The Theatrical Effectiveness of 'The White Devil'
The White Devil is atypical of a revenge tragedy play. As a result, the action has to be ingenious and at times gruesome, whilst also being translatable to the stage. Webster uses many techniques and methods whether it is in staging, language or characterisation, to bring the action closer to the audience and heighten the theatrical effectiveness of the play. Act One Scene Two is the first introduction of the main characters; Brachiano, Vittoria, Camillo, Cornelia and Flamineo. It is a scene full of ambiguities and contradictions, the sense of ambivalence coming from both the language and the action. The staging of the play is effective in itself. The carpet and cushions which Zanche laid out implies a sexuality which contrasts with the romantic and almost cliched lover's conversation leaving the audience confused at their true motives or emotions. Likewise, the counterbalance of Flamineo and Zanche overseeing the action on one side, with Cornelia representing the virtuous holy maternal figure on the other is reminiscent of the morality play which characterises Vice and Virtue. Also, the observation of such private action allows Webster to include three viewpoints, gloating, passion and agonised despair.
The black satirical take on marriage vows in the two sections is perhaps an indication that the Church and society is rotten. Isabella's demise is emotionally draining, her vulnerability and holiness reflected in her praying and her loyalty to Brachiano, her murderer, is the very cause of her death. The ambiguities arise from the build up and the fact that the dumb shows are both magic illusion and reality, we are aware of Brachiano's villainy, but do not totally condemn him due to the deliberate unreality of the presentation. In sharp contrast to the romantic theme and verse of Act 1 Scene 2, Act 2 Scene 1 introduces the audience to Isabella, who until now has only been refered to as the 'fell duchess' - a description which appears to be prophetic as the scene advances. In convention with contemporary theatre, Act 2 Scene 2 adopts the technique of a dumb show to portray the deaths of Isabella and Camillo to the audience. As a result, a balance is achieved, so the audience is not able to engage a full sense of outrage at two innocent people's violent deaths. The scene opens with Brachiano conversing with a conjurer, the magical element creating a spectacular and almost reverent atmosphere. The Jacobean audience would have immediately recognised the traditional characters of the Vice, Virtue and malcontent, making them less distanced by the paradoxical language, for example, the inverted collocation 'excellent devil'. The verbal violence of,'dig the strumpets eyes out' is both atypical of revenge tragedy and a horrific shift from the meek religious wife whose only thoughts were of 'devotion' that was presented to us only lines earlier. The dumb shows end as abruptly as they began, and Webster suddenly foreshortens the illusion with a shift in perspective, 'we are now beneath her roof'. However there is always another interpretation, 'jewel' could either represent married chastity or more negatively, sexual organs. The symbolism of the kiss throughout the two sections helps add cohesion and bring out other parallels whilst also adding a more vengeful and dependent edge to Isabella's character, who claiming of her kiss via force despite Brachiano's earlier protestations and insults regarding her breath adds impact. In conclusion, Webster's method covers several forms of irony, language, stage direction, and contemporary theatre conventions to add dramatic effect to his revenge tragedy. . Vittoria is the 'pole-cat', Isabella the unicorn - a symbol of chastity and virginity recognised by Webster's contemporary audience.
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Acceptance Essays
