AO3: Duchess Of Malfi Flashcards

Question

GENERAL CONTEXT: What are some Machiavellian traits?

Answer 1

Machiavellians are sly, deceptive, distrusting, and manipulative. They are characterized by cynical and misanthropic beliefs, callousness, a striving for … money, power, and status, and the use of cunning influence tactics.

Answer 2

Black Bile Yellow Bile Phlegm Blood ## Footnote The Four Humours was a prevalent theory in ancient Greek and Roman medicine, significantly influencing medical thought until the 19th century. It proposed that the human body comprised four fundamental fluids, or "humours": Blood: Associated with a sanguine temperament, characterized by cheerfulness, sociability, and a ruddy complexion. It was linked to the element of air, the season of spring, and a hot and moist nature. Yellow Bile (Choler): Linked to a choleric temperament, marked by ambition, leadership qualities, and a potentially fiery or angry disposition. It corresponded to the element of fire, the season of summer, and a hot and dry nature. Black Bile (Melancholy): Associated with a melancholic temperament, often seen as analytical, detail-oriented, and potentially prone to sadness or pensiveness. It was connected to the element of earth, the season of autumn, and a cold and dry nature. Phlegm: Related to a phlegmatic temperament, characterized by calmness, coolness, and a somewhat unemotional or apathetic demeanor. It corresponded to the element of water, the season of winter, and a cold and moist nature. The theory suggested that health resulted from a balance of these four humours, and an imbalance would lead to illness and specific personality traits. These humours were also believed to be influenced by factors like diet, climate, and even astrological events. While the Four Humours theory is no longer considered scientifically accurate, it profoundly impacted the course of Western medicine and even left its mark on language, with terms like "sanguine," "choleric," "melancholic," and "phlegmatic" still used to describe personality types.

Answer 3

Black Bile: Bosola (melancholic) Yellow Bile: Ferdinand (to much emotion) Phlegm: Cardinal (emotionless) Blood: Duchess (too full of blood + love)

Answer 4

- Vengeance and feud were an essential part of these cultures, revenge was considered both a right and a duty and was legislated and regulated by social norms. - It was an important tool for obtaining justice and protecting property, family, and reputation.

Answer 5

The Renaissance witnessed a fascinating shift in attitudes towards revenge compared to the medieval period. While both eras acknowledged the concept of redressing wrongs, the underlying justifications, societal implications, and artistic representations evolved significantly. Medieval Attitudes to Revenge: Custom and Obligation: In the medieval period, revenge was often deeply ingrained in social custom and perceived as a familial or clan obligation. The concept of "blood feud" was prevalent, where the responsibility to avenge a wrong, particularly murder, fell upon the victim's kin. This was seen as a matter of honor and maintaining social order in the absence of strong centralized authority. Wergild (Man-Price): Medieval legal systems, such as the Anglo-Saxon "wergild," offered an alternative to blood feuds. This system allowed for monetary compensation to be paid to the victim's family, aiming to prevent cycles of violence. However, the option of revenge often remained, especially if the injured party felt that monetary compensation was insufficient to restore their honor. Religious Influence: The Church's stance on revenge during the Middle Ages was complex. While Christian teachings generally advocated for forgiveness and leaving vengeance to God ("Vengeance is mine, I will repay, says the Lord" - Romans 12:19), the reality of societal norms often superseded this ideal. There was sometimes a distinction made between personal vindictiveness and a more righteous form of retribution seen as upholding justice. Narrative Focus: Medieval literature often depicted revenge as a heroic act, particularly in epic poems and sagas. The focus tended to be on the restoration of honor and the defeat of evil, with less emphasis on the psychological complexities or moral ambiguities of the avenger. Renaissance Attitudes to Revenge: Rise of Centralized Authority and Law: The Renaissance saw the consolidation of state power and the development of more sophisticated legal systems. This led to a growing tension between private revenge and the authority of the law. The state increasingly asserted its right to administer justice, and private acts of vengeance began to be viewed as a challenge to this authority and potentially destabilizing to society. Humanism and Individual Conscience: The rise of humanism emphasized individual reason, morality, and conscience. This led to more nuanced considerations of revenge. While the desire for justice was still acknowledged, the ethical implications of taking the law into one's own hands were more intensely debated. Revenge could be seen as a passionate and potentially corrupting force that could lead to further sin and tragedy. Influence of Classical Literature: Renaissance thinkers and writers were deeply influenced by classical Greek and Roman literature, particularly the tragedies of Seneca. Senecan revenge tragedies, with their themes of ghosts urging revenge, elaborate plots, and bloody outcomes, became a major influence on Renaissance drama in England and elsewhere. These plays often explored the psychological turmoil of the revenger and the destructive consequences of their actions. Revenge Tragedy as a Genre: The Renaissance, particularly the Elizabethan and Jacobean periods in England, saw the emergence of "revenge tragedy" as a distinct and popular dramatic genre. Plays like Hamlet, The Spanish Tragedy, The Duchess of Malfi, and The Revenger's Tragedy delved into the complexities of revenge motives, the moral dilemmas faced by avengers, and the often-tragic outcomes for all involved. These plays often questioned the justice of private revenge and explored its psychological and societal costs. Moral Ambiguity: Unlike some medieval narratives where revenge was clearly justified, Renaissance revenge tragedies often presented a more morally ambiguous picture. The revenger might start with righteous intentions but become corrupted by the act of seeking vengeance, blurring the lines between justice and personal vendetta. The plays often ended with widespread destruction, suggesting the ultimately self-destructive nature of revenge. In the Renaissance, while the impulse for revenge remained a powerful human emotion and a compelling dramatic theme, there was a growing awareness of its problematic nature in the context of evolving legal systems, humanist ethics, and the tragic consequences often depicted in literature. The medieval emphasis on revenge as a social obligation began to give way to a more critical examination of its morality and its impact on individuals and society. The Duchess of Malfi, written in this period, reflects these shifting attitudes by portraying the destructive cycle of revenge and the moral decay it breeds

