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The Duchess of Malfi, by John Webster
Free Ebook The Duchess of Malfi, by John Webster
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The play is set in the court of Malfi (Amalfi), Italy 1504 to 1510. The recently widowed Duchess falls in love with Antonio, a lowly steward, but her brothers, not wishing her to share their inheritance and desperate to evade a degrading association with their social inferiors, forbid her from remarrying. She marries Antonio in secret and bears him three children before they are found out.
The Duchess’s lunatic and incestuously obsessed brother, Ferdinand threatens and disowns her. In an attempt to escape, she and Antonio concoct a story that he has swindled her out of her fortune and has to flee into exile. She takes Bosola into her confidence, not knowing that he is Ferdinand’s spy, and arranges that he will deliver her jewellery to Antonio at his hiding-place in Ancona. She will join them later, whilst pretending to make a pilgrimage to a town nearby. The Cardinal hears of the plan, instructs Bosola to banish the two lovers, and sends soldiers to capture them. Antonio escapes with their eldest son, but the Duchess, her maid, and her two younger children are returned to Malfi and, under instructions from Ferdinand, die at the hands of Bosola’s executioners. This experience, combined with a long-standing sense of injustice and his own feeling of a lack of identity, turns Bosola against the Cardinal and his brother, deciding to take up the cause of “Revenge for the Duchess of Malfi”
- Sales Rank: #1304279 in eBooks
- Published on: 2015-02-24
- Released on: 2015-02-24
- Format: Kindle eBook
Review
"Here's a good idea, The Arden Shakespeare, purveyor of handsome editions of individual plays, now expands the brand with Arden Early Modern Drama. Scholars increasingly explore Jacobethan plays, and a series that takes them just as seriously as the Shakespeare canon is very welcome. You'll find the same small design, ample font size, enthusiastic historical/cultural context, full performance history and munificent annotation. For students, actors and less specialized lovers of Renaissance doings, these editions may become the luxe choice...Leah S. Marcus' lively introduction situates it in Jacobean London...Wonderful illustrations...I hope the series will lure directors to stage these alluring plays."—Plays International "Webster took tragedy to a new level in the psychology of evil, actual horror and callousness."—Independent "Webster's language has a musical poetry second only to Shakespeare's."—Sunday Times (of London)
Review
'I found it more exciting than I should probably admit to at seeing the Shakespeare-rich layer of annotation underpinning the text on the page of a play - The Duchess of Malfi - that simply hasn't been treated in that way before, especially in terms of introductory matter.' Shakespeare Bookshop Newsletter (December 2009)
About the Author
Dr John Webster is Emeritus Professor in Animal Husbandry at the University of Bristol, UK. Amongst his many achievements, Professor Webster was recently awarded an honorary degree by the Royal Veterinary College for his research in animal science, as well as the Universities Federation for Animal Welfare (UFAW) Medal for Outstanding Contributions to Animal Welfare. He established the Animal Welfare and Behaviour Group at the University of Bristol, one of the largest and most highly-regarded of its kind in the world, and was a founder member of the Farm Animal Welfare Council which pioneered the Five Freedoms for farm animals.
Most helpful customer reviews
12 of 15 people found the following review helpful.
A superb play
By Joost Daalder
Of the "popular" editions of this play that by John Russell Brown (Revels Student Editions) and Elizabeth Brennan (New Mermaids) are both useful, though it must be said that no edition as yet does adequate justice to Webster's compexity - notably his presentation of Ferdinand. The play is both a tour de force and profoundly searching. It is perhaps the first major feminist play in England, with the Duchess presented as an outstandingly noble even if fallible character, the victim of her two evil "partriarchal" brothers. Of these, her twin brother Ferdinand is among the most intelligently conceived characters to appear on the Jacobean stage. Unknowingly (i.e. in his "unconscious") he is incestuously in love with his sister. Unable to cope with this "taboo" feeling, he tries to "repress" it unsuccessfully, and finally his ... "libido" comes to express itself in a violent wish to destroy her if he cannot ... own her, and he ends up believing himself to be a wolf, attempting to dig up her grave after he has had her killed. Obviously, then, this is a very Freudian work - anticipating Freud's insights brilliantly by some four centuries, and without lapsing into Freud's extravagantly improbable claims about such matters as the Oedipus complex. It is the working of the unconcious, as a reservoir of what we do not understand and cannot control, which is quite central in this play, and Ferdinand's ... confusion is potently contrasted with his sister's openminded, acknowledged and generous ... health. An outstanding play, recommended as among the best of its time (comparable in quality and interest to e.g. *Othello* or *The Changeling*). - Joost Daalder, Professor of English, Flinders University, South Australia
6 of 7 people found the following review helpful.
A violent psychosexual play
By Michael J. Mazza
John Webster's play "The Duchess of Malfi" is a violent play that presents a dark, disturbing portrait of the human condition. According to the introductory note in the Dover edition, the play was first presented in 1613 or 1614.
The title character is a widow with two brothers: Ferdinand and the Cardinal. In the play's opening act, the brothers try to persuade their sister not to seek a new husband. Her resistance to their wishes sets in motion a chain of secrecy, plotting, and violence.
The relationship between Ferdinand and the Duchess is probably one of the most unsettling brother-sister relationships in literature. The play is full of both onstage killings and great lines. The title character is one of stage history's intriguing female characters; she is a woman whose desires lead her to defy familial pressure. Another fascinating and complex character is Bosola, who early in the play is enlisted to act as a spy. Overall, a compelling and well-written tragedy.
3 of 4 people found the following review helpful.
Not the best edition
By David Auerbach
First off, I don't see any substance to the other reviewer's accusation of plagiarism. Having compared Brown's and Marcus's notes, the substance generally differs. Even the example the other reviewer cites varies enough that I don't think there's justification for the accusation. Whatever problems this edition has, I don't think that Marcus's ethics should be impugned.
That said, I don't think this is a very good edition. Despite all the helpful information, the introduction is indeed disorganized and confused, the textual analysis does indeed indulge in conspiracy theories, and the textual editing is suspect (some phrases are left capitalized for no good reason, stage directions have been altered to favor particular interpretations, etc.). The notes tend toward help with the "materialist" aspects of the play while ignoring thematic and character content. If you want to know every little detail about the food, medicine, architecture, and politics of Renaissance England, even if they have only the most tangential relation to the content of the play, this is the edition for you. If you want notes on language, poetry and poetic allusion, and interpretation, this edition is vastly inferior to John Russell Brown's revised Revels edition The Duchess of Malfi: By John Webster, 2nd Edition (Revels Plays). Brown even finds some medical references that Marcus misses. Many of Marcus's interpretive notes are unilluminating paraphrases of the text, while Brown plumbs its ambiguities.
As for feminism, Christina Luckyj and Suzanne Gossett, among others, have excellently folded in feminist criticism into their editions of plays. Marcus simply is not as good a scholar as them or Brown.
I'd also avoid Brian Gibbons' New Mermaids edition, which is sparse and superficial. Stick with Brown's, revised in 2009.
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