The principal characters and their roles
We follow after bubbles, blown in th'air.
Pleasure of life, what is't?
Only the good hours of an ague
The Jacobean age was one of questioning and uncertainty about many issues, such as religion, politics and law. At the same time it was rediscovering the potency of Classical texts of Rome and Greece, and reinterpreting tragic form to suit its own ends. The Duchess of Malfi is a revenge tragedy, but Webster has used the form for much more than just its entertainment value; he has used it as a vehicle for the exploration of some themes relevant to the society of his time.
Webster based his plot on a true story set in Italy, and kept the Italian setting because like Shakespeare and other playwrights of his day, he had to use politically-acceptable foreign settings in which to explore ideas such as those presented in The Duchess of Malfi, (which were really commentaries on the England of their own era), to do with inequality, injustice, and corruption, without causing outrage in response to his work.
Antonio and The Duchess
The fact that Antonio can never have an equal relationship with the Duchess has prompted some readers to feel that his importance as a character in the play is limited, while others suggest that his main role is as a mouthpiece for Webster's own judgements and opinions. To assess the importance of his role we need to consider it relation to the Duchess, and in the context of the play as a whole.
Inequalities of power associated with gender and social status are highlighted in the relationship between The Duchess and Antonio, and the reactions of others towards their relationship.
In Antonio's self-deprecating dying speech,
Antonio: We follow afte...
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... been pointed out that The Duchess of Malfi is a flawed play. For example Ferdinand reveals to Bosola a possible motive for wanting his sister to be murdered:
Ferdinand: To have gain'd an infinite mass of treasure by her death. [Act 5, Scene ii]
But this sounds unconvincing, as Malfi is little more than a poor fishing village. Moments such as these in the play have led it to be criticised for its plot, and it has other flaws. For example is it plausible that the Duchess could marry Antonio and have children in secret? Webster tends to neglect the importance of The Duchess' sons, and in Act 5 we see Delio apparently with a false heir.
But in spite of these flaws The Duchess of Malfi has lasted and remained popular, not just for its potent entertainment value and Webster's masterful use of language, but also for the insights it gives us into Jacobean society.
In the time of William Shakespeare where courtship and romance were often overshadowed by the need to marry for social betterment and to ensure inheritance, emerges a couple from Much Ado About Nothing, Hero and Claudio, who must not only grow as a couple, who faces deception and slander, but as individuals. Out of the couple, Claudio, a brave soldier respected by some of the highest ranked men during his time, Prince Don Pedro and the Governor of Messina, Leonato, has the most growing to do. Throughout the play, Claudio’s transformation from an immature, love-struck boy who believes gossip and allows himself to easily be manipulated is seen when he blossoms into a mature young man who admits to his mistakes and actually has the capacity to love the girl he has longed for.
The women in Othello are few. A grand total of three have lines, and only two are truly important characters. The females in the play, in accordance to Shakespeare’s time period’s own Elizabethan English ideologies and the gender norms of the society in which the play takes place, are put firmly ‘in their place’. They are meek, soft spoken, and submissive, treated like possessions by the dominating men and almost completely disregarded as individuals with their own thoughts and emotions. Bawdy jokes and cracks at women’s sexuality are rampant, and husbands get away with frequent misogynistic rants at their wives’ expense. The female character who plays the most dynamic role in Othello is Emilia. In the duration of the play, we observe her evolution from a simple handmaiden, to a loyal wife enduring her husband’s maltreat, to a complex woman of conflicted feelings and fluctuating emotions. In this way, Emilia disproves the total weakness of women in Othello, and rises as her own sort of minor tragic hero, a preliminary feminist champion.
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.
