All the Murdered Characters of The Duchess of Malfi

In John Webster's Duchess of Malfi, nearly every central character of the story is murdered by the close of the play. The circumstances of death vary for each character, but their reactions to their impending dooms are far more fascinating than the methods by which they are killed. The death scenes of each character provide frank, unadulterated looks at their true personalities, which prove to be somewhat of a surprise in more than one instance. The reactions of The Duchess, Cariola, Antonio, and Bosola in particular reveal character traits that were only implied up until the points of their demise.

When the Duchess is first approached by Bosola, who fully intends to kill her, she doesn't take him very seriously, as up to that point, he has been somewhat of a friendly acquaintance of hers, and has certainly posed no visible threat. When she asks him if he knows who she is, and he replies, "Thou art a box of worm seed at best..., (IV:II:123)" then she finally begins to realize that he might truly mean to kill her. It's interesting that he chooses the phrase "worm seed," because there are many ways to imply that death is approaching, but the image of "worm seed" implies a grotesque, eaten corpse- certainly not a duchess or any other person of stature. Even in death, a duchess would be embalmed and laid out glamorously, so "worm seed" seems an unnecessarily harsh term for Bosola to use. Even in the face of this, however, she haughtily replies, " I am Duchess of Malfi still." This bravery in the face of death is quite admirable, and very much a sign of nobility. It also suggests that she might feel protected from death by her title, or that she doesn't deem Bosola capable of killing her. She was expecting her brothers to kill her, but the fact that Bosola comes to do their dirty work seems to surprise the duchess. When she asks him, "and thou com'st to make my tomb? (IV:II:146)" and he tells her he has, she responds with, "Let me be a little merry;/ of what stuff wilt thou make it?" This could either be taken as a tongue-and-cheek comment, indicating that she thinks him mad, or as a resignation to her death. If it is the latter, then she could be pleading for a mercifully small amount of happiness that the knowledge will attain her. It isn't until Bosola summons the executioners with a coffin and ropes and says to her, "Here is a present from your princely brothers (IV:II:163)," that she realizes she is going to die that day. The use of the word "princely" in this instance is extremely ironic- although they are royalty of some kind, their hiring of someone to kill their sister is hardly "princely" behavior at all. However, its use implies that perhaps this sort of behavior was not terribly unusual in royal families in the 16th century (or perhaps just in 16th century British drama?). The Duchess's maid, Cariola, mourns for her: "O my sweet lady! (IV:II:168)" But the duchess calmly replies, "Peace; it affrights not me (IV:II:167)." Many times, when those near their death beds claim that death doesn't frighten them, it is for the benefit of someone else, but in this instance, it is very believable that the duchess is not frightened, as she has a history of showing great bravery, and is so noble in spirit that she won't let the threat of death undermine her good upbringing. In addition, she alludes to the fact that her brothers want her dead earlier in the play, so she has had time to prepare herself for her own death. In the midst of the situation, she doesn't mention her own well-being once, but she does show concern for her children: "I pray thee look thou giv'st my little boy/ some syrup for his cold, and let the girl/ say her prayers, ere she sleep (IV:II:200)." Even though she is about to be strangled, she is concerned for such small matters as her son's illness and whether or not her daughter says her prayers. When Bosola presents her executioners, she says "I forgive them," and he replies, "does not death frighten you?" She brazenly asks, "who would be afraid on't?" She doesn't seem to hold either the executioners or Bosola personally responsible for what they are about to do, and faces the ordeal with great serenity. When it is finally time for her to die, she gets down on her knees and says, "Pull, and pull strongly, for your able strength/ must pull down heaven upon me." This is obviously a God-fearing woman; whether or not she identifies with Christianity is unclear, but her symbolic kneeling before God, and her certainty that she is going to heaven, certainly suggests that she feels absolved of all wrongdoing. Her soul is prepared for death, and she is secure in her faith. She even gives her executioners an invitation to kill her when she says, "Come violent death (IV:II:230)." Her last word, upon hearing that Antonio is alive, is "mercy (IV:II:348)." She can die even more peacefully knowing that her husband is still alive to look after the children she still thinks are alive. Had she known that her children were to be murdered as well, she may not have been so calm about her own demise. However, situation as it was, the duchess was surprisingly stoic and accepting of the circumstances, as if she expected her brothers to cause her death eventually. It is important that, no matter what her fate, the duchess preserve her air of authority and grace as the heroine of the play- had she whimpered and cowered at her impending death, she would be allowing her "princely" brothers too much satisfaction, and the play would be trite and uninteresting.

