John Webster Biography
John Webster, famed Jacobean playwright, was a late bloomer. Although he did well enough in his own time, his stature in theater history was fairly low in the years after his death. For nearly two centuries, his plays were largely ignored and unfairly compared to the stylistically different works of Shakespeare. It was only in the late twentieth century, when Jacobean tragedy was rediscovered by scholars and theater artists, that Webster began to be fully appreciated for his powerful writing. His dark, intense tragedies foreshadowed the angry and violent plays of the early German Romantic period nearly two decades later. His most famous work, The Duchess of Malfi, is a full-bodied, tragic tale full of larger-than-life characters.
Facts and Trivia
- Little is known about John Webster’s early years, or his later ones for that matter. What precious little documentation of his life there is centers mostly on his playwriting career, making the man himself something of a mystery.
- Like Francis Beaumont and Thomas Fletcher, Webster collaborated on a number of plays, including Caesar’s Fall and Christmas Comes but Once a Year.
- Early in his career, Webster wrote several comedies, yet these works have been overshadowed by his reputation as the master of Jacobean tragedy.
- Late in life, Webster turned to writing tragicomedies, a mixed-genre form popular in the mid-seventeenth century.
- Webster’s plays The Duchess of Malfi and The White Devil are prime examples of Jacobean tragedy, whose dark worldview and violent nature set them apart from other tragic works.
Biography
John Webster, an eminent tragic dramatist of the early 17th century, has intrigued historians due to sparse but revealing records of his life. New discoveries in the late 1970s illuminated his familial background, suggesting that he hailed from a family residing in London, likely linked to a member of the Merchant Taylors' Company. These insights have offered a clearer picture of the life and works of one of literature's enigmatic figures.
Family and Early Life
In the vibrant city of London, the Webster family lived within the parish of St. Sepulcher-Without-Newgate. The family patriarch, also named John Webster, was actively involved with the Merchant Taylors' Company. This connection is corroborated by the playwright's own claim of being "born free" of the guild, indicating his father's membership at the time of his birth. The elder Webster gained his freedom in the guild in 1577, marrying Elizabeth Coates, likely anticipating stable financial prospects to support a family. The future dramatist, presumed their eldest due to sharing his father's name, was likely born between 1577 and 1580. His father later thrived as a coach maker, often crafting hearses, a detail that may explain the playwright's lifelong fascination with themes of mortality.
Education and Early Career
While no direct evidence confirms John Webster's attendance at the Merchant Taylors’ School, it remains a plausible assumption given his family's connections and his eventual legal knowledge. Records do indicate that a John Webster was admitted to the Middle Temple from New Inn on August 1, 1589, supporting the theory of legal education. His entrance into the theatrical world is documented in 1602, when he teamed up with four other writers, including Thomas Dekker, to craft a play for the Lord Admiral’s Company. This work, initially called Two Shapes, may have been retitled as the now-lost Caesar’s Fall, for which they were collectively paid five pounds. That year, Webster also participated in composing Lady Jane and Christmas Comes but Once a Year, the latter of which has not survived.
Collaborations and Personal Life
In the early 1600s, Webster's collaborations flourished, especially his work with John Marston and Thomas Dekker. He contributed to the induction of Marston's The Malcontent and co-wrote several plays with Dekker, such as Westward Ho! and Northward Ho!, both performed at St. Paul's by a troupe of boy actors in 1604 and 1605, respectively. Around this period, he married Sara Peniall on March 18, 1605, and their son John was baptized in 1606. With the turn of the decade, Webster sought to establish himself independently in the theatre, resulting in his creation of The White Devil in 1609. Despite being initially poorly received, this work marked Webster's first major solo endeavor.
Independent Works and Legacy
Webster's literary prowess reached new heights with The Duchess of Malfi, performed by the King’s Men in 1614 at the Blackfriars and Globe theaters. Around this time, he also attempted a tragedy titled The Guise, although it did not survive the passage of time. Following his father's passing in 1614 or 1615, Webster continued to balance family life with his artistic pursuits, having already fathered several children. In 1615, he joined the Merchant Taylors’ Company, possibly aiming to become the guild's poet. His involvement in literary circles is further evidenced by his contributions to the sixth edition of New and Choice Characters of Several Authors, where his stylistic fingerprints are evident.
Final Years and Posthumous Recognition
Webster's last known independent play, The Devil’s Law-Case , emerged around 1620 and was likely staged by the Queen’s Men. He continued to collaborate on various projects,...
(This entire section contains 727 words.)
Unlock this Study Guide Now
Start your 48-hour free trial and get ahead in class. Boost your grades with access to expert answers and top-tier study guides. Thousands of students are already mastering their assignments—don't miss out. Cancel anytime.
Already a member? Log in here.
including working with Thomas Middleton and William Rowley, culminating in plays likeAnything for a Quiet Life and A Cure for a Cuckold. In 1624, alongside Dekker, Rowley, and John Ford, he contributed to The Late Murder in Whitechapel: Or, Keep the Widow Waking. That same year, Webster crafted a spectacle for the lord mayor, further affirming his ties to the Merchant Taylors’ Company. His name frequently appeared in company records during the early 1620s, and his final work, Appius and Virginia, was published posthumously in 1654.
Though the specifics of his death are murky, Webster likely passed away before 1634, as suggested by Thomas Heywood's past-tense reference in The Hierarchy of the Blessed Angels. Alternatively, a burial record from March 3, 1638, at St. James, Clerkenwell, might mark his final resting place. Despite the scant details of his personal life, Webster's dramatic legacy continues to endure, captivating audiences and scholars alike.
