1. Malfi Act IV scene ii
First the Duchess’s sense of sight was attacked – now it is her hearing…
To drive her from her wits although she states the opposite – silence will make her think too much on the past and the dead.
Bedlam – the mental hospital: “A Church of Our Lady that is named Bedlam. And in that place be found many men that be fallen out of their wit. And full honestly they be kept in that place; and some be restored onto their wit and health again. And some be abiding therein for ever, for they be fallen so much out of themselves that it is incurable unto man” 1450
The original hospital still existed having survived the Dissolution of the Monasteries – already was a place of spectacle and imprisonment becoming notorious in the 18th Century. It makes an appearance in many 17th century plays.
Webster seems to making the parallel that the Duchess, immured as she is, is dead although still alive and so it is for the mad – dead to real life but living another existence.

2. Cariola is the optimistic one in this scene whilst the Duchess still longs for
death and madness to relieve her of the Hell she is in.
Like Odysseus she wishes to converse with the dead to know their wisdom.
As Eliot writes in Little Gidding, knowing his Webster well:
“And what the dead had no speech for, when living,  They can tell you, being dead: the communication Of the dead is tongued with fire beyond the language of the living.”
Although the earth has become physically like Hell she has remained sane… but has she changed
physically? It would seem not….
Fortune – spoken of previously – is generally portrayed as blind- has eyes only to supervise the
Duchess’ misfortune. Justice (not a lot of that here either – is also portrayed as blind..)

3. Like Malvolio in Shakespeare’s Twelfth Night and Lear in King Lear, the mad are seen as funny, prophetic and sad – pathetic.
To raise a smile for the Duchess or to drive her further from her true self seems to be the aim but there is also the element of who are the mad?
Those who are on stage or those who are in the audience?
In Hamlet and Lear Ophelia and the King go mad from the changes that have happened to them – their condition is commented upon by the other characters and becomes symbolic of the health of the kingdom and court. Hamlet himself feigns madness to give himself license to behave oddly and to spy on Claudius, the new king.
Presented as a “cure” sent by Ferdinand.. Genuinely or as a test?

4. The servant lists the professions that will be coming and why they have gone mad….
Failure, inability to keep up, inability to conclude bargains, being put under pressure are all signified as causes
of madness.
As in Marlowe’s Dr Faustus Hell seems to have arrived on stage in its cacophony and nonsense – as the last sight before
her death this is an appalling end for the Duchess.
Ferdinand seems to be conveying that this is what she will go to for having broken the social contract – disobeying her
betters (her brothers) and the divine order of the Great Chain of Being.
Like Eve, she has disobeyed (discovering the joys of sex and marriage for love) and must be punished. Shut out from the
Paradise of her family and the love of Antonio, exiled from Malfi, browbeaten and confined like a lesser mortal,
The Duchess is now enduring, in order to perhaps triumph, like any other tragic hero…
Her virtues (Stoicism, nobility, love of husband and children, effective ruler) will be in direct contrast to Bosola’s
malcontent cynicism, content to do evil.
Even when he enters, Bosola equivocates – tombs were traditionally made when their recipients were still alive – but
he is suggesting that the room she is in will be her grave. He is disguised with an “old man” mask, as if the spectacle
continues. And his language looks at the worst of the body and its relation to the world. Even the sight of the heavens
over our heads makes us aware of our smallness.
The Duchess refutes this view – taking refuge in her title and status – wherever she is and whatever is about to happen “I am
Duchess of Malfi still” – poignant and brave in her declaration.

5. Bosola suggests that power has marred her looks and the “glories” of her position only look best from afar… what appears to be gold from afar is only gold paint near to….
They joust in conversation – fashions were changing tombs – no longer were effigies going to lie down on the top of tombs but be depicted praying as relief sculptures on walls or, like Roman diners, with their cheeks propped on their elbows.
Bosola suggests this is because the world rather than Heaven has become more important.
When the Duchess suggests that this talk is only fit for a “charnel” - a charnel house was a place for bones – an ossuary – much more prevalent in France and Italy than in Britain.
With that the instruments, not of torture but of her death, arrive. Her coffin – i.e. her tomb.
Bosola seems to suggest that her death will bring her benefit and her last sorrow….
Her strength of mind is now such that the coffin does not frighten her as Bosola takes on different roles….

6. He then seems to descend into bathos with a spell – admonishments of how to behave as going to one’s death.
Sadly, Cariola is also going down into her death and in calling for help makes it clear that there is none – the mad cannot help.
The Duchess, now resigned, bids her farewell – normally rulers would leave their closest servants goods and money – she has none left to give. Her concerns are domestic and endearing in direct contrast to the execution that is to come.
Unlike other tragic heroes whose concerns are for their kingdoms’ future, her values are solid family ones.
Her death is designed to be humiliating – strangling was for non-nobles – it has the atmosphere of secrecy and “hole in corner” affair – he wants her afraid.
She refuses to be a typical woman – “death hath ten thousand several doors” – it could happen at any time. She readies herself as if an actor – like Ferdinand she makes an allusion to mandragora – and likens her brothers to carrion crows “feed”.

7. Cariola’s death is much more violent and distressing – as she was the Duchess’ confidant so now she
must follow her into death. And her death will be followed by the children’s.
She asks for a stay of execution as she is with child – this was a way women could claim imprisonment
until after the child was born.
She has not had the Roman Catholic last rites and will die without benefit of absolution – forgiveness for her
sins.
Bosola is having none of it – he has a job to do and his syntax reflects this.
Cariola dies and her body is removed from the Duchess’s room.
Now the corpses become another spectacle – paralleling the wax works previously.
Bosola’s pity is awakened by the children’s corpses or at least in contrast to Ferdinand’s lack of emotion.
He should feel something as “murther” is the worst crime….
Ferdinand has the most famous epitaph – again with a reference to light… or are his eyes filled with tears?

8. Bosola and Ferdinand are at odds again – Ferdinand seems now to argue that Bosola should have been her
Saviour – removed her to a sanctuary – traditionally a church which could not be invaded.
Ferdinand now lies and argues he was “distracted of his wits” – Bosola should have seen his wishes as madness.
Webster seems to be playing up the stereotypical noble/ruler – regretting what has been done on their behalf.
Even moving into meta-drama with the “good actor” reference…
Bosola seems doomed to displease his employers – an echo of his first appearance – and Ferdinand then questions
how he himself was her judge – beyond the law – on earth and heaven as well.
They argue, Bosola comes off worst and so he declaims a very graphic judgement on the brothers – “hearts that
are hollow graves” – their blood-ties makes each as bad as the other.
Bosola damns himself and suggests that noble’s and ruler’s servants are “true” i.e. loyal rather than “honest”. No reward
of course is forthcoming.
It is left to the “real” Bosola to greet the reviving Duchess (like Cordelia in Lear) – he has hope that she may live but
at least as she dies he gives her hope as Antonio is revealed to be alive and reconciled through the offices of the Pope.
Bosola then repents and asks himself why he could not weep whilst the Duchess lived and therefore pity her?
His conscience is awakened – too late - this tragedy is Bosola’s too….