“Her days are practiced in such noble virtue, say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay that, of course, his nights, or even more, his very sleep, are more in heaven than the gifts of other ladies. Let all the sweet ladies break off their flat glasses, and dress with her” – (1.2.123-127) These words of praise are spoken by Antonio in what is contextually the first mention of the Duchess in the play. Even though these lines come from someone visibly taken with the Duchess's charm, it's clear that she is seen as an example for other women. Furthermore, this whole talk pits the Duchess against her brothers, as an individual who deserves her high position and not simply because of her birth. This juxtaposition of attitudes toward merit and degree remains a constant theme in the play, right from the beginning when Antonio praises the French court for its meritocratic approach. Therefore, the Duchess, on one level, symbolically represents a beacon for the noble spirit against orthodox societal notions such as those of hierarchy and gender, embodied in the negative characters of her brothers. As Anand Prakash points out in his introduction, the Duchess is considered "an inspiring entity through her bold assertion of an individual entity." Even her death seems to “reaffirm her nature of uncompromising perseverance with the ideals she always cherished.” Throughout the play, the Duchess appears as a spirited and resolute woman, as evidenced by her determination to go against her brothers' wishes: "If all my royal relatives opposed this marriage: I would take my low steps.” Through her second marriage, she challenges the orthodox and irrational views of her brothers, which could be recognized as reflecting popular notions of the time, and thus, through the Duchess, Webster could be seen as asserting the circumstances of his time. . Although this could clearly be interpreted as an endorsement of the feminist cause, Lisa Jardine claims that instead of a "real heroine", the Duchess is only a "transposition of a complex of attitudes towards women into a parody of 17th century femininity. Then we brutally dissect the Duchess's character and Webster's intentions in typical 20th-century feminist fashion. However, what must be kept in mind is that Webster wrote the play in the 17th century based on a true story about a woman with the odds stacked against her, such that in In the end, she had no recourse but to willingly accept her fate. . Jardine herself admits that the Duchess appears to be a compelling portrait, even though it is given from a typically male perspective. In her frank proposal to Antonio, it is evident that the Duchess is fully aware of the situation and the consequences of her decision. While Antonio is considered inferior by birth, the Duchess is also marginalized due to being born female in a patriarchal society, even though her position is somewhat elevated thanks to her degree. Yet in her defiance she takes a clear stance that echoes a faith in justice and a confidence in herself, even if both prove somewhat futile: "All discord, without this circumference, is only to be pitied, and no I was afraid.” Thus, in the proposal, we find a subtle and conscious reversal of gender notions where Antonio appears as shy and fearful while the Duchess plays the "masculine" role, as critics suggest. This point of view is further reinforced by the replyfrom Antonio: “These words should be mine, as well as all the parts that you have spoken.” The Duchess then goes on to glorify the stature of love by questioning simple rituals and ceremonies: “How can the Church build faster? We are now husband and wife, and it is the Church that can only echo this. James Calderwood further states that "the Duchess's intention in the court scene is to strip herself of her desocial role, to abandon the degree, to establish herself and Antonio as equals", which agrees with John Selzer's point of view, "the Duchess decides to violate the diploma not out of weakness, passion or naivety, but because she wishes - like Webster - to promote in Malfi, a new ethic, rooted in the primacy of value over diploma”. These views can be supported by numerous examples in the text, such as when the Duchess seeks to symbolically emulate the French court by asking Antonio to wear his hat in her presence. Therefore, as previously stated, the Duchess is attempting to herald a new order of merit and fairness within the Italian court, which indulges in nepotism and sycophancy. Furthermore, the Duchess maintains her views even though she is at the mercy of Bosola and Ferdinand, as corroborated by her tale "Salmon and Dogfish" and her statement: "Man is happiest when his own actions are arguments and examples of her virtue” Even in the face of imminent danger, the Duchess demonstrates remarkable courage, because facing Ferdinand, she asserts: “Whether I am condemned to live or die, I can do both like a prince ", and in her eventual execution, she proves the truth of her statement. Furthermore, she attempts to calmly appeal to Ferdinand's logic, but of course, her efforts prove ineffective against Ferdinand's dogmatic rage. , it is more than evident that the Duchess possesses a keen and cautious mind which complements her courage and determination, as evidenced by her instant preparation and artifice when sending Antonio to Ancona or later to Milan: " Such noble behavior, which gives majesty to adversity,” these words mark Bosola’s imminent turnaround, as the Duchess’s noble charm affects even the cold, calculating and objective character of the play. As Bosola confirms, even during her confinement, the Duchess maintains her measured grace, as she gradually realizes the inevitability of fate and thus comes to accept it: "Necessity makes me suffer constantly, and the custom makes things easy for me... I am chained to endure all your tyranny. As the moment of her death finally approaches, the Duchess seems to have reconciled herself to the play of events and in fact emphasizes a certain optimism for the life that awaits her: “Who would be afraid of (death)? Knowing how to meet such excellent company in the other world”; and in his plaintive speech to Cariola and his noble final words, Webster's sensitivity toward the tragic heroine is there for all to see. As Robert Ornstein explains, “the Duchess's self-control in the face of death is a spiritual victory rather than a glorious defeat; a justification of the value of action and virtue. »After his death, the play disintegrates somewhat into parallels and perversions of tragedy to further highlight his noble character. As Jacqueline Pearson says: "The society she leaves behind is negative and sterile", and in the figurative and spectral presence of the Duchess in Act V, Pearson finds "a constant poignant reminder of a better way of live ". While John Selzer concludes that the Duchess is ultimately vindicated by the triumph of the Order of Merit she adopted, this is an interpretation.”