828:improve this article 1672:The Duchess of Malfi 1661:The Duchess of Malfi 1620:improve this article 1066:improve this article 909:improve this article 779:improve this section 682:improve this section 236:The Duchess of Malfi 167:The Duchess of Malfi 111:Early Modern English 79:The Duchess of Malfi 47:The Duchess of Malfi 31:The Duchess of Malfi 19:For other uses, see 3202:Appius and Virginia 2993:The Whispering Muse 2710:Shakespeare's Globe 2168:The Whispering Muse 2096:and Wolf-Alice, in 1959:Queen of the Damned 1891:'s detective novel 1887:TV film version of 1712:in the title role, 1698:as the Duchess and 1684:, an adaptation by 1674:, completed in 1978 1578:Shakespeare's Globe 1567:Stratford-upon-Avon 1527:Shakespeare's Globe 1478:Simon Russell-Beale 1451:Edward Petherbridge 1221:Richard Henry Horne 1188:; the play imposed 641:of natural causes. 228:Elizabethan tragedy 189:Blackfriars Theatre 100:Blackfriars Theatre 2937:"Mine Eyes Dazzle" 2651:on 2 February 2014 2404:The English Review 2099:The Bloody Chamber 2012:Heathcote Williams 1800:In popular culture 1440:Pete Postlethwaite 1405:Geoffrey Hutchings 1231:George Henry Lewes 881:Historical staging 856:Theatrical devices 3244: 3243: 3040:Project Gutenberg 2962:978-0-1917-3519-6 2899:. Penguin Galaxy. 2830:on 30 August 2014 2742:978-0-19-531428-1 2599:. Stage on Screen 2557:978-0-7190-4357-4 2248:978-0-7456-3311-4 2239:Renaissance Drama 2220:Drabble, Margaret 2179:Michael Blakemore 1939:Call for the Dead 1860: 1859: 1852: 1652: 1651: 1644: 1592:Media adaptations 1541:as the Cardinal, 1531:Dominic Dromgoole 1525:In January 2014, 1482:Greenwich Theatre 1393:Clifford Williams 1335:Elisabeth Bergner 1333:as Ferdinand and 1310:Haymarket Theatre 1098: 1097: 1090: 985: 984: 977: 959: 823:Senecan tragedies 815: 814: 807: 718: 717: 710: 491: 490: 483: 357:Fernando d'Avalos 163: 162: 107:Original language 3309: 3235:Wikisource texts 3232: 3220: 3219: 3154:Sir Thomas Wyatt 3115: 3108: 3101: 3092: 3091: 3049: 3048: 3042: 3007: 3006: 2988: 2982: 2981: 2979: 2977: 2932: 2926: 2925: 2907: 2901: 2900: 2892: 2886: 2885: 2879: 2871: 2860: 2854: 2853: 2846: 2840: 2839: 2837: 2835: 2819: 2813: 2812: 2810: 2808: 2797: 2791: 2790: 2788: 2786: 2775: 2769: 2768: 2766: 2764: 2753: 2747: 2746: 2727: 2721: 2720: 2718: 2716: 2702: 2696: 2695: 2693: 2691: 2681: 2675: 2674: 2667: 2661: 2660: 2658: 2656: 2641: 2635: 2634: 2632: 2630: 2615: 2609: 2608: 2606: 2604: 2593: 2587: 2586: 2576: 2568: 2562: 2561: 2543: 2534: 2533: 2505: 2499: 2496: 2490: 2480: 2474: 2473: 2453: 2447: 2446: 2418: 2412: 2411: 2399: 2390: 2389: 2374: 2368: 2367: 2339: 2333: 2326: 2320: 2317: 2311: 2307: 2301: 2300: 2272: 2266: 2259: 2253: 2252: 2234: 2228: 2227: 2216: 2199: 2196: 2158:Mine Eyes Dazzle 2131:is better than 2111:Midsomer Murders 2020:Too Many Clients 1855: 1848: 1844: 1841: 1835: 1812: 1804: 1740:as the Duchess, 1647: 1640: 1636: 1633: 1627: 1604: 1596: 1549:as Antonio, and 1537:as the Duchess, 1474:Juliet Stevenson 1413:Michael Williams 1377:Donald McWhinnie 1337:as the Duchess. 