Antonio Bologna Character Analysis in The Duchess of Malfi

Antonio is the Duchess’s steward, and very capably runs the Duchess’s estate. Despite the fact that he is neither wealthy nor high-born, the Duchess considers him to be a “complete” man, and the two of them secretly marry. He clearly reveres the Duchess – he is marrying for love, not just money. He is also knowledgeable about people: even early in the play he knows that Ferdinand and the Cardinal are duplicitous and murderous. Despite his knowledge of their characters, though, he proves entirely incapable of protecting his family from Ferdinand or the Cardinal. And while that failure seems to stem from his lower-class status and lack of political power of any sort, and while Antonio never seems anything less than morally good, his plan to sneak into the Cardinals home at the end of the play in order to try to convince the Cardinal to make amends also seems incredible naïve. During this effort, he is accidentally killed by Bosola, who mistakes Antonio for someone else.

Antonio Bologna Quotes in The Duchess of Malfi

The The Duchess of Malfi quotes below are all either spoken by Antonio Bologna or refer to Antonio Bologna. For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:

A prince's court
Is like a common fountain, whence should flow
Pure silver drops in general; but if't chance
Some cursed example poison't near the head,
Death and diseases through the whole land spread.
And what is't makes this blessèd government
But a most provident council, who dare freely
Inform him the corruption of the times.

Related Characters: Antonio Bologna (speaker), Delio

Related Symbols: Poison, Disease

Page Number and Citation: 1.1.11-18

Explanation and Analysis:

Antonio speaks these lines at the beginning of the play while describing to Delio his recent trip to the French court. His praise of the properly functioning French court sets up an implicit comparison with the Italian court, which is known to be corrupt. He compares a court to a fountain, saying that goodness should flow throughout a country. However, the structure of a government is such that if it is poisoned near the head (the monarch), then disease, death, and despair will spread throughout the land. This poisoning near the head could come from someone whispering in the ear Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Re

Some fellows, they say, are possessed with the devil, but this great fellow were able to possess the greatest devil and make him worse.

Related Characters: Daneil de Bosola (speaker), Delio, Antonio Bologna, The Cardinal

Page Number and Citation: 1.1.44-46

Explanation and Analysis:

The Cardinal ignores Bosola and then leaves, so Bosola says this line to Antonio and Delio. He says that while some men are possessed by the devil, the Cardinal is so foul that he could possess the greatest devil and make that devil worse. Here Bosola hints at the Cardinal’s evil nature hidden beneath the appearance of being a holy figure. Later in the play, Bosola will say that spies are little devils, so by accusing the Cardinal of possessing devils, he alludes to the Cardinal being corrupt and having many spies. That the Cardinal can make the devils worse Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam conseq

This foul melancholy
Will poison all his goodness, for, I'll tell you,
If too immoderate sleep be truly said
To be an inward rust unto the soul,
It then doth follow want of action
Breeds all black malcontents, and their close rearing,
Like moths in cloth, do hurt for want of wearing.

Related Characters: Antonio Bologna (speaker), Daneil de Bosola, Delio, The Duchess of Malfi, Ferdinand, Duke of Calabria, The Cardinal

Related Symbols: Poison

Page Number and Citation: 1.1.74-80

Explanation and Analysis:

Antonio speaks these lines to Delio at the end of Act 1 Scene 1 after Bosola’s exit. Bosola is frustrated with the Cardinal and with the lack of payment for Bosola’s years of service, and he is therefore melancholy. Antonio comments that Bosola’s bad mood will poison all of his goodness, just as a lack of sleep gets turned inward and hurts the soul. Idleness and lack of action, he says, generate bad behavior, just like moths ruin cloth if you don’t wear it. The lines are essentially an elaboration on the phrase “idle hands are the devil’s plaything,” where Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia e

Some such flashes superficially hang on him, for form; but observe his inward character: he is a melancholy churchman. The spring in his face is nothing but the engendering of toads. Where he is jealous of any man he lays worse plots for them than ever was imposed on Hercules, for he strews in his way flatterers, panders, intelligencers, atheists, and a thousand such political monsters.

