Duchess of Malfi short summary

 Introduction

The Duchess of Malfi is a Jacobean revenge tragedy written by John Webster, first performed around 1613-1614 and published in 1623. Based loosely on historical events from early 16th-century Italy, the play explores themes of corruption, patriarchal oppression, forbidden love, madness, and the consequences of defying social hierarchies. Set in a morally decayed Italian court associated with Roman Catholic intrigue, it follows the widowed Duchess of Amalfi, who secretly marries her lower-class steward Antonio, defying her tyrannical brothers, Ferdinand (Duke of Calabria) and the Cardinal. Their opposition leads to betrayal, torture, and a bloody climax. Critically, the play is praised for its dense imagery, psychological depth, and critique of power structures, often seen as one of the last great tragedies of the Elizabethan-Jacobean era, rivaling Shakespeare in its exploration of human depravity and resilience.

Act 1

The play opens in the Duchess's palace in Amalfi, Italy, during the 16th century. Antonio Bologna, the Duchess's honest steward, returns from the French court and discusses with his friend Delio the virtues of a corruption-free government, contrasting it with the Italian court's moral decay. He describes the Duchess as noble and virtuous, while portraying her brothers—the scheming Cardinal and the volatile Ferdinand—as corrupt and envious. Bosola, a former convict and malcontent who spent seven years in the galleys for a murder likely commissioned by the Cardinal, arrives and bitterly complains about the brothers' ingratitude for his past services. Ferdinand hires Bosola as the Duchess's provisorship of horse (stable manager) but secretly tasks him with spying on her to prevent remarriage, fearing loss of her fortune and family honor. Bosola reluctantly accepts gold for the role, marking his descent into corruption.

The brothers warn the widowed Duchess against remarrying, emphasizing the shame it would bring to their noble bloodline. She outwardly agrees but privately confides in her maid Cariola her intent to defy them. Dismissing her brothers' patriarchal dictates, the Duchess inverts traditional gender roles by wooing and proposing to Antonio with her wedding ring. He accepts, and they exchange vows in a private ceremony witnessed by Cariola, making it legally binding. The act ends with the couple retiring to bed to "lie and talk together," while Cariola questions whether the Duchess's actions stem from greatness or madness.

Act 2

Approximately nine months later, the Duchess is secretly pregnant with Antonio's child. Bosola, spying for Ferdinand, suspects her condition and tests her by offering apricots (believed to induce labor in pregnant women). She eats them eagerly, confirming his suspicions as she soon goes into premature labor. To conceal the birth, Antonio fabricates a story of poisoning and locks the palace gates, claiming a thief is loose. In the chaos, Antonio accidentally drops a horoscope he made for the newborn son, which Bosola discovers and sends to the brothers in Rome as evidence of the Duchess's "loose" behavior.

In Rome, Ferdinand and the Cardinal react with fury to the news of the secret child, viewing it as a stain on their noble bloodline. Ferdinand rages about the Duchess's sexuality, imagining violent retribution but deciding to wait until he identifies the father. The Cardinal, meanwhile, maintains his affair with Julia, the wife of a courtier, highlighting his hypocrisy.

Act 3

Several years pass; the Duchess and Antonio now have three children. Bosola continues spying, informing Ferdinand of the additional births. Ferdinand sneaks into the Duchess's bedchamber at night, confronting her with a poniard (dagger) and urging suicide for her "whoredom." She defends her marriage but refuses to name Antonio. Enraged, Ferdinand vows never to see her again and flees. To escape, the Duchess publicly accuses Antonio of financial misconduct and banishes him, a ruse to allow his flight with their children. She confides the truth in Bosola, who feigns sympathy but reports to Ferdinand.

The family attempts to reunite at Loretto during a supposed pilgrimage, but the Cardinal banishes them. Antonio flees to Milan with their eldest son for safety, while Bosola, disguised as a soldier, arrests the Duchess and her younger children on Ferdinand's orders, escorting them back to Amalfi as prisoners.

Act 4

Imprisoned in her palace, the Duchess endures psychological torture orchestrated by Ferdinand, who avoids seeing her directly. In darkness, he gives her a dead man's hand (disguised as Antonio's) and shows wax figures mimicking the corpses of Antonio and their children, driving her to despair. He then unleashes madmen from a nearby asylum to torment her with nonsensical ravings. Bosola, disguised as a tomb-maker, informs her of her impending death. Executioners strangle the Duchess, her two younger children, and Cariola. Ferdinand, viewing the bodies, is overcome with remorse and madness, accusing Bosola of overzealousness and refusing payment. The Duchess briefly revives, learning from Bosola that Antonio lives, before dying permanently. Bosola, wracked with guilt, vows to seek redemption.

Act 5

In Milan, Antonio, unaware of the murders, seeks reconciliation with the brothers. Ferdinand, afflicted with lycanthropy (believing himself a wolf), raves madly from guilt. The Cardinal, covering his crimes, poisons his mistress Julia after she learns too much from Bosola's interrogation. Bosola, now seeking vengeance for the Duchess,plans to protect Antonio. In a chaotic night scene filled with mistaken identities, Bosola accidentally stabs Antonio in the dark. Dying, Antonio laments his family's fate. Bosola then attacks the Cardinal, stabbing him. Ferdinand enters, stabs both his brother and Bosola in confusion, and is fatally wounded by Bosola. As they die, Bosola reflects on the tragedy's roots in ambition and corruption. Delio arrives with Antonio's surviving son, vowing to establish an honest legacy for him.