1272:Cathleen Nesbitt 1186:The Fatal Secret 1175:Thomas Betterton 1164:Cockpit-in-Court 1093: 1086: 1082: 1079: 1073: 1050: 1042: 980: 973: 969: 966: 960: 958: 917: 893: 885: 810: 803: 799: 796: 790: 759: 751: 713: 706: 702: 699: 693: 662: 654: 486: 479: 475: 472: 466: 442: 441: 434: 310:Duke of Calabria 277:Daniel de Bosola 195:, in 1613–1614. 71:Daniel de Bosola 40: 28: 27: 3317: 3316: 3312: 3311: 3310: 3308: 3307: 3306: 3247: 3246: 3245: 3240: 3208: 3162:The White Devil 3128: 3119: 3046: 3032: 3026:Standard Ebooks 3016: 3011: 3010: 3003: 2989: 2985: 2975: 2973: 2963: 2933: 2929: 2922: 2908: 2904: 2893: 2889: 2873: 2872: 2862: 2861: 2857: 2848: 2847: 2843: 2833: 2831: 2820: 2816: 2806: 2804: 2799: 2798: 2794: 2784: 2782: 2777: 2776: 2772: 2762: 2760: 2755: 2754: 2750: 2743: 2729: 2728: 2724: 2714: 2712: 2704: 2703: 2699: 2689: 2687: 2683: 2682: 2678: 2669: 2668: 2664: 2654: 2652: 2643: 2642: 2638: 2628: 2626: 2625:on 25 June 2013 2617: 2616: 2612: 2602: 2600: 2595: 2594: 2590: 2579:The Independent 2569: 2565: 2558: 2544: 2537: 2506: 2502: 2497: 2493: 2481: 2477: 2454: 2450: 2419: 2415: 2400: 2393: 2376: 2375: 2371: 2340: 2336: 2327: 2323: 2318: 2314: 2308: 2304: 2273: 2269: 2265:XVI (1949): 43. 2260: 2256: 2249: 2235: 2231: 2217: 2213: 2208: 2203: 2202: 2197: 2193: 2188: 2052:The White Devil 2004:Saffron Burrows 1966:uses the lines 1894:Sleeping Murder 1889:Agatha Christie 1870:Agatha Christie 1865:Sleeping Murder 1856: 1845: 1839: 1836: 1825: 1813: 1802: 1793:Jodie Whittaker 1760:David P. Dawson 1746:Robert Stephens 1738:Barbara Jefford 1648: 1637: 1631: 1628: 1617: 1605: 1594: 1586:Francesca Mills 1512:Old Vic Theatre 1438:played Bosola. 1373:Aldwych Theatre 1350:Phoenix Theatre 1280:Embassy Theatre 1240:Shortly after, 1235:Madame Tussauds 1205:William Hazlitt 1138:Nicholas Tooley 1128:played Bosola; 1114:Richard Burbage 1094: 1083: 1077: 1074: 1063: 1051: 1040: 1028: 1026:The 1623 quarto 981: 970: 964: 961: 918: 916: 906: 894: 883: 862:Senecan Tragedy 858: 849: 847:Objectification 840: 831: 811: 800: 794: 791: 776: 760: 749: 740: 714: 703: 697: 694: 679: 663: 652: 647: 635:Luigi d'Aragona 622:Matteo Bandello 610:William Painter 606: 576: 561: 534: 507: 496: 487: 476: 470: 467: 453:Please help by 452: 443: 439: 432: 400: 300:Luigi d'Aragona 295:Catholic Church 271:Matteo Bandello 261:Antonio Bologna 248: 181:revenge tragedy 139:Revenge tragedy 96:Place premiered 82: 80: 78: 76: 74: 72: 70: 68: 67:Antonio Bologna 49: 24: 17: 12: 11: 5: 3315: 3305: 3304: 3299: 3294: 3289: 3284: 3279: 3274: 3269: 3264: 3259: 3242: 3241: 3239: 3238: 3226: 3213: 3210: 3209: 3207: 3206: 3198: 3190: 3182: 3174: 3166: 3158: 3150: 3142: 3133: 3130: 3129: 3118: 3117: 3110: 3103: 3095: 3089: 3088: 3083: 3075: 3070: 3059: 3043: 3030: 3028: 3015: 3014:External links 3012: 3009: 3008: 3001: 2995:. Bloomsbury. 2983: 2961: 2927: 2920: 2902: 2887: 2855: 2841: 2814: 2792: 2770: 2748: 2741: 2722: 2697: 2676: 2662: 2636: 2610: 2588: 2563: 2556: 2535: 2500: 2491: 2475: 2448: 2429:(2): 221–245. 2413: 2391: 2369: 2350:(3): 267–303. 2334: 2321: 2312: 2302: 2283:(3): 499–526. 