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Updated: June 22, 2025
He is the desperado frantically clutching at an uncertain and impossible satisfaction. Webster conceives him as a self-abandoned atheist, who, maddened by poverty and tainted by vicious living, takes a fury to his heart, and, because the goodness of the world has been for ever lost to him, recklessly seeks the bad. Bosola, in the 'Duchess of Malfi, is of the same stamp. He too has been a scholar.
The murderer taunts his master coldly and laconically, like a man whose life is wrecked, who has waded through blood to his reward, and who at the last moment discovers the sacrifice of his conscience and masculine freedom to be fruitless. Remorse, frustrated hopes, and thirst for vengeance convert Bosola from this hour forward into an instrument of retribution.
A writer of fiction could indeed produce some dark tale in the style of De Stendhal's 'Nouvelles, and christen it 'The Crucifix of Crema. And how delighted would Webster have been if he had chanced to hear of such a sword-sheath! He might have placed it in the hands of Bosola for the keener torment of his Duchess.
And those three smiling seasons of the year Into a Russian winter: nay, the world To its first chaos. Bosola. Look you, the stars shine still. This brief sentence, which in the former instance was comparatively meaningless, here suddenly flashes on the awed imagination a vista of irrevocable law.
He is very resigned and loving, and so forth. To win renown by great deeds, and so prove his wife in the right to her brothers and all the world, never crosses his imagination. The only character really worked out so as to live and grow under his hand is Bosola, who, of course, is the villain of the piece, and being a rough fabric, is easily manufactured with rough tools.
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