Malfi Masulinity Quotes Flashcards
Williams and Webster both portray societies in which male power thrives unchecked.
- Antonio wins the ring game
- Male power is shown by winning this game
- Foreshadows how duchess gives ring to Antonio
“FERDINAND: Who took the ring oftenest?
SILVIO: Antonio Bologna, my lord.
FERDINAND: Our sister Duchess’ great master of her household: / Give him the jewel. When shall we leave this sportive action,/And fall to action indeed?
(pg 14 - Act 1, 2)
Williams and Webster both portray societies in which male power thrives unchecked.
- Ferdinand feels he needs to control others to be seen as masculine
- Patriarchal form of masculinity where power is not just physical but also controlling others’ thoughts and responses
FERDINAND: Why do you laugh? Methinks you that are courtiers/ Should be my touchwood, take fire when I give fire; /That is, not laugh but when I laugh, were the subject never so witty
(pg 16 - Act 1, 2)
Williams and Webster both portray societies in which male power thrives unchecked.
- Cardinal shows his power over Julia through a falcon metaphor suggesting he has changed her to become more wild
- He suggests he has control over her and any pleasures she pursues is because he allowed it
“CARDINAL: You may thank me, lady.
I have taken you off your melancholy perch / Bore you upon my fist, and show’d you game/
And let you fly at it.
(Cardinal to Julia)
(pg 55 - Act 2, 4)
In both plays, the central conflict derives from a female challenge to male power, which results in either psychological violence (Malfi) or psychological and physical violence (Streetcar).
- she won’t let her family get in the way of her marrying whom she wants
- compares herself to a soldier showing she recognises the danger in this
- she doesn’t care about the inevitable gossip
“‘If all my royal kindred
Lay in my way unto this marriage,
I’d make them my low footsteps. And even now,
Even in this hate, as men in some great battles
By apprehending danger have achiev’d
Almost impossible actions — I have heard soldiers say so–
So I through frights and threatenings will assay
This dangerous venture. Let old wives report
I wink’d, and chose a husband.’
(Duchess)
(pg 27 - Act 1,2)
In both plays, the central conflict derives from a female challenge to male power, which results in either psychological violence (Malfi) or psychological and physical violence (Streetcar).
- Ferdinand says he doesn’t want the duchess to remarry but won’t explain why
- imperative used to command Bosola
“FERDINAND: She’s a young widow:/ I would not have her marry again.
BOSOLA: No, sir?
FERDINAND: Do not you ask the reason, but be satisfied / I say I would not. (I, 2)”
In both plays, the central conflict derives from a female challenge to male power, which results in either psychological violence (Malfi) or psychological and physical violence (Streetcar).
- ferdinand will punish the duchess when he finds out who her lover is
- eclipse suggests he will cast her into disgrace and darkness removiung her totally from light, symbolizing her social and personal destruction.
“FERDINAND:
Till I know who leaps my sister, I’ll not stir.
That known, I’ll find scorpions to string my whips
And fix her in a general eclipse
(pg 62 - Act 2, 5)
Yet both plays also present different models of masculinity - male characters who defy expected masculine codes and behaviours.
- Horse represents masculinity
- Ferdinand makes fun of Castruchio and references Pliny to try to one-up Castuchio
- backed up by Silvio and others
- competing to be more masculine
CASTRUCHIO: How do you like my Spanish jennet?
FERDINAND: I am of Pliny’s opinion, I think he was begot by the wind / He runs as if he were ballasted with quicksilver.
SILVIO: True, my lord, he reels from the tilt often.
RODERIGO and GRISOLAN: Ha, ha, ha!
(pg 15 - Act 1,2)
Yet both plays also present different models of masculinity - male characters who defy expected masculine codes and behaviours.
Antonio sees Bosola for what he is and says so to his face, unlike others at court. He almost redefines masculinity within the play to be more honest and showing integrity as opposed to decietful and corrupt forms of masculinity shown before
“ANTONIO: You are an impudent snake indeed, sir!
(pg 52 - Act 2, 3)
