Summary

Act One, Scene One

The plays opens in its primary setting, the "presence-chamber" of the Duchess's palace in Malfi, Italy, in the sixteenth century.

At the Duchess’s palace, Delio welcomes his friend Antonio home from a trip to France, and asks him how he liked it there. Antonio admits his admiration for the French prince, who had rooted out the sycophants and corrupt officials in order to prohibit corruption from spreading through the rest of the country. Antonio hears Bosolo arriving with the Cardinal, and jokes to Delio how Bosola rails against against vices only because he cannot afford to commit them himself.

As they enter, Bosola laments to the Cardinal how he (Bosola) has not been fairly rewarded for a service he performed for the Cardinal and which cost him a prison sentence in the galleys. In response, the Cardinal complains about Bosola’s dishonest character and leaves. Bosola complains more to Antonio, describing how both the Cardinal and his brother, the Amalfi duke Ferdinand, are corrupt and unjust for having treated him improperly.

Delio tells Antonio that Bosola served seven years in the galleys for having committed a notorious murder, and the rumor was that the Cardinal did indeed commission him to do it. Antonio says it’s too bad that the Cardinal won’t give him Bosola due, as this will likely “poison all his goodness” (1.1.72).

Act One, Scene Two

The second scene plays continuously, without any stage interruption.

Delio reminds Antonio that the latter had promised to tell the former about the figures who populate the Amalfi court, their personalities and moral characters. Antonio agrees, but they are distracted by the entrance of several characters.

Almost immediately, Ferdinand enters with Silvio, Castruccio, Roderigo, and Grisolan. Ferdinand is informed that Antonio had won the most jousting contests and so rewards him, lamenting that they can only play games instead of fighting in a real war. Castruccio tells him he thinks it best for princes to send deputies to fight in their stead, since when rulers fight themselves, it breeds discontent at home. Castruccio further insinuates that his wife had been less than faithful while he was gone away, and Ferdinand continues to pun on his cuckoldry throughout the conversation. They further discuss Roderigo’s new horse, and Ferdinand compliments Antonio’s riding. The Cardinal enters with the Duchess and her lady, Cariola, and the three distract all of the group save Antonio and Delio.

In private, Antonio gives Delio a summary of the Cardinal and Ferdinand’s characters. He says the Cardinal’s rumored bravery and light-heartedness is superficial, and that he is truly a melancholy and corrupt man who will destroy anyone he is jealous of, so much so that he tried to bribe his way to becoming pope. He says Ferdinand is never what he seems, has a “perverse and turbulent nature,” (1.1.160), is vengeful, and uses the law to destroy people at will and for his own gains.

Lastly, he describes their sister, the Duchess, as a great conversationalist, a beautiful woman, and a completely virtuous person. Delio accuses him of overstating her assets, but Antonio responds, “All her particular worth grows to this sum:/She stains the time past: lights the time to come--” (1.1.213-4). Cariola brings message to Antonio, to attend to the Duchess in half an hour's time.

Ferdinand asks the Duchess if she would take Bosola on as manager of her horses on his recommendation, and she accepts. In private, the Cardinal then tells Ferdinand to use Bosola as an informer as to their sister's behavior. When Ferdinand suggests they use Antonio instead of Bosola, the Cardinal protests that Antonio is far too honest for such an assignment. They see Bosola approaching, and the Cardinal leaves to avoid him.

Ferdinand tells Bosola that the Cardinal doesn’t trust him. Bosola warns that to be distrusted without cause can lead one to actually deceive. Changing the subject, Ferdinand offers him gold to spy on the Duchess, explaining that she is recently widowed and they do not want her to remarry; he does not give a reason for their concern. Bosola tries to return the money because he does not want to be a spy, but Ferdinand tells him he has already arranged Bosola the post of horse manager, and that to refuse would appear ungrateful. Bosola begrudgingly accepts and leaves.

Act One, Scene Three

The next scene has Ferdinand, the Duchess, Cardinal and Cariola on stage.

The Cardinal and Ferdinand prepare to leave the Duchess, and tell her that in their absence, she must be responsible for acting appropriately. They warn her not to be tempted by a man, as it would be shameful for a widow to remarry. The Duchess protests that she has no intention of marrying again, but they tell her that’s what widows always say before they forget their vow and remarry anyway. After a few more warnings, they leave.

The Duchess ponders to herself whether her brothers’ warnings should worry her, but decides that she will conversely let her fear spur her into action. She tells her lady Cariola of her intent, and insists that trusting Cariola with that secret is of greater value than trusting the maid with her life. Cariola vows that she will guard the Duchess’s secret carefully. The Duchess tells her to hide behind the arras where she can overhear the scene to follow. Antonio enters to fulfill his appointment with the Duchess.

The Duchess asks Antonio to take dictation of what she says--she wants to write her will. They discuss the institution of marriage, and Antonio says that he thinks it is either heaven or hell; there is no in between. Impressed, she gives Antonio her wedding ring by way of proposal, insisting that her social status would prohibit him from wooing her, and so must she woo him. He accepts, and then Cariola reveals herself. Because she has witnessed the exchange, it is a binding ceremony.

The Duchess excuses Cariola so she can retreat to her marriage bed with Antonio--she tells him that he can lay a sword between them to keep them chaste if he likes, but she wishes to discuss how to get her brothers to accept their marriage--”We’ll only lie, and talk together, and plot/T’appease my humorous kindred” (1.1.570-1). When they leave together, Cariola wonders aloud whether her mistress is taken with greatness or madness.