edited by Brian Gibbons
One of the most haunting tragedies written in the Jacobean period, The Duchess of Malfi is a violent and macabre story of lust, madness, cruelty and revenge. First performed c. 1613-4 by the King’s Men, probably at the indoor Blackfriars theatre and later at the outdoor Globe playhouse, this text is based on the only authoritative extant edition, the first quarto of 1623.
Webster adapts the true story of a noble Italian widow, the eponymous Duchess, who secretly marries her steward, Antonio, and bears his children. Her two corrupt brothers, Ferdinand, Duke of Calabria, and the Cardinal, enraged by this act of female self-determination across class boundaries, begin to spy on the family in a conspiracy against her happiness that ends in psychological torture, mutilation and murder.
While following many of the conventions of revenge tragedy (like Shakespeare’s Hamlet, it employs a courtly setting, surveillance, a malcontent), The Duchess of Malfi affords its protagonists a psychological depth that has prompted discussions, amongst others, of incest and lycanthropy. Nevertheless, it also contains some of the most memorable props of the early modern stage, including the waxwork ‘bodies’ of the Duchess’ family, and a poisoned Bible.
Unlike his sources, Webster does not condemn the Duchess for lasciviousness – she remains one of the most fascinating and complex female characters of the early modern stage. She exercises power politically and domestically, and is sexually autonomous: she takes the active role in her wooing of Antonio, refusing to bow down to her brothers’ prescriptive demands of her heart and body. She has been regarded as an archetypal Protestant martyr against the tyranny of Catholic Europe, such as was celebrated in John Foxe’s Book of Martyrs (1563).
The Duchess of Malfi is one of the major tragedies of the period and continues to prompt both new adaptations and critical interpretations. It has had a long and successful stage history, and was played by candlelight as the inaugural production at the Sam Wanamaker playhouse at Shakespeare’s Globe Theatre, London (2014), an indoor playing space designed to replicate the early seventeenth-century Blackfriars theatre, a little way across the river from where the Globe now stands.