Answer 6

T. S. Eliot's poem Whispers of Immortality | around 1918

Answer 7

The King's Men (the acting company to which Shakespeare belonged) at the indoor Blackfriars Theatre in 1614, before being later revived at the outdoor Globe Theatre. ## Footnote The company that first performed The Duchess of Malfi was The King's Men. This was the acting company to which William Shakespeare himself belonged. They premiered the play in 1614 at the Blackfriars Theatre, an indoor playhouse that allowed for more sophisticated staging and lighting effects compared to the open-air Globe Theatre, where it was later revived. The fact that The Duchess of Malfi was first performed by the King's Men is relevant to AO3 (Contexts) in OCR A Level English Literature for several reasons: Jacobean Theatre Context: Understanding the theatrical landscape of the time is crucial. The King's Men were a prominent company, and their performance practices, the nature of the indoor and outdoor theatres they used, and the audiences they catered to would have influenced how the play was written and received. For example, the Blackfriars' more intimate setting and use of artificial light might have contributed to the play's intense and claustrophobic atmosphere. The later performances at the Globe would have reached a larger, more diverse audience. Authorship and Influence: John Webster was a significant playwright of the Jacobean era, writing in a period heavily influenced by the conventions of revenge tragedy, popularised by playwrights like Shakespeare (a key figure for the King's Men). Knowing the company's background helps contextualise Webster's work within this dramatic tradition. Social and Political Context: The Jacobean era, under King James I, was a time of political intrigue, religious tensions (particularly anti-Catholic sentiment which might be reflected in the portrayal of the Cardinal), and social anxieties. Plays often subtly reflected or engaged with these issues. The King's Men, as a company operating under royal patronage, would have been navigating these sensitivities. Performance vs. Text: The play was published in 1623, some years after its first performance. The title page of the quarto even mentions it was "Presented privately, at the Black-Friers; and publicly at the Globe," suggesting differences between the performed and printed versions. This distinction is important for understanding the play as a dramatic text intended for the stage, not just a literary work. Considering the original performance context encourages analysis of elements like staging, audience response, and the potential impact of specific theatrical choices that might not be fully evident in the written text alone. In essence, knowing the original performance company and the theatrical context provides valuable insights into the play's creation, its initial reception, and how it might have communicated its themes and ideas to a Jacobean audience. This historical and cultural understanding is a key component of achieving high marks in AO3 for your OCR A Level English Literature studies.

Answer 8

The modern production that most closely imitates the original playhouse conditions for The Duchess of Malfi is likely to be those staged at the Sam Wanamaker Playhouse in London. Here's why: Modeled after the Blackfriars Theatre: The Sam Wanamaker Playhouse is an indoor theatre specifically designed to recreate the atmosphere and staging conditions of the indoor Jacobean playhouses, of which the Blackfriars Theatre was a prime example and where The Duchess of Malfi was originally performed. Candlelight: Productions at the Sam Wanamaker Playhouse often utilize candlelight for illumination, mirroring the lighting conditions of the original indoor playhouses. This creates a more intimate and atmospheric experience for both the actors and the audience. Intimate Space: The Playhouse is a smaller, more enclosed space compared to the outdoor Globe Theatre, which aligns with the private performances at Blackfriars before the play was also staged publicly at the Globe. This intimacy would have influenced the staging and acting styles of the time. Historical Considerations: The Sam Wanamaker Playhouse is dedicated to exploring and presenting plays in conditions as close as possible to their original performance contexts. Their productions often consider historical staging practices, music, and performance styles.