The Duchess's maid, Cariola, does not handle her death as admirably as the Duchess. When the executioners first approach the Duchess, Cariola falls into panicked hysteria and cries, "Hence villains, tyrants, murderers. Alas!/ What will you do with my lady? Call for help (IV:II:193)." When Cariola's noise grows tiresome, the executioners seize her as well. Unlike the Duchess, Cariola puts up a sizable physical fight and tries to escape her captors; she isn't ready to die. When the Duchess, accepting her fate, bids Cariola farewell, Cariola says, "I will die with her (IV"II"199)." However, when it is Cariola's turn to be asphyxiated, she confesses, "I am not prepar'd for't. I will not die, I must not, I am contracted/ to a young gentleman...If you kill me now/ I am damn'd. I have not been at confession/ this two years...I am quick with child (IV:II:239)." This new information makes obvious the reasons Cariola is struggling. Initially, it seems that she is just not of the type of high breeding that the duchess is, and therefore not as courageous. However, it becomes clear that Cariola, who is also a God-fearing woman (or seems to be, judging by her remark about confession), is pregnant out of wedlock and not certain that she will go to heaven, as she hasn't confessed her sins in two years. Cariola died unwillingly and immodestly, and mustered none of the courage of the Duchess. She really could not, because if she were as courageous as the duchess, there would be no contrast between the two characters. That lack of contrast would be inappropriate, as the book is trying to portray the duchess as a dignitary who doesn't deserve to die, but accepts it graciously because she is comfortable with the state of her soul. Cariola must be portrayed as the good, but slightly whorish woman who makes an undignified spectacle of herself when she is killed so that the duchess will look more saintly by comparison.

Antonio, the Duchess's husband, is stabbed unexpectedly, but doesn't get terribly upset that death is upon him (or if he does, he doesn't mention it), but rather of how long a journey the sword brought an end to, and he seems pleased. It is very strange that he doesn't mention his sadness at leaving his loving wife and children, but then, Bosola mentions them, and Antonio says, "Their very names kindle a little life in me (V:V:58)." With that, Bosola tells him that they have all been killed, and then Antonio really doesn't want to live anymore: "I would not now/ wish my wounds balm'd nor heal'd: for I have no use/ to put my life to (V:V:61)." It does not, however, seem that he really wants to die any more or less now that he has heard this, although the natural assumption would be that he must prefer death to life without his loved ones. He doesn't beg or plead for his life, but quietly accepts death. He doesn't accept it with quiet conviction and courage, like his wife, but rather as his penance for some wrongdoing, or as the inevitable. There are no signs that Antonio is particularly religious, but he does not seem to be ill at ease among death. This is interesting, as the duchess, his wife, is the only other character in the play who seems to be at peace when she dies; everyone else dies in quite a bit of anguish of the soul. John Webster is drawing an interesting comparison between the duchess and Antonio, which suggests that, regardless of financial or royal status, it is morality that sends one to heaven.

Bosola enjoys the only productive death in the whole play- he dies killing those who caused him to kill, Ferdinand and the Cardinal. As he sinks a sword into Ferdinand, he says, "now my revenge is perfect: sink, thou main cause/ of my undoing: the last part of my life/ hath done me best service (V:V:62)." When Malateste and Roderigo ask how it all came about, Bosola tells them that he was primarily at fault for the deaths, "much against mine own good nature, yet i'th'end/ neglected. (V:V:84)." As death closed in on Bosola (who is already fatally wounded), he says, "It may be pain: but no harm to me to die...Let worthy minds ne'er stagger in distrust/ to suffer death or shame for what is just: mine is another voyage (V:V:102)." Bosola is being extremely valiant and brave about his death. His willingness to die in order to help undo his wrongs is the single most unselfish act he has committed throughout the entire play. It is unfortunate that it took death to turn Bosola into the good person he has been trying to be, but couldn't quite be, during the duration of the play, but at least it happened. It is also unfortunate that, by the time Bosola decided to be heroic and do the right thing, he had already managed to kill everyone who might appreciate it. Nevertheless, Bosola died somewhat courageously and removed the true evil, Ferdinand and the Cardinal, from the earth before he went. He obviously realized that his death was necessary in order to set things right, so he didn't balk at the sword that killed him, but instead was thankful for his opportunity to set things right. It would seem that this would indicate that Bosola, too, dies contentedly, but he instead seems upset that he was unable to do more to fix the many problems he caused. It is unclear whether Bosola thinks he will go to heaven, or whether he even believes in any religious ideals.

Although all four characters perish needlessly in the context of the play, Webster uses their methods of death and attitudes at their times of death to tell his readers more about these characters. Each of their dialogues indicate what their afterlives might be like, and whether they were prepared for death.