2267: 2254: 2247: 2229: 2210: 2209: 2207: 2204: 2201: 2200: 2190: 2189: 2187: 2184: 2183: 2182: 2175: 2161: 2150: 2120:'s 1959 novel 2114: 2107: 2087: 2074: 2065:Anthony Powell 2061: 2045: 2032: 2015: 1983: 1971: 1955: 1934: 1910: 1902:Cover Her Face 1898: 1877: 1858: 1857: 1816: 1814: 1807: 1801: 1798: 1797: 1796: 1789: 1779: 1756:Gemma Arterton 1752: 1749: 1744:as Ferdinand, 1734: 1727: 1724: 1721: 1706: 1703: 1696:Peggy Ashcroft 1692: 1689: 1678: 1675: 1664: 1657:Stephen Oliver 1650: 1649: 1608: 1606: 1599: 1593: 1590: 1545:as Ferdinand, 1535:Gemma Arterton 1495:In July 2010, 1484:, directed by 1407:as Bosola and 1389:Patrick Wymark 1387:the Cardinal. 1331:John Carradine 1322:Cecil Trouncer 1318:Peggy Ashcroft 1306:George Rylands 1288:BBC television 1265:William Archer 1213:Sadler's Wells 1182:Lewis Theobald 1153:Robert Johnson 1130:William Ostler 1096: 1095: 1054: 1052: 1045: 1039: 1036: 1027: 1024: 1020:sumptuary laws 983: 982: 897: 895: 888: 882: 879: 857: 854: 848: 845: 839: 836: 830: 827: 813: 812: 763: 761: 754: 748: 745: 739: 738:Abuse of power 736: 716: 715: 666: 664: 657: 651: 648: 646: 643: 605: 602: 601: 600: 596: 592: 588: 581: 575: 572: 571: 570: 566: 560: 557: 556: 555: 551: 547: 543: 539: 533: 530: 529: 528: 524: 520: 516: 512: 506: 503: 502: 501: 495: 492: 489: 488: 446: 444: 437: 431: 428: 399: 396: 392: 391: 381: 375: 369: 359: 346: 340: 334: 328: 318: 303: 284: 274: 264: 258: 247: 244: 220:Duke of Amalfi 161: 160: 146: 142: 141: 136: 132: 131: 118: 114: 113: 108: 104: 103: 97: 93: 92: 89: 88:Date premiered 85: 84: 65: 61: 60: 55: 51: 50: 41: 33: 32: 15: 9: 6: 4: 3: 2: 3314: 3303: 3300: 3298: 3295: 3293: 3290: 3288: 3287:Tragedy plays 3285: 3283: 3280: 3278: 3275: 3273: 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1875: 1871: 1867: 1866: 1862: 1861: 1854: 1851: 1843: 1833: 1829: 1823: 1822: 1817:This section 1815: 1811: 1806: 1805: 1794: 1790: 1788: 1784: 1783:Morfydd Clark 1780: 1777: 1773: 1772:Alex Waldmann 1769: 1765: 1761: 1757: 1753: 1750: 1747: 1743: 1739: 1735: 1732: 1728: 1725: 1722: 1719: 1718:John Shrapnel 1715: 1711: 1707: 1704: 1702:as Ferdinand. 1701: 1700:Paul Scofield 1697: 1693: 1690: 1687: 1686:Kingsley Amis 1683: 1680:Television – 1679: 1676: 1673: 1669: 1665: 1662: 1658: 1654: 1653: 1646: 1643: 1635: 1625: 1621: 1615: 1614: 1609:This section 1607: 1603: 1598: 1597: 1589: 1587: 1583: 1579: 1574: 1572: 1568: 1563: 1561: 1557: 1556:Read Not Dead 1552: 1548: 1547:Alex Waldmann 1544: 1540: 1536: 1533:and starring 1532: 1528: 1523: 1521: 1517: 1513: 1508: 1506: 1505:Torsten Rasch 1502: 1498: 1493: 1489: 1487: 1486:Philip Franks 1483: 1479: 1475: 1470: 1468: 1467:Jonathan Hyde 1464: 1460: 1459:Philip Prowse 1456: 1452: 1448: 1443: 1441: 1437: 1433: 1429: 1425: 1421: 1416: 1414: 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929: 926: – 925: 921: 920:Find sources: 914: 910: 904: 903: 898:This section 896: 892: 887: 886: 878: 874: 872: 867: 863: 853: 844: 835: 826: 824: 819: 809: 806: 798: 788: 784: 780: 774: 773: 769: 764:This section 762: 758: 753: 752: 744: 735: 732: 727: 722: 712: 709: 701: 691: 687: 683: 677: 676: 672: 667:This section 665: 661: 656: 655: 642: 638: 636: 631: 627: 623: 619: 615: 611: 597: 593: 589: 586: 582: 