Related Characters: Antonio Bologna (speaker), The Cardinal, Delio

Page Number and Citation: 1.2.70-76

Explanation and Analysis:

While Ferdinand and his courtiers continue discussing war and horses (presumably), Antonio steps aside to tell Delio about the Cardinal. Delio notes to Antonio that the Cardinal seems like a “brave fellow,” but in the excerpt Antonio assures Delio that any appearances are merely superficial. The Cardinal, he says, tries to appear good, but inwardly, he is melancholy, jealous, scheming, conniving, and despicable. He surrounds himself with flatterers, panderers, spies, and, even though he is a Cardinal, he consorts with atheists and other political monsters. The Cardinal, then, is the exact opposite of the idealized court in France. From the Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accu

The Duke there? A most perverse and turbulent nature;
What appears in him mirth is merely outside.
If he laugh heartily, it is to laugh
All honesty out of fashion.
…
He speaks with others' tongues, and hears men's suits
With others' ears; will seem to sleep o’th' bench
Only to entrap offenders in their answers;
Dooms men to death by information,
Rewards by hearsay.

Related Characters: Antonio Bologna (speaker), Ferdinand, Duke of Calabria, Delio

Page Number and Citation: 1.2.82-89

Explanation and Analysis:

After Antonio explains that, despite his appearances, the Cardinal is despicable, Delio asks Antonio to tell him about Duke Ferdinand. Antonio responds that, like his brother (the Cardinal), the happiness and goodness that appear in Duke Ferdinand are merely a false exterior or façade. Inside, Ferdinand has a “perverse and turbulent nature.” Like his brother, he is extremely corrupt. He uses secret messengers and spies, entraps whomever possible, gives death sentences based on knowledge gained from spies, and deals in rumors. Delio goes on to compare Ferdinand to a spider; he uses the law as his home and his weapon Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Volup

The misery of us that are born great!
We are forced to woo because none dare woo us;
And, as a tyrant doubles with his words,
And fearfully equivocates, so we
Are forced to express our violent passions
In riddles and in dreams, and leave the path
Of simple virtue, which was never made
To seem the thing it is not.
…
Make not your heart so dead a piece of flesh
To fear more than to love me. Sir, be confident.
What is't distracts you? This is flesh and blood, sir;
'Tis not the figure, cut in alabaster,
Kneels at my husband's tomb.

Related Characters: The Duchess of Malfi (speaker), Antonio Bologna

Related Symbols: Blood

Page Number and Citation: 1.3.350-364

Explanation and Analysis:

Immediately after being forbidden from remarrying, the Duchess begins subtly flirting with Antonio. The two discuss her will and the institution of marriage, and slowly it becomes clear that she is wooing him covertly with puns and double meanings. Here, the Duchess expresses her frustration that, since she is noble born, she is forced to woo Antonio, because he doesn’t dare to woo her. Having to invert the traditional courtship roles, she is forced to mask her words, equivocate, and express herself in riddles as opposed to direct proclamations of love. This frustrates the Duchess, so she abandons it, and Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. R

Do I not dream? Can this ambitious age
Have so much goodness in't as to prefer
A man merely for worth, without these shadows
Of wealth and painted honours? Possible?

Related Characters: Daneil de Bosola (speaker), Antonio Bologna, The Duchess of Malfi

Page Number and Citation: 3.2.276-279

Explanation and Analysis:

This excerpt comes after Ferdinand has confronted the Duchess for having children, and the Duchess has pretended to fire Antonio to give him time to flee. The Duchess privately asks Bosola what he thinks of Antonio’s fabricated crime, and Bosola defends Antonio so passionately that the Duchess confides in him the truth: Antonio is her husband and the father of her children. Upon hearing this news, Bosola is shocked, and he responds with the lines quoted. He wonders if he is dreaming, because in the “ambitious age” they are in, it’s unheard of that a Duchess would marry below her Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis c

Thou dost blanch mischief;
Wouldst make it white. See, see, like to calm weather
At sea, before a tempest, false hearts speak fair
To those they intend most mischief.

Related Characters: The Duchess of Malfi (speaker), The Cardinal, Daneil de Bosola, Antonio Bologna, Ferdinand, Duke of Calabria

Page Number and Citation: 3.5.23-26

Explanation and Analysis:

The Duchess says this to Bosola after she and her family have been formally banished by the Cardinal. Bosola has come bearing kind letters from her brothers that invite Antonio to come reconcile with them. But the Duchess rightly recognizes that Bosola is essentially whitewashing the true content of the letters. Like the calm before a storm, she says, false hearts speak kindly to those they are about to harm. The Duchess knows this to be true, since she employed a similar tactic, using a feigned pilgrimage as an excuse to flee. We can also note the exquisite poetry of Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia

Thou art happy that thou hast not understanding
To know thy misery; for all our wit
And reading brings us to a truer sense
Of sorrow.

Related Characters: The Duchess of Malfi (speaker), Daneil de Bosola, Antonio Bologna, Children

Page Number and Citation: 3.5.66-69

Explanation and Analysis:

The Duchess speaks these lines to her son after she and Antonio have decided to split up the children in the hopes that more of them will survive. Essentially, she says that ignorance is bliss. The boy is happy because he does not have the ability to understand the misery he is undergoing; intelligence and reading only lead to better understanding of sadness. These lines echo a sentiment expressed by Bosola earlier, that wisdom is like a disease that only leads to folly. The lines have a bleak outlook for scholarship, since they suggest that the more one studies the Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita

That's the greatest torture souls feel in hell:
In hell that they must live, and cannot die.

Related Characters: The Duchess of Malfi (speaker), Children, Daneil de Bosola, Antonio Bologna, The Cardinal, Ferdinand, Duke of Calabria

Page Number and Citation: 4.1.70-71

Explanation and Analysis:

The Duchess offers these dejected lines after Ferdinand has forced her to kiss a dead man’s hand and has shown her silhouettes meant to convince her that Antonio and her children are dead. Upon learning that her family is dead, the Duchess loses all will to live, and she asks Bosola to kille her. Bosola denies her and says she must live, to which she responds that it’s the greatest torture felt in hell: souls in hell have to live and cannot die. Living without her love and her children makes existence pain and suffering. Simply being alive in this Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Ac

I account this world a tedious theatre,
For I do play a part in't 'gainst my will.

Related Characters: The Duchess of Malfi (speaker), Children, The Cardinal, Ferdinand, Duke of Calabria, Antonio Bologna

Page Number and Citation: 4.1.83-84

Explanation and Analysis:

The Duchess speaks this meta-theatrical line in another expression of her frustration that she cannot die. Since she believes Antonio and her children are dead, she no longer wants to live. As stated above, existence is torturous to the Duchess, which is exactly what Ferdinand intends. Here the Duchess expresses this frustration by comparing the world to a “tedious theatre” in which she is forced to play a part against her will. Webster makes uncanny, meta-theatrical references this one throughout the play, especially in situations that the characters seem to recognize as excessively tragic, theatrical, or dramatic. In a way, Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia ape

It may be that the sudden apprehension
Of danger - for I'll go in mine own shape –
When he shall see it fraught with love and duty,
May draw the poison out of him, and work
A friendly reconcilement. If it fail,
Yet it shall rid me of this infamous calling;
For better fall once than be ever falling.

Related Characters: Antonio Bologna (speaker), Delio, The Duchess of Malfi, The Cardinal

Related Symbols: Poison

Page Number and Citation: 5.1.67-73

Explanation and Analysis:

Antonio speaks these lines to Delio outside of the Cardinal’s palace. He plans to confront the Cardinal in a last ditch attempt to reconcile. He says that he hopes that sudden fear in the Cardinal (since Antonio will be appearing without disguise) will draw the poison of hate out of the Cardinal and help bring about a reconciliation between Antonio and the Cardinal. Antonio is especially hopeful that the Cardinal be sympathetic to Antonio once he sees that Antonio is driven by love and duty. Here hatred is compared to a poison, which, once removed from the body, will leave Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. V

O poor Antonio! Though nothing be so needful
To thy estate as pity, yet I find
Nothing so dangerous.
… How this man
Bears up in blood, seems fearless! Why, 'tis well:
Security some men call the suburbs of hell -
Only a dead wall between. Well, good Antonio,
I'll seek thee out, and all my care shall be
To put thee into safety from the reach
Of these most cruel biters that have got
Some of thy blood already. It may be
I'll join with thee in a most just revenge.

Related Characters: Daneil de Bosola (speaker), The Cardinal, Antonio Bologna, Ferdinand, Duke of Calabria, Julia

Related Symbols: Blood

Page Number and Citation: 5.2.326-339

Explanation and Analysis:

Bosola speaks this soliloquy after the Cardinal kills Julia and instructs Bosola to kill Antonio. Bosola agrees, but once alone on stage, he expresses his pity for Antonio. At the same time, he recognizes that pitying Antonio puts him in a very dangerous position, since Antonio is “[borne] up in blood,” meaning both that he is brave and that blood is being spilled everywhere around him. Bosola goes on to say that security is considered by some to be the suburb of hell, so he’ll take a risk and try to help Antonio to safety from the Cardinal and Ferdinand Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi a

BOSOLA: O good Antonio,
I'll whisper one thing in thy dying ear
Shall make thy heart break quickly: thy fair Duchess
And two sweet children -

ANTONIO: Their very names
Kindle a little life in me.

BOSOLA: - are murdered!

ANTONIO: Some men have wished to die
At the hearing of sad tidings. I am glad
That I shall do't in sadness. I would not now
Wish my wounds balmed nor healed, for I have no use
To put my life to.

Related Characters: Antonio Bologna (speaker), Daneil de Bosola (speaker), The Duchess of Malfi

Page Number and Citation: 5.4.57-66

Explanation and Analysis:

This exchange is possibly the most perfectly tragic in the entire play. Bosola, who intends to save Antonio, has just accidentally stabbed Antonio in the dark, mistaking him for the Cardinal. This is especially tragic given Bosola’s change of heart, which meant that he would gladly have died to save Antonio. As Antonio is dying, Bosola says he wants to whisper something into his dying ear. Bosola begins to speak of the Duchess and the two children, but Antonio cuts him off to say that hearing their names kindles life in him. The moment barely lasts long enough for the Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam co

MALATESTE: Thou wretched thing of blood,
How came Antonio by his death?

BOSOLA: In a mist - I know not how.
Such a mistake as I have often seen
In a play. Oh, I am gone!
We are only like dead walls, or vaulted graves
That, ruined, yields no echo. Fare you well.
It may be pain, but no harm to me to die
In so good a quarrel.

Related Characters: Count Malateste (speaker), Daneil de Bosola (speaker), Antonio Bologna

Related Symbols: Blood

Page Number and Citation: 5.5.95-103

Explanation and Analysis:

After Ferdinand and the Cardinal have explained part of the chaotic final scene and died, Malateste calls Bosola a “wretched thing of blood.” We can note that “thing of blood” echoes Shakespeare’s revenge play Coriolanus. Malateste uses this epithet to ask Bosola how Antonio died, and Bosola offers a final meta-theatrical explanation, saying that Antonio died in a mist, and that he doesn’t know how it happened. Such mistakes, he says, are often depicted in plays. This accidental death is a result of misfortune, and there is no explanation available to Bosola other than it seemed like it was scripted. Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur l

Antonio Bologna Character Timeline in The Duchess of Malfi

The timeline below shows where the character Antonio Bologna appears in The Duchess of Malfi. The colored dots and icons indicate which themes are associated with that appearance.

The play begins at the Duchess of Malfi’s palace in Amalfi. Antonio, the Duchess’s steward, has just returned from the French court to Amalfi, where his friend... (full context)

Antonio changes the subject as he sees Bosola, a former employee of the Cardinal and known... (full context)

...the death sentence) while in his employment. The Cardinal dismisses Bosola and exits, and then Antonio and Delio approach. (full context)

Antonio asks Bosola what happened in the conversation, to which Bosola replies that the Cardinal and... (full context)

...Ferdinand, the Duchess’s brother. Delio notes that the hall is filling up with people, and Antonio replies that Duke Ferdinand is arriving. When he enters, Ferdinand asks who won the ring... (full context)

...bandages resembling tents. Conversation is steered back to the best qualities of horses, and to Antonio and his horsemanship. The Cardinal and Duchess then enter. (full context)

Once the Cardinal and Duchess enter, Antonio steps aside and begins quietly telling Delio about the character of the royal family. The... (full context)

