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Antonio asks Delio if he has hope of reconciling with the Duchess’s brothers. Delio does not think so; land that Antonio held was seized by the Marquis of Pescara and Delio does not think the brothers would order the seizure of someone’s land if they intended to let him live.
Pescara approaches. Delio says he will approach him as a prospective buyer of Antonio’s former land, to see whether it has been put up for sale. He petitions Pescara for a citadel; Pescara denies him and says he will tell Delio why privately.
Julia approaches with a letter from the Cardinal, telling Pescara to bestow Julia the same citadel Delio inquired about. Pescara grants it. Delio asks why he gave the land to Julia instead of him. Pescara explains that Antonio’s land was not legally forfeited but “ravished from his throat” by the Cardinal (V.1.42). Pescara did not want to give unjustly-obtained land to a friend.
Pescara says Ferdinand has recently arrived in Milan but is ill. When Antonio emerges, Delio asks him what he will do. Antonio says he will steal into the Cardinal’s chamber at midnight, hoping that an earnest plea of “love and duty” (V.1.70) will reconcile the Cardinal to him.
Ferdinand’s doctor tells Pescara that Ferdinand is diagnosed with lycanthropy: two days earlier, they found him in a graveyard with a corpse’s leg. He howled and claimed he was a wolf, with hair on the inside rather than outside. The Doctor says he has tended to Ferdinand, who is much improved.
Ferdinand, Malateste, and the Cardinal approach, with Bosola at a distance. Ferdinand does not recognize his own shadow and attacks it. The Doctor checks on Ferdinand’s wellbeing but Ferdinand acts erratically and violently. When the Doctor lists the remedies he has brought, Ferdinand becomes afraid and starts undressing. He threatens the Doctor and then leaves. Pescara asks the others why Ferdinand is acting this way; the Cardinal lies and says that Ferdinand was visited by an apparition that haunts him. Pescara and the Doctor exit, leaving the Cardinal and Bosola alone.
In an aside, the Cardinal says that he does not want Bosola to know he had a hand in the Duchess’s murder. He inquires with Bosola about how the Duchess is doing and then asks him why he has such a wild expression. Julia enters, briefly asking the Cardinal to come to supper. He dismisses her. As she leaves, she makes an aside complimenting Bosola. The Cardinal asks Bosola to find and kill Antonio so that the Cardinal can arrange a good match for the Duchess. The Cardinal leaves and Bosola remarks that though the Cardinal is murderous, he does not seem to know of the Duchess’s death.
Julia enters, pointing a gun at Bosola. She interrogates him about how and when he gave her a love potion, which she thinks is the reason she has immediately fallen in love with him. Bosola lowers her gun and embraces her. They exchange a series of flirtatious compliments. He asks her if the Cardinal will be angry at them if they are caught, but Julia says he would only blame her. Bosola asks Julia to find out why the Cardinal has been “melancholy.” She tells him to hide in her closet while she manipulates the Cardinal into confessing.
Bosola hides and the Cardinal enters. Julia tells the Cardinal she has noticed a change in his demeanor. She tries several strategies to get him to admit this; finally, he admits he has done something he does not want people to know about. The Cardinal warns her that knowing would hasten her toward death, but she continues to inquire. He tells her that the Duchess and her children were strangled four days ago on his orders. Julia is horrified and says she cannot keep this secret. He asks her to kiss a book. Once she has, he reveals that he poisoned the cover, knowing she would not be able to keep the secret.
Bosola emerges from the closet too late to stop the Cardinal, and Julia dies. The Cardinal promises Bosola honor if he goes through with killing Antonio. In a show of trust, the Cardinal gives Bosola the master key to his lodgings so he can help him move Julia’s body that night. Now alone, Bosola soliloquizes about his pity for Antonio. Instead of killing him, he plans to find him and help him to safety. Bosola wonders if he is being haunted by the Duchess: in some versions, the Duchess’s ghost is on stage and in others, Bosola merely acts as if he has seen it. Regardless, he blames it on his melancholy.
Antonio and Delio approach the Cardinal’s lodgings. They do not know that they are near the Duchess’s grave but begin to hear an echo, which Antonio says sounds like his wife’s voice.
Delio asks Antonio not to go to the Cardinal. Antonio wants to see his plan through, but the echo warns him against it. Antonio wants to confront the Cardinal so that he can “lose all, or nothing” (V.3.51). Delio says he will fetch Antonio’s eldest son in hopes that the sight of him will sway the Cardinal.
The Cardinal and Pescara enter with Malateste, Roderigo, and Grisolan. The Cardinal says that their presence distracts Ferdinand while he should be healing. He makes them promise not to enter the room no matter what they hear. Before they leave, he says that he might test them in the night by making a racket and seeing if they break their promise.
In actuality, the Cardinal told them not to enter so he can hide Julia’s body with Bosola. After that, he wants to kill Bosola too. Bosola enters, unseen, and overhears the Cardinal’s plan. Ferdinand enters, talking to himself about strangling, and Bosola hides.
Antonio and a servant enter; the latter leaves to get a lantern. Antonio says that he hopes to find the Cardinal at his prayers. Bosola mistakes Antonio for the Cardinal and stabs him. When the servant returns with the light, the two recognize one another. Bosola laments fate, which has made him stab the man he wanted to save.
He tells Antonio that the Duchess and his children were murdered. Antonio tells Bosola to commend his body to Delio and help his son “fly the courts of princes” (V.4.73). Bosola tells the servant to take Antonio’s body to Julia’s lodgings. He now wants only to kill the Cardinal.
