1. Malfi – Act 1 lines 163 – 216
The exposition continues with Antonio’s dissection of Ferdinand’s character.
Interestingly, where Antonio began the Cardinal’s description quite gently the language he uses of the Duke is much harsher.
“Perverse” contains the connotations of stubbornness but also sexual devience whilst “turbulent” suggests what?
Although the Duke and the Cardinal are not literally twins they are clearly alike in their decadent nature and cynical view of the world. Manipulating power for the sake of it, corrupting men and treating the “law” as something to trap people.
“Oracles” suggest the Cardinal can prophesy – see into the future - whereas in reality he will simply use his absolute power to make his will happen. Antonio sees this power as evil.

2. Antonio seems detached about the natures of the brothers as if he has no fear of them.
When he speaks of the Duchess how does his language alter? Is he still as detached?
What point is Webster making here? His language resembles Ferdinand’s description of Miranda in
The Tempest….
Structurally, the family resembles a triptych – the two brothers enclosing on either side
the beautiful and gracious sister. Same mould but different metals and ways of being made is the allusion
Antonio is making as well as the beautiful metaphor on time.
When the Duchess finally speaks aloud for the first time what is her tone towards her brother
and her mode of speaking? Is this normal between sister and brother?
Ferdinand is about to put a spy in her household.
Again, consider the nature of their relationship. What does this action suggest?
The Duchess is a widow – to whom is she now responsible, given that women in law were considered to belong
to their fathers, brothers or nearest male relative? As a noblewoman does she rule over herself and her household?
The brothers are departing but they will be kept informed of their sister’s behaviour by Bosola.
What is a modern audience’s attitude to this?