...Duchess, on the other hand, he describes as noble and completely opposite from her siblings. Antonio says that her words are so full of rapture that when she stops speaking it... (full context)

After Antonio departs, Ferdinand tells the Duchess that he wants her to hire Bosola as the supervisor... (full context)

...children. The Duchess then instructs Cariola to hide behind a tapestry while she talks to Antonio. (full context)

Antonio enters, and the Duchess tells him to start writing notes for her. She makes a... (full context)

Antonio responds by saying that she should find a husband and give herself to him, and... (full context)

...asking him to expand on these thoughts and tell her what he feels about marriage. Antonio says that when his loneliness is making him sad, he often reasons that the only... (full context)

Antonio notes that the Duchess has just given him the ring, and she says that she... (full context)

...at a mine, where the discovery of the valuable underground resource represents her fortune that Antonio could have access to. He calls himself unworthy, but the Duchess says that he’s selling... (full context)

The Duchess responds that now Antonio will get the benefits of being virtuous. She then laments with frustration that those who... (full context)

Antonio agrees, and the Duchess pays him for his service as her steward with a kiss.... (full context)

After the Duchess instructs Antonio to kneel, Cariola enters and surprises Antonio, but the Duchess reassures him that Cariola is... (full context)

On the other side of the stage, Delio and Antonio enter into a discussion about the secret marriage, revealing that Antonio has confided in Delio.... (full context)

...that he needs to remain in his station, since it is dangerous to reach higher. Antonio says that Bosola might look to heaven, but it seems like a devil is blocking... (full context)

At this point, the Duchess and her ladies enter. She asks for Antonio’s arm and, since she is out of breath, she asks if she is growing fat.... (full context)

Antonio and the Duchess talk about traditions of wearing hats or not in court, comparing the... (full context)

Alone on stage with Delio, Antonio fears that the Duchess has fallen into labor with no time to get her out... (full context)

...her again, this time commenting on the stereotype that women are vain. She exits, and Antonio, Delio, Roderigo, and Grisolan enter. (full context)

Antonio instructs them to shut the gates and call all of the officers. Everyone is in... (full context)

After everyone else exits, Delio asks Antonio how the Duchess is doing. Antonio responds that she’s experiencing pain and fear, and he... (full context)

Just then, Antonio enters with a candle and a sword drawn. Having heard a noise, he asks “who’s... (full context)

Bosola asks if the loss was significant, but Antonio responds that it’s none of his business and questions why he’s out of his room... (full context)

Bosola then notices that Antonio dropped a piece of paper, on which he finds written the nativity horoscope that Antonio... (full context)

...see her husband, and she leaves. Alone on stage, Delio says that he fears that Antonio’s secret has been found out, and he laments the unfortunate situation. (full context)

In Amalfi, some years later, Antonio greets Delio, who has been away from court for some time. He informs Delio that... (full context)

...she marries again it will be for Ferdinand’s honor. The Duke tries to talk to Antonio, but the Duchess cuts him off, telling him that she wants to talk about the... (full context)

In the Duchess’s bedchamber, the Duchess warns Antonio that he cannot stay with her tonight. He responds that he will try to persuade... (full context)

Cariola then asks Antonio why he always rises so early when he sleeps with the Duchess, to which he... (full context)

Cariola dismisses Antonio’s poetry, and then she asks him, between a wise man, a rich man, and a... (full context)

Ferdinand leaves, and immediately afterwards Antonio reenters with a pistol and with Cariola. Antonio says that he saw Ferdinand (hence the... (full context)

...Duchess was “undone.” Bosola asks what has happened. The Duchess makes up a lie: that Antonio has used his position to steal from her and in doing so has placed Ferdinand... (full context)

Bosola reenters with some officers and the Duchess pretends to accuse Antonio of losing her money and stealing from her. She tells the men to let Antonio... (full context)

...for his opinion. He says that she’ll probably never have a servant as good as Antonio, whom he pities. She responds in confusion, saying that Antonio stole from her, but Bosola... (full context)

...for his merit. When he finds out that the Duchess has had three children by Antonio, he launches into a speech praising her for demonstrating that benefits can still fall on... (full context)

