53 pages 1 hour read

The White Devil

Fiction | Play | Adult | Published in 1612

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Background

Authorial Context: John Webster and The White Devil

Little is known about John Webster's early life, as is common for playwrights of his era. He was likely born in London around 1580, during the later years of Elizabeth I’s reign, and is theorized to have been the son of a coach-maker. He may have received his education at the prestigious Merchant Taylors' School, a grammar school that provided a classical education, and he later studied at the Inns of Court, which suggests that he had a background in law. However, Webster did not pursue a legal career, gravitating instead toward the theater.

Webster came of age in the heart of London’s vibrant theater scene, which was dominated by figures like William Shakespeare. He collaborated with other writers in his early career and contributed to plays such as Westward Ho (1604), Northward Ho (1605), and possibly The Witch of Edmonton (1621), which were co-written with Thomas Dekker. These works, which were far lighter in tone than the grim tragedies that Webster created alone, such as The Duchess of Malfi (1613), reflected the popular trend of city comedies and depicted the bustling life of London’s merchant class.

By the early 1600s, Webster’s artistic vision took a darker turn, aligning him more closely with the tragic sensibilities of his contemporaries. The early 17th century saw an increase in the popularity of revenge tragedies, a genre that deals with themes of vengeance, murder, and the moral degradation of individuals who find themselves caught in cycles of violence and corruption. This genre appealed to Webster’s particular interest in the darker aspects of human nature. His first significant solo play, The White Devil (1612), is a tragedy based on the real-life murder of Vittoria Accoramboni, a noblewoman of the Italian Renaissance. The play depicts a world in which treachery, murder, and corruption pervade every level of society.

The White Devil was penned amidst a period of great political and social upheaval. At this point in history, King James I had recently ascended to the throne, and the Jacobean period was marked by a growing disillusionment with the court’s decadence and political manipulation. There was also an increasing divide between the ruling class and the common people. This context influenced Webster’s approach to his characters, who are frequently motivated by self-interest, greed, and a thirst for power. Webster’s choice to set The White Devil in Italy therefore allowed him to explore relevant themes of corruption, immorality, and political intrigue using the shield of a foreign context. This strategy distanced contemporary audiences from the uncomfortable truths that the play indirectly revealed to exist within English society. English audiences of the time often perceived Italy as a land of political scheming and moral laxity, and this setting therefore became the perfect backdrop for Webster’s cynical portrayal of human depravity.

The White Devil was not an immediate success when it was first performed in 1612. However, over time, the play has come to be appreciated for its psychological depth and its exploration of moral ambiguity. The play is now recognized as a significant work of Jacobean tragedy and praised for its complex characters, vivid imagery, and unflinching portrayal of human corruption. Though Webster was largely overshadowed by Shakespeare during his lifetime, his dark, intricate tragedies have earned him a lasting legacy in the annals of English drama.

Historical Context: The Historical Venetian Murders

The White Devil is loosely based on the historical murder of Vittoria Accoramboni, a woman born in 1557 in Gubbio, a small town in the Papal States, to a noble yet impoverished family. Her parents, Claudio Accoramboni and Tarquinia Paluzzi, sought to improve their social and economic standing by arranging advantageous marriages for their children. Vittoria, who was known for her beauty and charm, quickly became the focal point of these ambitions. In 1573, she was married to Francesco Peretti, a nephew of Cardinal Montalto, who would later become Pope Sixtus V. Peretti was a member of a wealthy and powerful family and provided Vittoria with financial security and access to the upper echelons of Roman society. However, the union was not one of love but of convenience, and Vittoria soon became dissatisfied with her husband's modest position in the court.

Vittoria therefore sought to increase her influence by forming relationships with more powerful men. Her beauty and wit attracted many suitors, including Paolo Giordano I Orsini, the Duke of Bracciano. The Duke was one of the most influential noblemen in Italy and enjoyed a vast fortune and connections to the ruling elite. Despite the fact that he was already married to Isabella de’ Medici, Orsini became infatuated with Vittoria and began a passionate and illicit affair. As Vittoria pursued this affair, her marriage to  Francesco Peretti soon posed a significant problem as divorce was nearly impossible in Catholic Italy at the time. In 1581, Francesco Peretti was found brutally stabbed in what was described as an assassination. The murder took place in broad daylight in the streets of Rome, and this bold crime shocked the city.

Suspicion immediately fell on the Duke of Bracciano, whose affair with Vittoria was widely known. Although no formal charges were brought against him, it was believed that he had orchestrated the killing in order to free Vittoria from her marriage. The murder was carried out by hired assassins who were reportedly acting under the orders of the Duke. While Vittoria publicly mourned her husband’s death, she quickly married Paolo Giordano Orsini and became the Duchess of Bracciano in 1583, and this development only reinforced the belief that she had been complicit in the murder plot. Additionally, Orsini’s previous wife, Isabella de’ Medici, had already died under suspicious circumstances in 1576, and rumors alleged that Orsini had murdered her as well. The marriage between Vittoria and Orsini was therefore viewed by many as a scandalous union between two morally corrupt individuals.

Vittoria’s marriage to Bracciano elevated her to a position of power and influence, but it also made her the target of intense scrutiny and political enemies. The union was condemned by Pope Gregory XIII, who was outraged by the couple’s blatant disregard for morality and the sanctity of marriage. The couple was excommunicated, and their marriage was declared invalid by the Church. Despite this setback, Vittoria and Orsini continued to live as husband and wife, retreating to the Duke’s estates in northern Italy to escape the growing hostility in Rome.

In November 1585, Paolo Giordano Orsini died suddenly, leaving Vittoria a wealthy widow. His death was widely believed to have been caused by poison, although there was no concrete evidence to support this theory. Orsini’s death left Vittoria in a precarious position, as his family immediately contested her inheritance and sought to deprive her of the wealth and titles that she had gained through her marriage. With the powerful Orsini family against her and no significant allies at court, Vittoria sought protection from Lodovico Orsini, a cousin of her late husband. However, Lodovico harbored a deep resentment towards Vittoria, whom he blamed for Paolo Giordano’s death and for the damage to the family’s reputation.

In December 1585, just a month after the death of her second husband, Vittoria Accoramboni was brutally murdered in Padua. On the night of December 22, Lodovico Orsini and a group of armed men stormed Vittoria’s residence. They overpowered her guards and broke into her chambers, where Vittoria was staying with her brother, Flaminio, and other members of her household. The assassins mercilessly slaughtered Vittoria’s brother and servants before turning their attention to her. Vittoria herself was stabbed multiple times, and her body was left mutilated in what appeared to be a crime of personal vengeance. According to contemporary accounts, Vittoria faced her attackers with remarkable composure, reportedly saying, “I forgive you,” before succumbing to her wounds. Lodovico Orsini had seemingly sought to restore the Orsini family’s honor, which he believed Vittoria had tarnished through her marriage to Paolo Giordano and her involvement in the death of Francesco Peretti. By killing her, he hoped to erase the stain that she had left on the family name.

The murder of Vittoria Accoramboni sent shockwaves through Italy. Lodovico Orsini, the orchestrator of her murder, was arrested shortly after the crime but was soon pardoned. Vittoria’s life and death became the subject of widespread speculation and debate. She was both condemned as a manipulative and immoral woman who had orchestrated her husband’s murder and pitied as a victim of the ruthless power struggles that characterized Italian noble families during this period.

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