The Cardinal feels increasingly guilty and wonders what Hell will be like. Bosola and the servant enter with Antonio’s body. Bosola says he has come to kill the Cardinal. The Cardinal cries out for help. Outside, Malateste, Pescara, Roderigo, and Grisolan hear the Cardinal’s cries but think that he is testing them, as he said he would. Inside, Bosola kills the servant so he does not go for help. He tells the Cardinal to pray quickly and stabs him twice.
Ferdinand enters, speaking nonsense. He does not seem to recognize the Cardinal. He stabs him and Bosola in the ensuing confusion. Ferdinand suddenly seems more lucid, satisfied by what he has done. Bosola stabs him, wanting revenge for the Duchess. In his final moments, Ferdinand grieves his sister.
The courtiers finally enter and see the grisly scene. Bosola explains how he has avenged the Duchess, Antonio, Julia, and himself. The Cardinal tells them that Ferdinand dealt them their final blows; he then dies. Bosola tells the courtiers how he mistakenly killed Antonio before he also dies.
Pescara says that Delio found him and told him Antonio had gone to the Cardinal’s rooms. Delio himself enters with Antonio’s son and finds that he is too late. He tells the others that they should establish Antonio and the Duchess’s son “in ‘s mother’s right” (V.5.113). He hopes the events that have come to pass will fade away quickly. He says that nature does nothing so great for great men as to make them truthful and famed only for their integrity, which is the only thing that will see them crowned eternally.
The final point in Freytag’s Pyramid is Act V, “catastrophe.” However, the destruction must not be gratuitous, but reasonable and necessary to create catharsis—a release from emotions, leading to a moral adjustment or realization. In The Duchess of Malfi, the brothers’ deep-seated corruption and deceit lead to a final series of betrayals that leaves only one main character, Delio, alive. Delio’s final soliloquy ushers in a new era of truthfulness and integrity for the court.
Antonio’s death comes around because he believes that a single person can hold their ground against a system shaped by Corruption, Deceit, and Betrayal. When Delio warns him that the brothers mean to betray him, Antonio insists, “To any safety I can shape myself” (V.1.14). He believes that his honest nature will bear out his safety against the corruption of the brothers. He plans to visit the Cardinal and use his “love and duty” (V.1.70) to “draw the poison out of [the Cardinal] and work / A friendly reconcilement” (V.1.71-72). Antonio makes a fundamental error: he sees his confrontation with the Cardinal as one individual’s goodness against another individual’s corruption. However, it was Antonio himself who told Delio in Act I that when a land’s ruling class were corrupted, that poison spreads across the land. Therefore, it is not individual versus individual as Antonio believes, but an individual’s goodness versus societal corruption.
Against these forces, Antonio does not have the ability to persevere. Even though Bosola has vowed to save Antonio, the systemic corruption of the court creates an atmosphere in which it is impossible to do so. In Act I, Bosola tells Ferdinand that suspicion between allies breeds deceit: it instructs your allies “the next way to suspect you, / And prompts him to deceive you” (I.1.245-46). This leads to a cycle of suspicion and violence. In Act V, Bosola has learned that the Cardinal means to kill him after he helps remove Julia’s body, and so Bosola is prompted to betray him before that happens. When Bosola hears a figure in the dark of the Cardinal’s cell whisper that he will “take him at his prayers” (V.4.44), he thinks the Cardinal is talking about killing him. Rather than waiting to see if his suspicion is correct, he immediately springs upon the man, only to realize it is Antonio, the very man he wanted to save. This tragic irony is the necessary conclusion of operating within an environment animated by corruption. Antonio’s last wish for his son is that he “fly the courts of princes” (V.5.72)—in his final moments, he has realized that even an individual with an honest heart cannot survive in a court whose ethos is centered around corruption and deceit.
Ferdinand’s inner corruption manifests as lycanthropy. This is a thematic deployment of The Link Between Inner and Outer Maladies for characterization, wherein diseases or disabilities are used for metaphorical purposes. Despite this, Ferdinand’s diagnosis and what it means for the eventual fates of him, the Cardinal, and Bosola is vital to the understanding of the play’s catharsis. Bosola calls Ferdinand’s lycanthropy a “fatal judgement” (V.2.83): because of the suffering he has caused, he now suffers in turn. There is a sense within the play that characters bring their own fates upon them. In his final moments, Ferdinand realizes that “Like diamonds, we are cut with our own dust” (V.5.73). He realizes that his corrupt nature and actions have turned back on himself and brought about his own fate. The Cardinal’s death is justified by similar logic. Before stabbing him, Bosola tells the Cardinal that by killing the Duchess, he “took’st from Justice her most equal balance, / And left her naught but her sword” (V.5.40-41). Without her scales, Justice can only be dealt to the Cardinal via violence. Within the logic of the play, their deaths are necessary to restore balance.
These Act V deaths contribute to the catharsis of the play: the realization that bad actions come with necessary and unavoidable punishment and only after their purgation can systemic change be achieved. Delio underlines this moral with his final soliloquy. In early modern drama, a soliloquy at the end of the play was delivered in part to the remaining characters but also to the audience. He tells the courtiers and audience to “make noble use / Of this great ruin” (V.5.110-11)—that is, to allow the catharsis of tragedy to bestow a lesson. Delio’s final couplet distills that lesson: “Integrity of life is fame’s best friend, / Which nobly, beyond death, shall crown the end” (V.5.120-21). Rather than growing famous for corruption, one should seek to grow famous for living with integrity and honesty, which is the only path to a happy afterlife.
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