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John WebsterA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide discusses suicide.
The White Devil is set in Rome, Italy, in the 16th century. Count Lodovico enters the stage, flanked by his friends, Antonelli and Gasparo. Lodovico has a reputation for violence and disrespect. His friends inform him that he has been banished from Rome for his many crimes, which include several murders. He has been banished rather than executed because the courts hope that Lodovico can seek penance for his sins. Antonelli and Gasparo claim that the other Italian nobles mock Lodovico behind his back and consider him to be worthless and an ill omen.
Lodovico dismisses these accusations, saying that the murders in question were mere “flea-bitings.” He also points out the hypocrisy of the Italian nobles, stating that men like Paulo Giordano Orsini (the Duke of Bracciano) have committed many shameful acts. He laments the fact that Bracciano is allowed to stay in Rome despite his transgressions. Lodovico notes that everyone in the city knows how much Bracciano lusts after Vittoria, even though she is married to Camillo. Lodovico believes that this adulterous lust is as bad as murder. Antonelli and Gasparo promise to lobby for Lodovico’s banishment to be overturned, but they urge him to be patient in the meantime.
Bracciano, Camillo, Flaminio, and Vittoria enter, carrying torches and accompanied by several unidentified gentlemen. After welcoming Bracciano to Rome, Vittoria leaves with her husband, Camillo. Vittoria’s brother Flaminio whispers privately in Bracciano’s ear, promising him that his “happy sister,” Vittoria, has arranged to meet him later. Flaminio tells the men with the torches to leave. When he and Bracciano are alone, he speaks openly, stating that Vittoria is in love with Bracciano. Vittoria’s servant, a Moor named Zanche, will help to arrange for Bracciano and Vittoria to meet in private to consummate their affair. Bracciano signals his desire for Vittoria, and Flaminio mocks Camillo, suggesting that the man is unable to satisfy Vittoria in bed. He suggests that Camillo has syphilis and is old and unromantic. Flaminio states that Vittoria and Bracciano would be better suited for one another and offers to help them conduct the affair. Flaminio hears Camillo approaching, so he hides Bracciano in a closet.
To himself, Flaminio mocks the slow wit and lavish clothing of Camillo. Aloud, he asks whether Camillo is going to join Vittoria in bed. Camillo is dismissive and cannot remember when he “last lay” his wife. Camillo confesses to Flaminio that he has his suspicions about Bracciano’s plans. Flaminio puts his brother-in-law’s worries to rest, claiming that Camillo is too wise and lucky to be tricked, but Camillo is not so sure. Flaminio jokes that Camillo should lock up his wife to prevent her from having an affair. Camillo asks Flaminio for advice, but Flaminio insists that free women are “more willingly and more gloriously/chaste” (I.ii.87-88). Camillo, he suggests, is simply being jealous and inventing plots where none exist.
As Vittoria approaches, Flaminio privately promises Camillo that he will convince his sister to sleep with her husband. Speaking to Vittoria, he reveals that her husband is upset. Vittoria defends herself, insisting that she has treated Camillo with respect. Flaminio performatively praises Camillo, and although the man is pleased, Flaminio follows up each compliment with a whispered insult about Camillo in his sister’s ear. Flaminio promises his sister that Camillo will offer her a fantastic jewel if she goes to bed with him. Though Camillo is delighted to hear Flaminio speak, Vittoria understands that her brother is subtly suggesting to her that she go to bed with Bracciano instead. Vittoria urges Flaminio to get rid of Camillo, so Flaminio takes Camillo aside and suggests that he abstain from sleeping with Vittoria tonight, so as to make her desire him all the more on the following night. Camillo is delighted by Flaminio’s advice and tells Vittoria that he will not go to bed with her. He even promises to lock himself in his room. He departs, pleased with what has transpired.
Bracciano emerges from his hiding place and approaches Vittoria seductively. Meanwhile, Zanche lays out a carpet and pillows as a bed for the couple. Cornelia, the mother of Vittoria and Flaminio, enters. She hears what is happening and decries the moral “ruin” of her family, declaring that her daughter’s affair will have disastrous results. Bracciano gifts Vittoria a jewel and tells her to wear it low on her dress. Vittoria speaks about her dream, in which she was confronted by her husband and Isabella, Bracciano’s wife, while sitting beneath a yew tree. They accused her of trying to uproot the tree. Before the pair could bury Vittoria alive, the tree branches were blown violently by the wind and killed them. Flaminio, overhearing this story, believes that Vittoria is subtly hinting to Bracciano that he should kill Isabella and Camillo so that they can be together. Bracciano devotes himself entirely to Vittoria.
