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Duchess of Malfi as a tragedy
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English literature is continuously developing into a more complex, and interwoven network of shared, or argued ideas. Proof of this goes back into all of the varieties of literature that we have discovered from times past, as well as anything new that is written today. One example of these works of art that has been studied intensely over the years includes the story of The Duchess of Malfi written by John Webster somewhere between 1580 and 1625. This is a story of tragic loss, desperate love, and vicious vengeance which all comes together to form one of the greatest tragedies of all time.
With the timeframe that this story was produced, it becomes the duty of any English critic to compare and contrast with other works that were also produced in that time. One of these comparisons is none other than the work of the great Shakespeare. Although The Duchess of Malfi is not considered to be a Shakespearian play, it has been noted to be similar in numerous aspects. Snively, an honors student who will be
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Andrews Honors Program. She did her honors thesis on the history of this specific story, and her findings included that “The Duchess of Malfi is arguably one of the more famous and studied of the non-Shakespearean revenge tragedies” (5). Webster’s play would not have been so well-known today if he chose to make this a typical love story. He took elements of all sorts of horrors such as plotting against family, friends deceiving one another, the vengeance of corruption, the madness of murder, and he even was sure to include a variety of different forms of sexual inappropriateness. None of these things were extra effects; each played an important part to his theme of destruction, not only of the court, but of the individuals who lived
Murphy, B. & Shirley J. The Literary Encyclopedia. [nl], August 31, 2004. Available at: http://www.litencyc.com/php/speople.php?rec=true&UID=2326. Access on: 22 Aug 2010.
In what follows, my research paper will rely on an article by Kathy Prendergast entitled “Introduction to The Gothic Tradition”. The significance of this article resides in helping to recapitulate the various features of the Gothic tradition. In this article the authoress argues that in order to overturn the Enlightenment and realistic literary mores, many of the eighteenth century novelists had recourse to traditional Romantic conventions in their works of fiction, like the Arthurian legendary tales (Prendergast).
The Norton Anthology of English Literature, Volume 1c. New York: W.W. Norton & Co, 2006. Print. The.
Gioia, Dana, and X.J. Kennedy. "My Last Duchess." Literature: An Introduction to Fiction, Poetry, Drama, and Writing, Compact Edition, Interactive Edition. 5th ed. New York: Pearson; Longman Publishing, 2007. 432-433. Print.
Lady Macbeth’s atypical and complex character directly challenged the archetypal principles and beliefs of the Jacobean era which as a result, drew major fascination through the ages. Lady Macbeth was Shakespeare’s device to not only stimulate audience’s emotions, but to also provide historical context and elicit dominant themes which reflected Jacobean society. Her ambiguous character and remarkable influences in the play raised a lot of controversy and fascination amongst both modern and Jacobean audiences. She can either be seen as linked to the witches in a feminist bid to overthrow the balance of power, or as a representation of the evil side of Macbeth. Nevertheless, it was her distinct characteristics and actions which ultimately catalysed the chain of conflicts of the play. Again, this reinforces her important role in the play.
The Norton Anthology: English Literature. Ninth Edition. Stephen Greenblatt, eds. New York: W.W. Norton & Company, 2012. 2308. Print.
Jokinen, Anniina. "Luminarium: Anthology of English Literature." Luminarium: Anthology of English Literature. N.p., 1996. Web. 9 Nov. 2013. http://www.luminarium.org/
Shakespeare’s relatable literature questions Elizabethan hierarchy and morals while respecting society’s parameters. Macbeth exhibits a prime example exploring social issues such as relativity between cruel behavior and masculinity. Protagonists Macbeth and Lady Macbeth conflict with idealology acceptable for Renaissance noble families. By exploring femininity, gender stereotypes, and allusions to Greek mythology, Shakespeare investigates relativity between cruel behavior and masculinity. Macbeth stands as a tragedy through the ages to question stereotypes and how they affect lives in Elizabethan England, and today.
