Texto utilizado para esta edición digital:
Webster, John. The White Devil. Edited by Elizabeth M. Brennan. London: Benn, 1966. The New Mermaids.
- Soler Sasera, Eva (Artelope)
- Soler Sánchez, Victoria (Artelope)
Nota a la edición digital
Reproduced by kind permission of The New Mermaid series and the editor, Elizabeth Brennan.
Dramatis personae
MONTICELSO, a Cardinal; afterwards Pope PAUL IV |
FRANCISCO DE MEDICIS, Duke of Florence; in the fifth 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 or LODOWICK, an Italian Count, but decayed |
ANTONELLI |
GASPARO |
CAMILLO |
HORTENSIO, one of Brachiano’s officers |
MARCELLO, and attendant of the Duke of Florence, and brother to Vittoria |
FLAMINEO, his brother; secretary to Brachiano |
CARDINAL OF ARRAGON |
DOCTOR JULIO, a conjuror |
CHRISTOPHERO, his assistant |
GUID-ANTONIO |
FERENZE |
JAQUES, a Moor, servant to Giovanni |
ISABELLA, sister to Francisco de Medicis, 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 |
MATRONA, of the House of Convertites |
AMBASSADORS |
PHYSICIANS |
COURTIERS |
LAWYERS |
OFFICERS |
ATTENDANTS |
CHANCELLOR |
REGISTRER |
PAGE |
ARMOURER |
CONJUROR |
To the reader
TO THE READER
In publishing this tragedy, I do but challenge to myself that liberty, which other
men have tane before me; not that I affect praise by it, for no 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: 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 thoncos metues, maligniorum,
Nec sombris tunicas, dabis molestas.
If it be objected this is no true dramatic poem, I shall easily confess it, -non potes
it nugas dicere plura meas: ipse ego quam dixi,- willingly, and not ignorantly, in
this kind have I faulted: for should a man presten 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 liften
death, in the passionate and weighty Nuntius: yet after all this divine rapture, O
dura messorum ilia, the breath that comes from the
uncapable multitude is able to poison it, and ere it be acted, let
the author resolve to fix every scene, this of Horace,
---- Haec hodie porcis comenda 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 it they will needs 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 tell’st truth’, quoth he, ‘but here’s
the difference: thine shall only be read for three days, whereas
mine shall continue three ages.’ Detraction is the sworn friend to ignorance. For
mine own part I have ever truly cherish’d my good opinion of other men’s worthy labours,
especially of that full and height’ned style of Master Chapman, the labour’d and understanding
works of Master Jonson: the no less worthy compostures of
the both worthily excellent Master Beaumont, and Master Fletcher: and lasty (without
wrong last to be named) the right happy and copious industry of Master Shakespeare,
Master Dekker, and Master Heywood, wishing what I write may be read by their light:
protesting, that, in the strength of mine own judgement, I know them so worthy, that
thought I rest silent in my own work, yet to most of theirs I dare (without flattery)
fix that of Martial:
---- non morunt, haec monumenta mori.
[Act I, Scene i]
[Act I, Scene ii]
[Act II, Scene i]
[Act II, Scene ii]
[Act III, Scene i]
[Act III, Scene ii]
[Act III, Scene iii]
[Act IV, Scene I]
[Act IV, