Delinquent Pedigrees: Revision, Lineage, and Spatial Rhetoric inThe Duchess of Malfi

Abstract

Locating John Webster's The Duchess of Malfi within a cluster of early seventeenth‐century concerns about legitimacy and hereditary succession, this essay traces the ways in which Webster strategically alters his primary narrative source, William Painter's The Palace of Pleasure, so as to expose rather than to suppress the indeterminacy of patrilineality. Webster's tragedy focuses specifically on a remarrying widow and her children, a particular social problem that makes visible the contradictions inherent to the early modern system of patrilineal inheritance. The action of the play thus stages the tensions between the dominant legal form of patrilineality and the material practices shaping and changing it. Drawing in part on the theories of Michel de Certeau, this essay takes a fresh critical approach to the play by placing particular emphasis on the distinctively spatialized aspects of Webster's dramaturgical rendering of his source material and noting the ways in which he uses the ideological and physical spaces of the stage to highlight the inscrutability of the succession. In addition, in its focus on Webster's revisions of Painter, the essay considers how drama as a genre can spatially reimagine the social relationships and possibilities for agency that are produced through patterns of hereditary succession. As such, The Duchess of Malfi serves as a useful case study for theorizing the narrative and dramaturgical methods by which patriarchy is constructed, contested, and reformulated in early modern English culture (M.M.D.).

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