A 230 Reading and Studying Literature Assignment TMA 01

Submission date 7th November 2013

Page 2 43

Title Textual Analysis: The Duchess of Malfi Bibliography

Word Count 1552

Date:

6th November 2013

Write an essay of 1,500 words in continuous prose on the passage. You should consider the following: 1. why the passage is important 2. the distinctive features of the language of the passage 3. the performance possibilities suggested by the language. This passage from The Duchess of Malfi is important on several levels. Firstly, it illustrates a pivotal moment for the three main characters in their perspectives, motivations or actions. Secondly, it is a vital scene for the plot, as influenced by these changes in perspectives and actions. Finally, it is possible to argue that this is the scene whereby the play refocuses on Bosola instead of the Duchess as the tragic central character. Once she has seen the bodies, the Duchess dignity seeps into a suicidal apathy and so her death is almost incidental she has lost her passion and driving force. Instead, it is Bosola who feels committed to help Ferdinand but continually shows possibilities of redemption, Bosola who wrestles with his fate before his tragic death. This essay will consider the characters language, performance and their development in this passage. The discussion of the characters is organised in order of appearance in the passage, so Ferdinand will be considered first, followed by Bosola, then the Duchess and finally Cariola. This passage illustrates a turning point for Ferdinand. It foreshadows his eventual fate. Ferdinand is increasingly obsessed with his sister and her marital life. In performing this scene, Ferdinand creeps into the room in darkness. He believes himself to be honourable in adhering to his vow and compassionate (4.1.36). He is, however, incoherent, reflecting his emotional turmoil. Many of his lines in this scene are broken with caesuras, short lines or lines completed by other characters. An example of this broken language is when Ferdinand gives the Duchess the hand, pointing out you have vowed much love: the ring upont/You gave (4.1.44-46). This breaking of lines could be interpreted in contrasting ways. Ferdinand could be sniggering in anticipation of the fright of the Duchess, particularly suggested by the treatment in the 1995 Cheek by Jowl performance (Performance in The Duchess of Malfi p.136) where the Duchess is disgusted by the prank and throws the hand into the bin. Alternatively, Ferdinand could be performed as indecisive and half appalled by his own actions with halting, hesitant speech and actions, proffering the hand and withdrawing it as the lines break. This scene also foreshadows Ferdinands eventual madness and lycanthropy. He refers to the Duchess children as cubs (4.1.33). As discussed above, his speech is incoherent and disconnected. It seems likely that Ferdinands appearance and movement on stage would also be disorganised. Perhaps he could have the beginnings of a beard and clothes askew. Additionally, the line breaks and short lines could be interrupted with movements around the stage, reflecting Ferdinands emotions. A symptom of lycanthropy is animal-like movements (Keck et al., 1988). While overemphasis of animalistic tendencies would be premature at this point in the play, Ferdinand could show hints of this motion at certain points, perhaps most

