The Duchess of Malfi
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“Cariola” meaning trundle-bed in Italian, a play on the
word carriolo. A pair of beds, one tucking in under the other.
Could signify how close she is to Duchess – physically sleeping in
her bedchambers, knowing all her secrets, but does not share her
rank or authority (thus sleeping literally lower than her)
Cariola is a minor character – serves to contrast/compare
against other characters and heighten their personalities, rather
than stand out as a notable one of her own.
Duchess: Cariola is her constant support, witnessed her
marriage, the only one who knows about Antonio from the very
beginning, delivered her children, and in the end died (albeit
unwillingly) for her. Represents hope; we see through Cariola’s
constant dedication to Duchy, true friendship. She goes beyond
being just a waiting-woman, she truly cares for Duchy’s wellbeing.
Antonio: Cariola’s friendly attitude towards Antonio tells
us he treats Duchy like a honourable man should and is in general
just an awesome person, which makes for even more sympathy
from the audience when Ferdy decides to be mean to him
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First appears in Act I, Scene i
Cariola brings Antonio to the
Duchess
‘[aside to Antonio] You must attend
my lady in the gallery/ Some half
hour hence’ L. 205
Spying is a re-occuring theme
throughout the Duchess of Malfi and
is especially associated with
Ferdinand. Yet, ironically, the first
to employ spying as a tactic is The
Duchess.
Cariola leaves Antonio and The
Duchess to play their scene
apparently alone, but in fact by the
Duchess’ direction observes and
overhears them from concealment;
hiding behind wall tapestries
DUCHESS [to Cariola]: Good dear
soul,/ Leave me; but place thyself
behind the arras,/ Where thou may'st
overhear us.
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Act I scene ii, Cariola is the witness
at the private wedding ceremony
which legally binds the Duchess to
Antonio.
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Act II scene ii, she also deliver’s The
Duchess’ children ‘Sir you are the
happy father of a son’ 81
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Act III scene ii, In The Duchess’s
bedchamber, Cariola and Antonio
exchange a light-hearted, sweet
moment of conversation about the
point of lovers just sleeping together.
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Act III scene v, The newly banished
family, and the maid Coriola, enter
Loreto.
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Act IV Scene ii, Lets the madmen
through and tries to comfort and calm
The Duchess when she is in prison.
 Cariola
acts on her loyalty and
friendship to her mistress, with ‘I will
die with her.’
 Her
final actions are those of someone
scared, as she fights for release,
making up all excuses possible ‘I am
contracted to a young gentleman’ ‘I am
quick with child’. These actions
highlight human characteristics with
which we can identify with.
Early on, Webster conveys Cariola as a loyal,
dutiful and true waiting woman to the Duchess
through their intimate relationship and
interactions. She has proved that she is
trustworthy because The Duchess is confidant in
confiding in Cariola her deepst secrets.
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DUCHESS: ‘Cariola,/ To thy known secrecy I
have given up/ More than my life--my fame. 342
 CARIOLA: Both shall be safe:/ For I'll conceal this
secret from the world,/ As warily as those that
trade in poison/ Keep poison from their children.
 Cariola’s reply illustrates that she is earthed and
vigilant; in whatever the circumstance she will
be steadfast by The Duchess.
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 After
hearing the exchange between The
Duchess and Antonio Cariola remains alone
on stage, which gives added force to her
anxious assertion that her mistress is showing
a fearful madness. It also conveys to the
audience that she is a woman of compassion
and caring.
 CARIOLA: Whether the spirit of greatness, or
of woman
Reign most in her, I know not; but it shows
A fearful madness: I owe her much of pity.
492
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Act III scene ii, the audience is exposed to a different
side of her personality. In The Duchess’s bedchamber,
Cariola and Antonio are caught in the sweet, carefree moment, happily teasing about the point of
lovers just sleeping together.
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CARIOLA: For she's the sprawlingest bedfellow.
ANTONIO: I shall like her the better for that.
ANTONIO: Nay, that's but one; Venus had two soft
doves
To draw her chariot; I must have another. [kisses her]
When wilt thou marry, Cariola?
CARIOLA: Never, my lord.
CARIOLA: This is vain poetry; but I pray you tell me,
If there were propos'd me, wisdom, riches, and
beauty,
In three several young men, which should I choose?
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Act III scene ii, the audience is exposed to a different
side of her personality. In The Duchess’s bedchamber,
Cariola and Antonio are caught in the sweet, carefree moment, happily teasing about the point of
lovers just sleeping together.
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CARIOLA: For she's the sprawlingest bedfellow.
ANTONIO: I shall like her the better for that.
ANTONIO: Nay, that's but one; Venus had two soft
doves
To draw her chariot; I must have another. [kisses her]
When wilt thou marry, Cariola?
CARIOLA: Never, my lord.
CARIOLA: This is vain poetry; but I pray you tell me,
If there were propos'd me, wisdom, riches, and
beauty,
In three several young men, which should I choose?
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Starkly contrasting to the later scenes, this one is the only truly happy
scene where The Duchess and Antonio are in love and free of worries.
Caught in the moment, Cariola’s light-hearted, humorous personality
flourishes as she shares a friendship with Antonio through The Duchess.
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Act IV scene ii, The Duchess and her maid, Cariola, come back, distracted
by the noises being made by a group of madmen and lets in several of the
madmen. At this point we see that Cariola retains an optimistic point of
view, acting strong for the Duchess and hoping that her mistress will get
better. ‘but you shall live/ To shake this durance off’
This is also the final scene in which we see Cariola before her death.
Even in the mist of Death and violence, Cariola remains loyal to her
Duchess. She will stand by her no matter what as Cariola vows ‘I will die
with her’
However just before execution Cariola cries for release, ‘You are
deceived, Sir,/ I am not prepared for’t! I will not die!’ This show of final
cowardice does not hinder Cariola’s worthy characteristics; she has
remained loyal to the Duchess to the end. Cariola’s final pleas merely
show that she is human, frightened of what everyone else is frightened
of. Her actions highlight the realistic qualities we can identify with.
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Cariola doesn’t show
significant change until
the very end of the play
where she and the
Duchess are both to be
executed. While the
Duchess is still alive,
she still shows utmost
loyalty, by calling for
help “What will you do
with my lady? Call for
help!” and when she
sees it is useless,
accepts her fate: “I will
die for her”
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However as soon as the
Duchess is dead, she
changes her mind and uses
excuse after excuse to get
out of it: “I will not die, I
must not, I am contracted
to a young gentlemen!”
“If you kill me now, I am
damned! I have not been
at confession this two
years.” “I am quick with
child.” We are left
pondering if this is a
betrayal to Duchess, or
simply human, mad
hysteria that is to be
expected when facing
death.
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way, this extremely quick change
in Cariola’s fair and loyal personality
(which we had seen and gotten to know
for the whole of the play) compares and
heightens just how grand and accepting
the Duchess is of her fate.
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Cariola does not speak in large paragraphs, moreso,
she serves as an insert between main characters. She
does not use vivid/disturbing/mind-altering imagery
when she speaks as she is always seen with the
Duchess, and backs up what she says. As seen in Act 3
Scene 2, when Cariola is with Antonio and the
Duchess, the main dialogue is between the lovers and
Cariola does not have a main part. “When wilt thou
marry, Cariola” “Never, my lord.” She speaks with
obedience; she knows her place and her few words
speak it.
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At the very end, while the Duchess remains calm,
she starts to panic and her words show it. “Oh my
sweet lady. .. Hence villains, tyrants, murderers!
Alas!” She speaks dramatically.