The White Devil (1 of 43)

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THE WHITE DEVIL

By John Webster


TO THE READER

In publishing this tragedy, I do but challenge myself that liberty, which
other men have taken before me; not that I affect praise by it, for, nos
haec novimus esse nihil, only since it was acted in so dull a time of
winter, presented in so open and black a theatre, that it wanted (that
which is the only grace and setting-out of a tragedy) a full and
understanding auditory; and that since that time I have noted, most of
the people that come to that playhouse resemble those ignorant asses
(who, visiting stationers' shops, their use is not to inquire for good
books, but new books), I present it to the general view with this
confidence:


Nec rhoncos metues maligniorum,
Nec scombris tunicas dabis molestas.


If it be objected this is no true dramatic poem, I shall easily confess
it, non potes in nugas dicere plura meas, ipse ego quam dixi; willingly,
and not ignorantly, in this kind have I faulted: For should a man present
to such an auditory, the most sententious tragedy that ever was written,
observing all the critical laws as height of style, and gravity of
person, enrich it with the sententious Chorus, and, as it were Life and
Death, in the passionate and weighty Nuntius: yet after all this divine
rapture, O dura messorum ilia, the breath that comes from the incapable
multitude is able to poison it; and, ere it be acted, let the author
resolve to fix to every scene this of Horace:


--Haec hodie porcis comedenda relinques.


To those who report I was a long time in finishing this tragedy, I
confess I do not write with a goose-quill winged with two feathers; and
if they will need make it my fault, I must answer them with that of
Euripides to Alcestides, a tragic writer: Alcestides objecting that
Euripides had only, in three days composed three verses, whereas himself
had written three hundred: Thou tallest truth (quoth he), but here 's the
difference, thine shall only be read for three days, whereas mine shall
continue for three ages.


Detraction is the sworn friend to ignorance: for mine own part, I have
ever truly cherished my good opinion of other men's worthy labours,
especially of that full and heightened style of Mr. Chapman, the laboured
and understanding works of Mr. Johnson, the no less worthy composures of
the both worthily excellent Mr. Beaumont and Mr. Fletcher; and lastly
(without wrong last to be named), the right happy and copious industry of
Mr. Shakespeare, Mr. Dekker, and Mr. Heywood, wishing what I write may be
read by their light: protesting that, in the strength of mine own
judgment, I know them so worthy, that though I rest silent in my own
work, yet to most of theirs I dare (without flattery) fix that of
Martial:


--non norunt haec monumenta mori.




DRAMATIS PERSONAE


MONTICELSO, a Cardinal; afterwards Pope PAUL the Fourth.
FRANCISCO DE MEDICIS, Duke of Florence; in the 5th Act disguised for a
Moor, under the name of MULINASSAR.
BRACHIANO, otherwise PAULO GIORDANO URSINI, Duke of Brachiano, Husband
to ISABELLA, and in love with VITTORIA.
GIOVANNI--his Son by ISABELLA.
LODOVICO, an Italian Count, but decayed.
ANTONELLI, | his Friends, and Dependants of the Duke of Florence.
GASPARO, |
CAMILLO, Husband to VITTORIA.
HORTENSIO, one of BRACHIANO's Officers.
MARCELLO, an Attendant of the Duke of Florence, and Brother to VITTORIA.
FLAMINEO, his Brother; Secretary to BRACHIANO.
JACQUES, a Moor, Servant to GIOVANNI.
ISABELLA, Sister to FRANCISCO DE MEDICI, and Wife to BRACHIANO.
VITTORIA COROMBONA, a Venetian Lady; first married to CAMILLO, afterwards
to BRACHIANO.
CORNELIA, Mother to VITTORIA, FLAMINEO, and MARCELLO.
ZANCHE, a Moor, Servant to VITTORIA.
Ambassadors, Courtiers, Lawyers, Officers, Physicians, Conjurer,
Armourer, Attendants.


THE SCENE--ITALY

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