Critical Presentation: Duchess Of Malfi

“Great Women of Pleasure” by Christina Luckyj

In Luckyj’s criticism of the Duchess of Malfi, written by John Webster, she brings forth

the conflicted perspective on the role of Julia in the play. Luckyj revolves her criticism around

the “main plot and subplot” in the play. Luckyj examines Julia’s action and characteristics and

asserts that it helps further develop the character of the Duchess. The Duchess, in eyes of most

critics, can be seen past her actions because she justifies them as acts in the name of love.

However, Julia does not receive the same benefit, although her motives were similar to those of

the Dutchess, because she is considered no more than an “Jacobean whore.” Luckyj argues that

the parallel between the Duchess and Julia should support the idea that Julia is as sophisticated

and has the same integrity as the Duchess. She concedes to the fact that there are key differences

between the two but continues to state that these occurrences couldn’t be mere coincidence. She

focuses on the imprisonment of both female characters by their male counterparts. Both the

Duchess and Julia are found in a misogynic world with sexual drives that are deemed

unacceptable.

There are many parts of the passage that support Luckyj’s claim. One of them being the

wooing of Bosola. In Act V. Julia enters with a pistol threatening Bosola for poisoning her with

affection. Julia is not a timid woman rather very direct and assertive. Luckyj compares this

instance with the Duchess’ initial amourous interaction with Antonio. Her claims are centralized

on moments such as these. Presented before the reader are two distinct women. Their social

status defining them as it does in that period. These women are not easily swayed however. They

are sexual beings and “woo” their lovers. The parallel relationships between the two solidify

Luckyj’s claim. These women are bounded by their time and societal norms. The sexual drive in
both made apparent. These women, Luckyj argues, are more expressive of their wants. This

however is rendered futile for they are still imprisoned.

The article provided a new way to approach texts. I wouldn’t have been able to see the

parallels between the characters. I have a terrible habit of isolating dominant characters rather

than focusing on how all of them work together for the plot. It’s a continuous struggle to

understand the language in plays such as this, so I overlook aspects of the text that can be

detrimental. I will now be more careful to understand the inner workings of a play. Most, if not

all authors, are meticulous about detail. So every comparison and structural similarity can be

defining to the piece. Also, the emphasis placed on the stage direction really shed light on the

characters. These new strategies will greatly help future analysis and interpretations. I will

attempt to view the text as a whole rather than in individual parts. I can make more connections

between events and characters.

Bibliography

Luckyj, Christina. A Winter’s Snake: Dramatic Form in the Tragedies of John Webster.
Athens: University of Georgia Press, 1989

Webster, John. The Duchess of Malfi. Ed. Michael Neill. New York: W.W Norton &, 2015.
Print.