As Flaminio takes Zanche from the room, Cornelia enters and chastises the adulterous lovers. She accuses Vittoria and Bracciano of being sinners as Vittoria begs her mother to listen to her explanation. Cornelia says that Bracciano’s wife Isabella is sick and is about to return to Rome. Vittoria insists that the only way she could have avoided the affair would have been through “blood.” Cornelia and Vittoria kneel and pray together for forgiveness. Vittoria leaps up and runs away, ashamed.
Flaminio talks to Bracciano, assuring Bracciano that he knows how to convince his sister to return. Bracciano is not pleased. He blames Cornelia for causing trouble. When he leaves, Flaminio scolds his mother for betraying his plan to improve the family’s financial situation and elevate their social standing. Cornelia is ashamed that she gave birth to a man like Flaminio, who counters that he would have preferred his mother to have been “the common’st courtesan in Rome” (I.ii.323). Upset, Cornelia departs. Flaminio resolves to continue with his plan, using even more deceitful tricks if necessary.
From the very beginning of the play, Webster emphasizes The Corruptive Effects of Ambition, for Lodovico’s opening scene depicts his genuine surprise over the prospect of being banished due to his many excesses and violent crimes. Significantly, he does not deny that he committed these crimes, and he lists the many crimes committed by similar men of his station, noting that they have not been similarly punished. Lodovico’s mindset therefore displays his own moral corruption and hints that he is the product of an equally corrupt society: one that has long condoned his misbehavior. For this reason, he laments his society’s sudden audacity in punishing him for crimes that its very patterns have encouraged him to commit. Because he is shocked that men like him would ever be reprimanded for immoralities that are portrayed as commonplace, his words set the moral tenor for the tumultuous events to follow.
At this point, Lodovico frames himself as a self-aware sinner in a society full of sinners. Although his unexpected punishment will become the catalyst for his later self-reflection, his astonishment at this point in the play speaks volumes about the flaws of Italian society. Furthermore, Lodovico’s desperate desire to return to Rome suggests that even amidst the city’s the moral decay and debauchery, it remains an aspirational place. Because people wish to remain in Rome, exile from the city is a terrible punishment that denies powerful men like Lodovico access to societal power. This brief opening scene therefore reveals the hypocrisy and the immorality of Rome, but Lodovico’s desperate desire to return to the city also creates a sense of awe and wonder about Rome, implying that although its people may be sinful, they are captivated by their own moral decay.
Although Lodovico is introduced first, Flaminio quickly emerges as the central figure in the play, and he also labors under The Corruptive Effects of Ambition. While Lodovico has been exiled from Roman society, Flaminio strives to elevate himself and his family within the social hierarchy of the city. Webster soon establishes the fact that Flaminio is willing to do anything to attain the same wealth and status enjoyed by men like Bracciano, coveting their power and the immunity from prosecution which their power grants them. To achieve a similar level of power, Flaminio is willing to break any moral code, even going to the measure of arranging an affair between his married sister and the married Bracciano in order to gain the favor of the latter. Contrary to the overt values of Catholic Italy, Flaminio holds no respect for the widely championed sanctity of marriage, and he cares nothing for protecting his sister’s “virtue” under this code of honor. In his mind, Vittoria’s marriage and virtue are merely commodities to be bartered away in his quest for power. The irony of Flaminio’s plan is that he hopes to elevate his family’s status by marrying Vittoria to Bracciano, even though both are already married to other people. Marriage is his tool for social advancement, as well as an impediment. The same bond which will supposedly elevate him is the same bond which he must break in order to proceed.
Flaminio’s cunning and manipulative personality acts as a foil for the emotional, impulsive Bracciano, and the two men also view society from different perspectives; Flaminio is on the periphery of power and influence and must carefully plot his advancement, while Bracciano is already so wealthy and powerful that he fears no repercussions for his actions. Thus, Bracciano has the privilege of acting before he thinks, whereas the less powerful Flaminio provides a more prudent counterpoint to his impulsive schemes. Their alliance therefore combines the emotional and the circumspect, causing tension between the two men.



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