Malfi Act II Scene v Ferdinand has had a letter – in drama, letters (in Ancient Greek drama literally a messenger), generally portend evil or tragic events. (In Romeo and Juliet the letter from Friar Lawrence to Romeo which is never delivered brings about the deaths of the lovers and Paris). He speaks symbolically of “digged up a mandrake”.

Harry Potter aside – the mandrake has been associated with magic and spells for centuries. Its forked root is held to resemble a human being and it supposedly shrieks as dug up from the ground! Any plant with this size root is going to be tough to dig up – the digger would be the one shrieking – but its resemblance to a squashed baby would also elicit squeals as well. Traditionally, the shriek from the plant could kill, madden or enchant its hearers. See Comus by Milton. Mandragora is also poisonous but reputed to be an aphrodisiac as well – all connotations possible here

The letter, of course, from Bosola, has revealed that the Duchess has had a child. Ferdinand suggests that her behaviour will “damn” her i.e. send her to Hell – the deadly sin of Lust being the operative one here. Having a bastard child will also taint the family blood line. Webster equates the publication of the news with servants who announce the riches of their masters and then keep an eye on those most interested. Which might suggest that Bosola is again looking for some sort of reward. Ferdinand is also upset that her servants have conspired to keep her “affair” secret. In “garrison” towns where soldiers were resident, brothels were commonplace – ie the Duchess is better provided for than those towns.

Ferdinand is not only presented as upset by Webster in a possessive way, but the shame to the family also underlies his outrage. Even ordinary families saw pregnancy outside marriage as humiliating and shameful, and still do to some extent, let alone a noble family such as this one. He sees his anger “choler” as a sickness that must be purged – hence the need for rhubarb – and this medical image continues to him using “fire” and “desperate physic” as surgeon to cut or destroy her tainted body. The Cardinal is concerned with the family honour citing the line of “Aragon and Castile”. This carries connotations of pride and strict Catholic principles. This refers to the Spanish rulers of southern Italy, also linked to England through the marriage of Katherine of Aragon to Henry VIII. Ferdinand’s name links directly to King Ferdinand II of Aragon, whose marriage to Queen Isabella of Castile eventually united the disparate kingdoms of Spain. Katherine was their daughter.

Dramatically, Ferdinand’s rage can be presented as bordering on madness. The handkerchief, here links with Antonio’s in the previous scene, yet parallels it. Ferdinand weeps away his pity and will use it as “soft lint” – an oxymoron to bandage his sister’s wounds. Antonio’s had blood upon it – an omen of events to come. Webster has the Cardinal suggest she is “unequal” and “cursed” – all familiar epithets applied to women in the 17th century. The left hand side of the body has traditionally been seen as “sinister” and unnatural, associated again with witchcraft and paganism. The Latin for left hand is “sinistra”. Women’s hearts are smaller than men’s and more sensitive to hormones but their position quoted here is metaphorical…

The two brothers are portrayed as hot and cold – fire and ice. Ferdinand: passionate, choleric, jealous and sexually enamoured of his sister. Anger is another of the Seven Deadly Sins….. Rails against the weakness of women and their faithlessness. He is the one who speaks of “sin” where it should really be coming from the mouth of the Cardinal. It is his imagination that is running away with him. The Cardinal: dispassionate, concerned with honour/lineage/pride (ironically, we see his sexual activities unlike his brother’s.) Also accuses his mistress of faithlessness… Concerned that his brother’s “intemperate” noise is leading him “beyond your reason”. In King Lear Shakespeare also presents two half brothers: Edgar and Edmund. Edgar feigns madness to escape capture and death whereas Edmund (the bastard) lies, is sexually opportunistic to gain power and as cold as ice.

Ferdinand suggests that if he calms himself he “will only study to seem the thing I am not” - like Bosola, Antonio and the Duchess he will be playing a part – wearing a mask. His vengeance is depicted as connoting hell – a mine with no vents and “boiling” their son – visceral, physical and horrific. The audience can be in no doubt now of the end in view…. He ends by suggesting that he will calm down in sleep – the implication is alone whilst he waits to know who the father of the child is. The hiatus of the time gap between the acts is foreshadowed – until they know more they will not act.