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Page 3
For this reason, I believe the modern audience may get along better with The Duchess of Malfi. Every character has motivation and objective, and if they don't have one, they have two. Bosola is already in charge of spying on the Duchess; then, he is dually motivated by the fear that he will be arrested for poisoning the Duchess. Of course, the "poisoning" was really Antonio's attempt to cover his wife's pregnancy. Hell truly is other characters in this play as they tangle a tighter, stickier web. And if we need more relevance to the modern era and our own sticky web, Antonio says, "The great are like the base; nay, they are the same, / When they seek shameful ways to avoid shame" (II.iii.52-53) Oh Webster, I would you were here at this hour!
More like Euripides versus his contemporaries, Webster's women have names that are not frailty. In fact, their names are not evil or oblivion. Of course, Shakespeare created stronger women than Ophelia, but when I think of Shakespeare's portrayal of women, I think either of Ophelia, who asks her father what she should think, and Lady Macbeth, who brings on the evil and is too weak to finish even that. Even Juliet is convinced so easily that she seems a woman anachronistically cut out of Hemingway's two-dimensional chick factory. Webster's Duchess is a strong woman with a dignity that Shakespeare's women just don't seem to have. She is true to her husband, but she keeps her dignity, even in the moment of death. Like Medea and Desdemona, the Duchess leaves her family, but unlike the others, the Duchess makes dignified and noble decisions in her attempt to save both her husband and children. Along with his possible alignment with modern feminist ideals, Webster is also closer to our egalitarian and existential views. The entire play is about the Duchess marrying someone "below" her. The Duchess tells Ferdinand she has "not gone about this to create/ Any new world or custom" (III.ii.111-112). Still, this is a new world or custom where a woman can choose and woo someone born "meaner" than she. Bosola realizes how the world and custom for her have changed, and to gain her confidence, as he does so well, he rhetorically asks the Duchess if she would "[r]ather to examine men's pedigrees than virtues?" (III.ii.265). Later, in earnest, the Duchess says, "Say he was born mean, / Man is most happy when [hi]s own actions / Be arguments and examples of his virtue" (III.v.117-119). Finally, Sartre and Albee may agree with Antonio, who says, "Heaven fashion[e]d us of nothing; and we strive / To bring ourselves to nothing" (III.v.78-79). In a sense, our equality comes from the fact that we are truly born equally without purpose, and if we could avoid Ferdinand's pride and choler or Julia's lechery, we may be able to live in this world, happy, free, and without purpose or stature.
The copyright of the article Duchess of Malfi in Love - Page 3 in Teaching Theatre is owned by . Permission to republish Duchess of Malfi in Love - Page 3 in print or online must be granted by the author in writing.
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