Answer 9

1) Italy acts as a theatrical metaphor, allowing dramatists to criticise the court of King James I of England by setting their plays in the distant European country. 2) The Duchess of Malfi is set in Italy because that is where the historical events it is based on occurred 3) Italy was associated with corruption

Answer 10

were composed of four social classes: the nobles the merchants the tradesmen the unskilled workers

Answer 11

Bethlem Royal Hospital (1247 -) The names 'Bethlem' and 'Bedlam', by which it came to be known, are early variants of 'Bethlehem'. It is first referred to as a hospital for 'insane' patients in 1403, after which it has a continuous history of caring for people with mental distress. ## Footnote Bethlem Royal Hospital: Founded in 1247 as the Priory of St Mary of Bethlehem in London. It is the oldest psychiatric institution in the world. Over time, the name "Bethlehem" was shortened and corrupted in popular speech to "Bethlem" and eventually "Bedlam." Bedlam: Became the colloquial and infamous name for Bethlem Royal Hospital. The conditions within Bedlam historically became synonymous with chaos, uproar, and the mistreatment of the mentally ill. Due to its notoriety, "bedlam" entered the English language as a term to describe any scene of madness and confusion. The Duchess of Malfi and Bedlam: Written and performed in the early 17th century, during a time when Bedlam's reputation was growing. The play directly references "Bedlam" in Act IV, Scene II. Ferdinand, driven to madness by guilt over his role in the Duchess's death, believes he is a wolf and raves like a patient in Bedlam. The inclusion of a scene with a group of madmen sent to torment the Duchess in the same act is also seen by some critics as drawing on the public's fascination (and perhaps fear) of the inmates of Bedlam. These characters exhibit disjointed thoughts, songs, and behaviors that would have likely been associated with the popular image of madness linked to the institution. The play, therefore, reflects the contemporary awareness and cultural significance of Bedlam as a place of extreme mental derangement and a spectacle for public curiosity. In essence, Bethlem was the actual hospital, while Bedlam was its notorious nickname that permeated the public consciousness and, consequently, found its way into literature like The Duchess of Malfi as a powerful symbol of insanity and human suffering.

Answer 12

Hippocratic corpus, believed that the womb was not a stationary object, but one that traveled throughout the body, often to the detriment of the women's health. ## Footnote While Hippocrates himself lived in ancient Greece (around 460 – 370 BCE), long before the Renaissance and the Jacobean era in which The Duchess of Malfi was written (early 17th century), his medical theories, particularly the Humoral Theory, had a lasting influence that extended into Webster's time. Here's how Hippocrates and his ideas relate to The Duchess of Malfi: 1. The Four Humors: Hippocrates proposed that the human body was composed of four fluids or "humors": blood, phlegm, yellow bile (choler), and black bile (melancholy). Health was believed to result from a balance (eucrasia) of these humors, while illness (dyscrasia) arose from an imbalance. This theory was incredibly influential and persisted throughout the medieval and Renaissance periods, impacting medical understanding and even shaping personality theories. 2. Reflection in The Duchess of Malfi: While Webster doesn't explicitly name-drop Hippocrates, the influence of the humoral theory can be seen in the play's depiction of characters and their states of mind, particularly in relation to madness and strong emotions. Ferdinand's Lycanthropy: His descent into believing he is a wolf (lycanthropy) in Act V is a dramatic manifestation of madness. While the Elizabethans also considered supernatural explanations for such conditions, a humoral perspective might have attributed it to a severe imbalance, perhaps an excess of black bile leading to melancholic delusion and a bestial transformation in his mind. Melancholy and Other Emotional States: The intense passions and psychological distress experienced by several characters could be interpreted through the lens of humoral theory. For instance: Bosola's cynicism and brooding nature could align with an excess of black bile, the humor associated with melancholy. Ferdinand's fits of rage and choleric behavior could be linked to an excess of yellow bile. The Duchess's initial vitality and warmth might be associated with a sanguine temperament (excess of blood). The Cardinal's coldness and lack of emotion could be seen as a phlegmatic disposition (excess of phlegm). Medical Discourse of the Time: The play reflects contemporary Jacobean concerns about health and disease. Webster and his audience would have been familiar with the basic tenets of humoralism, even as new medical ideas began to emerge during the Renaissance. 3. Hysteria and the Wandering Womb: While Hippocrates is also associated with the ancient Greek idea of "hysteria" being caused by a wandering womb, this specific concept doesn't appear as directly in The Duchess of Malfi. However, the play's intense focus on female sexuality and the attempts to control the Duchess's reproductive capacity could be seen within a broader context of contemporary anxieties surrounding the female body and potential physical or emotional instability attributed to it.

AO3: Duchess Of Malfi Flashcards

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