What is your interpretation of the title "The Duchess of Malfi"?
The play Duchess of Malfi is named after the character and real life historical tragic figure of Duchess of Malfi who was the regent of the southern Italian town of Amalfi between 1498 and 1510. She was a popular regent, as voiced at the beginning of the play by her lover and, later, husband Antonio:
(Her) days are practised in such noble virtue
That her night, nay more, her very sleep
Are more in heaven than other ladies' shrifts'
While it is debatable whether of not she's the main protagonist—she and her children are killed as early as act 4—it is her decision to marry someone whom her family sees as beneath her that starts the play's tragic chain of events, eventually leading to the deaths of all the play's principle characters.
As her brother Ferdinand states in the final scene, just after the Bosola and the Cardinal have suffered their fatal stab wounds,
My sister, O my sister! there's the cause on't
She is the cause, but through no fault of her own (Webster represents her as a virtuous figure through out). The fault lies with her brothers, the Cardinal, and Ferdinand. The Cardinal wants her to remain an unmarried window so the land of Amalfi remains in the family, and Ferdinand wants her to remain an unmarried widow so he can keep her to himself.
From this perspective, the play's title contains the two things most central to the play's antagonist's atrocious behavior: the land of Amalfi and the Duchess herself.
What is your interpretation of the title "The Duchess of Malfi"?
The play’s full title, The Tragedy of the Duchess of Malfi, presents an interesting conundrum as to what type of tragedy befalls and to whom. Though based upon an actual historical figure and events, some debate whether the play’s tragic focus is truly the Duchess (as the title so easily leads one to believe), when it also could be Bosola’s or something much larger in scope: a depiction of the misfortunes brought about by a corrupt system or world, for instance. Then, one also must consider the nature of the tragedy or revenge play to determine which aspects—personal, social, or political—are weightiest. The themes that Webster incorporated into his drama also provide clues to the title’s scope of influence. Among these are morality, duty, class conflict, deception, marriage, and family.
How is the duchess portrayed in The Duchess of Malfi?
The duchess is presented as a tragic heroine. Like other tragic heroes, such as Hamlet, Othello, Oedipus, Medea, and Faustus, the duchess is tragic in that she is both heroic and flawed and in that both her actions and the actions of outside parties lead to her downfall at the climax of the play.
Like all tragic heroes, the duchess experiences a reversal of fortune. She begins the play as a powerful widow, respected and independent. By the end of the play, she is stripped of power, isolated from her family, psychologically tortured, and murdered by her own brothers as punishment for transgressing society's expectations about how a woman should behave. Despite this, she is presented as a heroic figure, someone whose downfall is unjust and cruel.
The duchess is admirable in her willingness to break social taboos. She is a woman with power who nevertheless claims control of her personal life. Her brothers forbid her from marrying again, but the duchess not only goes against these demands, but also marries a man of lower social rank for love. This behavior takes a lot of courage, and the duchess's boldness makes her a heroic figure. However, this same behavior stokes the ire of the powerful men in her life and inspires their swift and violent reaction against her.
One element that makes the duchess both tragic and heroic is her mindset in the face of her subsequent suffering. Rather than cower, submit, or rage, she faces murder with dignity. She says defiantly, "I am Duchess of Malfi still," asserting her power and sense of identity against those who would seek to take all of it from her for not bowing to male authority. Overall, this presentation of the Duchess as virtuous, brave, and self-possessed makes her a prime example of tragic heroism in drama.
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