There have been many authors and playwrights in the world, but none of them have had as much influence as William Shakespeare. When people look at Shakespeare’s body of work, ranging from romantic sonnets to comedies and tragedies; and his overarching influence over writing nowadays, it is clear that his legacy has withstood the test of time. One of his most popular works is Twelfth Night, which tells a tale of love and mistaken identity. Twelfth Night is one of Shakespeares comedies about people who all seem to love the wrong person. A young noblewoman named Viola ends up on the shores of Illyria. Believing her brother to be dead, she is forced to dress up as a man and enter the court of Orsino, the duke of Illyria, as a eunuch named Cesario. As she spends more time waiting on Orsino, she finds herself falling in love with him but is unable to express her feelings because Orsino is in love with Olivia. At the end, hilarity ensures. As all of this occurs, Olivia’s cousin, Toby, his friend Sir Andrew, and the maid Maria, play a prank on the uptight Malvolio, who is Olivia’s steward and appears to only be around to put an end to the revelries of Toby and Andrew. Maria forges a letter and leaves it for Malvolio to find. Malvolio is a character with many dimensions, and as the play progresses, his true colors are revealed. In Twelfth Night, Shakespeare uses the unfortunate consequences of Malvolio’s actions to show the folly consequences of ambition.
Mowat, Barbara A. and Paul Werstine, ed. Introduction. Shakespeare: Othello. New York: Washington Square Press, 1993.
In the Middle Ages, when The Canterbury Tales was written, society became captivated by love and the thought of courtly and debonair love was the governing part of all relationships and commanded how love should be conducted. These principles changed literature completely and created a new genre dedicated to brave, valorous knights embarking on noble quests with the intention of some reward, whether that be their life, lover, or any other want. The Canterbury Tales, written in the 14th century by Geoffrey Chaucer, accurately portrays and depicts this type of genre. Containing a collection of stories within the main novel, only one of those stories, entitled “The Wife of Bath’s Tale”, truly outlines the 14th century community beliefs on courtly love.
Among the greatest gifts that the renaissance produced was the eloquent and incredible Shakespearean plays. Written mostly in the 1590s these plays have been performed and admired countless times; entertaining mass audiences by providing interesting tales that explore the depth of human insights and the different universal themes. Among the many Shakespearean plays Macbeth, written in 1606, stands out with its short composition but multiple themes. This tragedy narrates the tale of Macbeth and Lady Macbeth’s quest to grasp ultimate power by ignoring their morals and succumbing to their dark desires, which ultimately leads to their downfall. This tragic play portrays the desires, needs, and temptations that accompany ambition in men and women. However the ambition in Macbeth is blind, it does not abide to the morals, but it allows space for dark actions as means necessary for accomplishment. Blind ambition serves as the main driving force that drives Macbeth to subdue to his dark desires, defy his noble behavior, and ultimately his downfall.
22 of Studies in English Literature, 1500-1900. Rpt. in Studies in English Literature, 1500-1900. N.p.: n.p., n.d. N. pag.
113- The Norton Anthology of English Literature. 6th ed. of the book. Vol.
...er to raise his social position, he wishes to marry Olivia and become count. Sir Toby asks Malvolio, “Art any more than a steward? Dost thou think, because thou art virtuous, there shall be no more cakes and ale?” (II.iii.115f) as Malvolio acts as if he’s in a higher social hierarchy than Sir Toby. Maria plays with Malvolio’s ultimate ambition to make Malvolio believe that Olivia is in love with him. Malvolio, who is full of self-love and egoism, falls for this trick immediately. Sir Toby, Sir Andrew and the others find this extremely funny as Malvolio is not of noble blood and under the closed hierarchical system of Shakespeare’s era, a noblewoman, like Olivia, would not marry someone below her social status. Thus, this clearly shows that delusions caused by one’s wants and needs prevent people thinking objectively.