I think that one of the key factors to understanding Bosola is the fact that he continually lapses into prose in his longer lines of dialogue. I happened in Acts 1 and 2, and here it is again in Act 3, Scene 2. Typically, in plays like these, you seem to only see that in lower order classes (I think i remember the grave-diggers in Hamlet doing it). The fact that Bosola continually slips in and out of it, like in his scene here with the Duchess where he convinces her to follow Antonio. I think that it's interesting that he lapses into it in order to manipulate. She even praises him for his rhetoric. The flowing, fast-paced, nature of the speech tends to lend itself to that.
This is probably the best written play we've read this year. I'm loving the wordplay that Webster incoroprates. The wit lightens the mood of what would be, otherwise a rather droning, morbid little play. People are getting exhiled, lives are being threatened, but everyone seems to do it with a pun. Ferdinand's letter is a great example. The double talk he incorporates into it makes the threat that much more meaningful.
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