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The White Devil | Introduction

John Webster’s The White Devil is a story of passion and revenge. Written and first performed in 1612, The White Devil is loosely based on a sensational event that happened in Italy some thirty years earlier: the murder of historical Vittoria Accoramboni in Padua, on December 22, 1585. Webster apparently used one or more chronicles of the event for his plot line, his settings, and his characters. According to John Russell Brown, however, Webster had to be very careful as he retold this story. Webster’s interest was not so much in the historical accuracy of his retelling, but rather in the way this story could ‘‘[depict] the political and moral state of England in his own day.’’

Although The White Devil is an example of the revenge tragedy genre, a popular Jacobean form of drama, Webster’s design and purpose in the play are not always clear. Many critics contend that this is a seriously flawed play, one that has no central purpose other than to reveal the corruption at the heart of court life. There are other, more recent critics, however, who argue that Webster’s creation of a chaotic world lacking stability is a masterpiece. Indeed, Webster’s play is a commentary on the fragmentary, shifting nature of reality itself. As Brown writes, ‘‘The white devil herself is at the centre of the story and its staging, but she is by no means a stabilizing factor; she is always changing, and changing the audience’s view of other persons.’’ The White Devil continues to fascinate audi ences and readers alike; Manchester University Press published an easily accessible, updated paperback edition of the play in 1996.

The White Devil Summary

Act I
The White Devil opens with a dialogue among Count Lodovico, Antonelli, and Gasparo. Lodovico has just been banished, and he and his friends discuss both the evil acts he has committed as well as his plans for revenge. Significantly, Lodovico questions why he is being banished when Bracciano wants to seduce Vittoria. He is especially bitter since just ‘‘one kiss’’ from Vittoria to the Duke would have been enough to win Lodovico’s pardon.

In the next scene, Bracciano professes his love for Vittoria to her brother Flamineo who, acting as panderer, arranges for a meeting between the two. Camillo, Vittoria’s husband, enters and reveals that he has not slept with his wife for longer than he can remember. He is worried about being cuckolded by his wife and is ready to shut her up in their home so she will not betray him. Flamineo convinces Camillo that this would be the worst possible thing to do; women who are deprived of their liberty are more likely to go astray. Vittoria enters, and Flamineo, in a series of asides and innuendos, tricks Camillo into thinking that Vittoria wants to go to bed with him, but that he should refuse her. However, the asides to Vittoria reveal that Flamineo is plotting to arrange an assignation with Bracciano.

Camillo exits, and Bracciano enters for his rendezvous with Vittoria. Cornelia also enters and overhears the arrangements. She is appalled. Flamineo is also present and provides a running, nearly obscene commentary to the audience.

Vittoria tells Bracciano of a dream in which she sees the graves of her husband and his wife. At this, Cornelia breaks her silence and reveals herself. She lectures all on their lack of morality and tells Bracciano that... » Complete The White Devil Summary