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Free Malfi Essays and Papers

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    The Duchess of Malfi

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    Duchess of Malfi is a revenge tragedy, but Webster has used the form for much more than just its entertainment value; he has used it as a vehicle for the exploration of some themes relevant to the society of his time. Webster based his plot on a true story set in Italy, and kept the Italian setting because like Shakespeare and other playwrights of his day, he had to use politically-acceptable foreign settings in which to explore ideas such as those presented in The Duchess of Malfi, (which were

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    The Duchess of Malfi - Character Summary "The birds that live i' th' field On the wild benefit of nature, live Happier than we; for they may choose their mates, And carol their sweet pleasures to the spring." The Duchess of Malfi (3.5.18-21) The Duchess of Malfi: Character Summary A widow, the duchess rules her duchy alone. Lonely and in love, she secretly marries her steward Antonio. This is done in a hand-fast marriage witnessed by Cariola, the Duchess' hand-maiden. By choosing

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    Inviting Destruction in Duchess of Malfi It has been asserted that, through her willfulness, the Duchess invites her own destruction.  However the assertion has to be looked at from a 17th century point-of-view, as well as a modern one. The assertion is firmly rooted in the issue of human rights, and that issue has changed and evolved an enormous amount over the past few centuries, since Duchess of Malfi was written. Society in the early 17th century was very different from ours today; then

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    The Duchess of Malfi: A True Villain

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    According to Webster’s dictionary, the definition of ‘villain’ is “a character in a story, movie, etc., who does bad things” (Merriam-Webster). In John Webster’s play, The Duchess of Malfi, the plot line revolves around a duchess and her two brothers. The Duchess of Malfi is a very twisted and complicated story where the characters are not as they seem. One of the most significant parts of the story line is that the characters that appear to be the villains are not actually the villains. This makes

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    The Sin of Pride Exposed in King Lear, and The Duchess of Malfi In this brief monograph, we shall be hunting down and examining various creatures from the bestiary of Medieval/Renaissance thought. Among these are the fierce lion of imperious, egotistical power, a pair of fantastic peacocks, one of vanity, one of preening social status, and the docile lamb of humility. The lion and the peacocks are of the species known as pride, while the lamb is of an entirely different, in fact antithetical

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    Duchess of Malfi written by John Webster somewhere between 1580 and 1625. This is a story of tragic loss, desperate love, and vicious vengeance which all comes together to form one of the greatest tragedies of all time. With the timeframe that this story was produced, it becomes the duty of any English critic to compare and contrast with other works that were also produced in that time. One of these comparisons is none other than the work of the great Shakespeare. Although The Duchess of Malfi is not

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    The Duchess Of Malfi by John Webster as A Revenge Tragedy “The Duchess of Malfi” is a macabre, tragic play, written by the English dramatist John Webster. It begins as a love story, with a Duchess who marries beneath her class

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    John Webster's play The Duchess of Malfi is an illustration of the unequal power relations between the sexes during the sixteenth century. In the play the brothers Ferdinand and the Cardinal are shown as men who want to control their sister the Duchess by not letting her remarry. Out of this situation emerges the Duchess who, in spite of her promise not to marry again (p. 1298), will do the complete opposite, thus defying male power. Her conversation with Antonio (lines 317-61, pp. 1292-3)

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    Consequences of Ambition Exposed in Macbeth, The Maid's Tragedy, and The Duchess of Malfi Twenty-first century America praises the ambitious. The American dream urges us to set lofty goals and then rely on the Protestant work ethic to achieve them-regardless of potential obstacles. Parents encourage their children to consider any and every career choice. Companies and schools stress goal-setting and celebrate productivity. Even a contemporary catchphrase like "The sky's the limit" or the

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    The Fourth Act of The Duchess

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    The Fourth Act of The Duchess "The first necessity of baroque is that the audience should be gripped, excited, moved" [1] - so says Ralph Berry. The fourth act of The Duchess of Malfi certainly succeeds under all these criteria, being the dramatic crux of the play. The events that occur in the first scene are undoubtedly crucial, but it is the characters' vastly varied reactions to them that are vitally important. Rich imagery is deeply interwoven with the fabric of play - indeed, it is

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