Edition: Everyman
Review number: 113
Webster's story of the Duchess of Malfi may be a Jacobean tragedy, but it is also a psychological horror story as well told as any modern novel in the genre.
The Duchess inherits her realm as a widow, and is urged by her broothers Ferdinand Duke of Calabria and the Cardinal to marry again. Although at first she vows never to remarry, she eventually falls for her steward, Antonio Bologna. Because he is her servant and not noble, they hide their marriage until she becomes obviously pregnant and is delivered of a son. When her brothers discover this, they assume that the child has been born out of wedlock. Ferdinand eventually discovers the truth, and the duchess realises that he and the cardinal will not be willing for her land to descend to her children by Antonio. They attack her lands and take her prisoner, then torture her by showing her signs as though Antonio and the children are dead.
It is the captivity of the duchess which is the greatest part of the play. The attempts by her brothers to drive her insane are treated in a way guaranteed to move even the most heartless; the proceeeings themselves move her jailor, steeped in crime though he is. This justly ranks as one of the best known non-Shakespearean plays of the period.
Showing posts with label John Webster. Show all posts
Showing posts with label John Webster. Show all posts
Tuesday, 15 September 1998
Friday, 28 August 1998
John Webster: The White Devil (1612)
Edition: Everyman
Review number: 112
Like the better known Duchess of Malfi, sometimes considered almost to be a sequel to The White Devil, this play is concerned with the murky depths of Italian politics. It is actually based on real events, though the plot apparently differs quite widely from the true history of the famous courtesan Vittoria Corombona.
The story begins with the banishment of Lodovico, for his crimes in the city of Rome; he rails against others, whose crimes are greater yet who retain the privilege of living in the city (notably Paulo Giodano Ursini, the Duke of Brachiano, protector of Vittoria though husband of Isabella). Isabella's brother is the powerful Francisco de Medicis, Duke of Florence discovers his relationship with Vittoria and insults him; Brachiano's response is to divorce the innocent Isabella. He then proceeds to arrange the murders of Isabella and Camillo, Vittoria's husband.
As various parties begin to try to exact their revenge and Vittoria is put on trial for the murder of Camillo, the bloodthirstiness of the play mounts - poison, stabbing, strangling, shooting. All in all, it is an excellent example of a revenge tragedy, though the plot takes second place to the poetry of individual scenes.
Review number: 112
Like the better known Duchess of Malfi, sometimes considered almost to be a sequel to The White Devil, this play is concerned with the murky depths of Italian politics. It is actually based on real events, though the plot apparently differs quite widely from the true history of the famous courtesan Vittoria Corombona.
The story begins with the banishment of Lodovico, for his crimes in the city of Rome; he rails against others, whose crimes are greater yet who retain the privilege of living in the city (notably Paulo Giodano Ursini, the Duke of Brachiano, protector of Vittoria though husband of Isabella). Isabella's brother is the powerful Francisco de Medicis, Duke of Florence discovers his relationship with Vittoria and insults him; Brachiano's response is to divorce the innocent Isabella. He then proceeds to arrange the murders of Isabella and Camillo, Vittoria's husband.
As various parties begin to try to exact their revenge and Vittoria is put on trial for the murder of Camillo, the bloodthirstiness of the play mounts - poison, stabbing, strangling, shooting. All in all, it is an excellent example of a revenge tragedy, though the plot takes second place to the poetry of individual scenes.
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