...that the Duchess is using religion as her cover to flee with her children and Antonio, which Ferdinand says damns her. Ferdinand notes that, since her intentions are not purely religious... (full context)

...background. During the dumb show, the Cardinal is dressed and presented as a soldier. Then Antonio, the Duchess, and their children all pray and present themselves at the shrine. The Cardinal... (full context)

Near the shrine, Antonio, the Duchess, their children, Cariola, and a few servants have been banished from Ancona. Antonio... (full context)

...those that they are about to hurt. Though the letter asks for a meeting with Antonio, both the Duchess and Antonio assume that Ferdinand actually wants Antonio dead. Antonio thus refuses... (full context)

...and the Duchess says that she is afraid there will be an ambush. She tells Antonio to take their eldest son to Milan, using an expression equivalent to “let’s not have... (full context)

As soon as Antonio leaves, the dejected Duchess finds herself facing a disguised Bosola and several troops. Bosola says... (full context)

When Bosola tells the Duchess to forget Antonio because of his low birth, she responds by telling an story about a salmon that... (full context)

Suddenly a curtain is illuminated, upon which appear the silhouettes of Antonio and their children, looking as if they were dead. Bosola states that the hand came... (full context)

...to return and lead his to hell. For a moment, she wakes up and says “Antonio?” Bosola tells her that her husband is in fact alive, explaining briefly that the dead... (full context)

In Milan, Antonio asks Delio what his chances of reconciling with the brothers are. Delio says it’s unlikely,... (full context)

Once Pescara enters, Delio asks for one of Antonio’s citadels, but Pescara says no. Then Julia enters with a letter from the Cardinal asking... (full context)

Antonio comes out from hiding and calls Pescara noble. Then he says that he plans to... (full context)

...marry, but he says that in order to make the match Bosola must first find Antonio and kill him. Bosola asks how he will find Antonio, to which the Cardinal responds... (full context)

...Cardinal tells Bosola to give up his melancholy air, and asks if Bosola will kill Antonio. Bosola says he will. The Cardinal then gives Bosola the master key to his lodgings... (full context)

After the Cardinal exits, Bosola cries out that he pities Antonio. He ultimately decides to seek Antonio out and try to get him away from the... (full context)

Antonio and Delio are outside of the Cardinal’s window at his palace in Milan. Unbeknownst to... (full context)

Antonio notes that the echo sounds like his wife’s voice, to which the echo says “aye,... (full context)

...“strangling is a very quiet death.” Ferdinand continues talking to himself as Bosola hides. Now Antonio and a servant enter, and Antonio says that he hopes to find “him” at his... (full context)

This horrible news prompts Antonio to say that he’s glad he’s dying, since he no longer has any use for... (full context)

...As he laments the pains of a guilty conscience, Bosola and the Servant enter with Antonio’s body. The Cardinal comments that Bosola looks terrible, somehow both determined and fearful. Bosola responds... (full context)

...the door to the Cardinal’s room. He then admits to the Cardinal that he slayed Antonio by mistake. Bosola stabs the Cardinal twice, at which point Ferdinand enters after hearing the... (full context)

...the Duchess of Malfi, who was murdered by the brothers, as well as revenge for Antonio (who was murdered by mistake) and Julia (who was poisoned by the Cardinal). Finally, he... (full context)

...his own rescue, and Malateste calls Bosola a “wretched thing of blood” and asks how Antonio died. Bosola says Antonio died “in a mist,” as a way of describing the confusion... (full context)

Delio then enters, too late, with Antonio’s eldest son and heir. Delio says that he was prepared beforehand for what happened, and... (full context)

Antonio Bologna Character Analysis

Antonio Bologna Quotes in The Duchess of Malfi

Act 1, Scene 1 Quotes

Act 1, Scene 2 Quotes

Act 1, Scene 3 Quotes

Act 3, Scene 2 Quotes

Act 3, Scene 5 Quotes

Act 4, Scene 1 Quotes

Act 5, Scene 1 Quotes

Act 5, Scene 2 Quotes

Act 5, Scene 4 Quotes

Act 5, Scene 5 Quotes

Antonio Bologna Character Timeline in The Duchess of Malfi