especially when entering the Duchess chamber in darkness, when giving her the hand and when leaving as the servants enter with torches. Ferdinand offers his sister a hand and ring in a gruesome parody of marriage vows. The dead mans hand could also be a reference to the hand of glory, a severed human hand purported to keep sleepers in a coma and illuminate the user only (Whitby Museum, 2011). The Duchess may be referencing this when she questions What witchcraft doth he practice (4.1.54). This superstition could be supporting two themes within this passage. Firstly, Ferdinand is in darkness, invisible and blind to his own faults and his sisters merits. The Hand of Glory is used only in darkness, such as during this scene and it allegedly illuminated the way for wrongdoers, such as Ferdinand himself. Secondly, the Hand of Glory kept sleepers asleep in a deep coma Ferdinand was determined to keep his concept of the Duchess pure, unsullied and distanced from men, a Sleeping Beauty. In this performance, Ferdinand uses this prop to terrify his sister and makes Bosola trick her further into believing her husband and child to be dead and mutilated. Bosola is arguably the most important character, speaking the most lines and positioned at the top of the original character list, in contrast to conventions of the time where rank usually predicated the hierarchy of character lists (The Open University, 2013). This scene tantalises with his potential for redemption, showing Bosola as more sympathetic and sympathising than previously. Bosolas description of the Duchess indicates his changing opinions. His first speech in this passage describes the Duchess as nobly bearing her imprisonment (4.1.3). He repeats the word noble in this speech and also refers to her majesty in sadness (4.1.6). Bosola also indicates his changed feelings towards the Duchess when he calls her your grace rather than madam as he did in previous scenes (4.1.18). Bosolas language in this scene is also distinctly more poetic than in previous scenes. There is alliteration, especially of s sounds in his first speech, giving a lyrical tone to his descriptions. Webster also references Sidneys Arcadia and lines from Petrarch (Notes in The Duchess of Malfi, pp.132, 136), strengthening the effect of Bosolas speeches. Speaking to Ferdinand he is sincere and dignified, contrasting with Ferdinands inchoate thoughts. Bosolas performance in this passage would indicate his changed feelings towards the Duchess. In his first speech, where he describes her attitude towards imprisonment, it is likely that he would be struck by the contrast between Ferdinand and the Duchess the one spiralling into madness and the other noble and dignified. So, Bosola could be showing a veiled contempt for Ferdinand, in gesture, delivery or simply in expression. For example, Bosola describes the Duchess as expressing more in silence than in speech and Ferdinand tumbles into speech, talking about her disdain. At this point, Bosola could turn half away from him, or just leave a pointed pause before responding while looking disparagingly at Ferdinand. Bosolas description of the Duchess restraining her passions and realising what pleasures shes kept from are, ironically, as apt to describe Bosola himself and his motivations for working for Ferdinand and the Cardinal (4.1.15). This moment could be performed to indicate Bosolas growing self-awareness and his realisation of the implications of his actions. Again, Ferdinand serves to offer a contrast in his utter refusal to consider his own or others motives and characters in his response to Bosola. So, this passage, in performance and language, is a pivotal one for Bosola he changes from being
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purely self-motivated and resentful to acknowledging the superior character of the Duchess and the weakness of Ferdinand. The Duchess reveals a different facet to her character in this passage. Previously she had shown an aggressive front, in her courtship of Antonio and in her defence of him to Bosola in the previous scene. The Duchess is only named by her rank throughout the play, even by her twin brother, Ferdinand. It could be argued that the tragedy is precipitated by his inability to see beyond the rank to the woman. However, during her imprisonment, the Duchess is cut off from the power of her rank and is less aggressive and more meditative. It is at this point that her nobility, as distinct from her rank, is shown. Bosola, as discussed above, is almost reverent in describing her demeanour and attitude. She is vulnerable and grieving, but strong in a way that is perhaps not fully demonstrated in previous scenes. However, there is one notable exception to her quiet dignity. This occurs when Ferdinand impugns her marriage and thus the legitimacy of her children. The Duchess response is scathing, telling him he violates the sacred bond of marriage (4.1.38). The term violates often has sexual connotations and contributes to the argument that Ferdinand was sexually obsessed with his sister. She also assures her brother that he will howl in hell fort (4.1.39). This riposte, as with Ferdinands mentioning of her cubs, foreshadows his lycanthropy, as described above. When speaking these lines, the Duchess is likely to be moving, perhaps stepping towards Ferdinand almost threateningly in her anger. It is possible that she was sitting or kneeling previous to this, so her movements would contrast with her previous stationary position, as her speech contrasts with her previous reserve. Cariola is with the Duchess throughout this passage, without speaking. Cariola is a loyal waiting woman to the Duchess. Beyond this, Cariolas character is not distinct or obvious; she serves as a counterfoil and witness to the characters and events of the play. In this passage, while Cariola could be ostensibly busying herself, perhaps in brushing the Duchess hair or tidying the cell/chamber, she would be listening intently to the interplay of the other characters. Cariola can express her feelings, while the Duchess restrains her emotions. She was friends with Antonio and delivered the children, so Cariola would show revulsion and grief at the artificial bodies, in gesture or expression. So, Cariola could show a reflection of the Duchess feelings. The close analysis of this section of The Duchess of Malfi highlights many of the themes of the play rank and nobility, female power, corruption and cruelty. Webster used language in this scene to indicate performance choices, progress the plot and to illustrate the inner workings of the characters. The audience or reader is therefore offered a compelling picture of impending, possibly inevitable, tragedy for each of the characters in this passage.

Word count: 1552 words

Bibliography
Keck, P., Pope, H., Hudson, J., McElroy, S. and Kulick, A. (1988). Lycanthropy: alive and well in the twentieth century. Psychological Medicine, vol. 18, no. 1, pp 113-120. The Duchess of Malfi: from text to performance (2011) A230 video, Milton Keynes, The Open University. Available at https://learn2.open.ac.uk/mod/oucontent/view.php?id=374769&section=5 (Accessed 31/10/13). Webster, J. (2004) The Duchess of Malfi Essex, Pearson Education Ltd Whitby Museum (2011) Hand of Glory. Available at http://www.whitbymuseum.org.uk/collections/hogg.htm (Accessed 31 October 2013)