Trevor Nunn’s esteemed production, Othello (1990), and Janet Suzman’s distinguished film, Othello (1987), artistically enthrall viewers from the inception to the final scenes of their unique adaptations of William Shakespeare’s tale of love and jealousy. Both Nunn’s and Suzman’s works chronicle this renowned play with keen attention to detail, bearing striking similarities and maintaining fundamental facets of the plot and theme. This thoughtful preservation of key elements is complemented by distinct innovations and complexities, yielding entirely separate effects and colorful implications. One of the most significant differences between these two versions of the same play lies within the role of a seemingly trivial character: Bianca. Throughout
tragedy. We may wonder why Miranda and Ferdinand in The Tempest do not end up with the
The Shakespearean classic work Othello enchants the readers mind through the tragic love story of the witty and cunning soldier Othello and the charming and powerful Desdemona. The continuous reinforcement of their tragedy is molded by the gender roles present in the play, particularly those of Bianca, Desdemona, and Emilia. Although the men are important within the outcome of the play, mainly Iago and Othello, the women take a more subtle, yet effective approach in manipulating the work through their personalities. Bianca is a woman of self-esteem and sexual power while Desdemona is the keeper of Othello’s heart and handkerchief, never once denouncing him, even her death. Emilia subtly represents that women are just as powerful, if not more,
Ferdinand and Miranda’s type of relationship shows Shakespeare’s ideas about true love, recognising not just the emotional side of love, but the physical nature too. Miranda promises Ferdinand “The jewel in my dower” which is her virginity, a prized thing in Jacobean times. This knowledge would have been known by Shakespeare’s audience and knowing this helps us to understand Prospero’s protection of his daughter from Caliban.
The epiphany of this however, is realized at the end of the play. Nearly every scene in the play, either intentionally or unintentionally, portrays a struggling relationship between a figure that possesses power and a figure that is suppressed by that power. The play explores the relationship between master and servant very dynamically. In the opening scene, the boatswain (servant) is very oppressive towards the noble men (master) due to their sophomoric attitude in a dangerous situation like that. This is especially visible when Antonio, the usurping Duke of Milan, asks the boatswain where the master is, to this, the boatswain replies, “Do you not hear him?
Crime is seen to just exist however, that is not the case. It is argued that crime is created through society and that crime is both a social fact and a social construction. We are told daily about the problems in which we are facing from crime by politicians through the media. From this it is argued that crime is in fact a social fact and a social construction. Throughout this essay it looks at what exactly is a social construction and a social fact and if crime is in fact both a social construction and a social fact, it will also look at one of the main theories which will help draw a conclusion to if crime Is both a social fact and a social construction.
Bosola's inconsistency makes him different to some of the other characters in the play; the Cardinal is always cold and calculating, Antonio is honorable and benevolent and Ferdinand is fierce and aggressive, even in his mad state. There is no change in their characters, yet Bosola reaches beyond the confinements of the stereotypical role of `black malcontent', as Antonio describes him, altering his opinion of the Duchess as a prostitute, `this precise fellow is the Duchess' bawd', to seeing her as a noble woman and feeling compassion for her in her last moments of life, `Return fair soul from darkness, and lead mine out of this sensible hell!' Bosola's capricious nature makes him more convincing and realistic as a character. At the beginning of the play, the audience will probably dislike Bosola's cruel, pessimistic look on life. His change in opinion t...
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.
The elements of pastoral comedy in The Tempest are also linked to those of the masque. A natural man, Caliban, exists. So do a pair of noble young lovers, Ferdinand and Miranda, who are brought together in the pastoral setting of an island, unaffected by the corruptive influenc...
...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.
As I look back on my schooling I can’t believe how many papers I’ve written throughout my life. Naturally as I’ve grown up, my writing has developed from learning how to write sentences all the way up to the pages of essays that consist of deeper criteria. I know for a fact that I’m a better writer now than I was before. College writing is more challenging and I’ve had to learn how to adjust to it.
To sum it up, I still hold that the increasing crimes in the society have been due to the conditions of poverty in various parts of the country. From the statistics, it is evident that it is in the poor neighborhoods that many types of crimes are realized to have occurred in large numbers. Poverty is mainly as a result of many factors and all these have to find a way for survival through committing crimes (Crowther & Campling, 2000). Therefore, some of the factors that can aid in reducing crime would be to advocate for better education in order to do away with ignorance in individuals.