578: 577: 567: 563: 562: 552: 548: 544: 540: 536: 535: 525: 521: 517: 513: 509: 508: 498: 497: 485: 482: 474: 464: 460: 456: 450: 447:This article 445: 436: 435: 427: 423: 419: 415: 413: 407: 405: 395: 389: 385: 382: 379: 376: 373: 370: 367: 363: 360: 358: 354: 350: 347: 344: 341: 338: 335: 332: 329: 326: 322: 319: 316: 311: 307: 304: 301: 296: 293:of the Roman 292: 288: 285: 282: 278: 275: 272: 268: 265: 262: 259: 257: 253: 250: 249: 243: 241: 237: 233: 229: 223: 221: 217: 213: 209: 205: 201: 196: 194: 190: 186: 182: 179: 175: 174: 169: 168: 158: 154: 150: 147: 143: 140: 137: 133: 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H. White 2008:Max Beesley 1992:Mike Figgis 1974:Stephen Fry 1927:T. S. Eliot 1919:P. D. James 1907:P. D. James 1768:Sean Gilder 1714:Roger Allam 1560:David Oakes 1551:Sean Gilder 1516:Jamie Lloyd 1436:Bob Hoskins 1432:Mike Gwilym 1409:Emrys James 1381:Eric Porter 1362:Walter Kerr 1354:White Devil 1339:W. H. Auden 1299:Arthur Duff 1276:T. S. Eliot 1199:revival of 1149:Blackfriars 645:Main themes 355:, possibly 252:The Duchess 3262:1614 plays 3251:Categories 2690:19 January 2581:. London. 2443:1291657946 2206:References 2041:Privileged 1840:March 2020 1733:by Caedmon 1710:Fiona Shaw 1632:March 2020 1501:Punchdrunk 1401:Judi Dench 1385:Max Adrian 1343:Canada Lee 1284:Ivor Brown 1246:apotheosis 1134:Boy player 1126:John Lowin 1078:March 2020 1032:King's Men 996:Art of War 992:Cortegiano 935:newspapers 795:April 2017 698:April 2017 650:Corruption 459:relocating 281:malcontent 246:Characters 121:corruption 77:Castruchio 64:Characters 54:Written by 43:Title page 3223:Wikiquote 3205:(1608–34) 3197:(1624–25) 3181:(1616–20) 3173:(1612–13) 2971:865265749 2530:191999954 2364:161148535 2297:145702142 2166:'s novel 2143:and that 2080:'s novel 2057:Porcupine 2025:Rex Stout 1976:'s novel 1964:Anne Rice 1787:Sam Riley 1576:In 2024, 1472:In 1995, 1418:In 1980, 1160:Charles I 1016:codpieces 766:does not 669:does not 378:Malateste 325:castrated 306:Ferdinand 193:The Globe 159:; 1504–10 75:Ferdinand 3141:(1603–4) 3057:LibriVox 2976:19 March 2876:cite web 2715:27 April 2583:Archived 2439:ProQuest 2263:Scrutiny 1998:film of 1666:Opera – 1655:Opera – 1520:Eve Best 1197:Romantic 1107:Venetian 1008:Costumes 1002:Lighting 398:Synopsis 366:carriolo 337:Grisolan 331:Roderigo 291:cardinal 178:Jacobean 102:, London 3066:at the 2834:26 June 2807:11 July 2785:26 June 2763:26 June 2629:26 June 2603:26 June 2435:4174360 2146:Othello 2140:Macbeth 2034:In the 1584:, with 1569:by the 1242:Duchess 1215:, with 1193:unities 1162:at the 1147:and at 949:scholar 829:Cruelty 787:removed 772:sources 690:removed 675:sources 626:Novelle 604:Sources 362:Cariola 353:marquis 349:Pescara 176:) is a 145:Setting 125:cruelty 117:Subject 81:Cariola 3189:(1621) 3165:(1612) 3157:(1607) 3149:(1605) 2999: 2969: 2959: 2918: 2739: 2655:20 May 2554: 2528: 2441: 2433: 2362: 2295: 2245: 2134:Hamlet 2060:album. 1944:Smiley 951: 944: 937: 930: 922: 591:place. 412:Ancona 404:Amalfi 384:Doctor 343:Silvio 308:– The 232:Seneca 204:Gerace 3122:Plays 2803:. 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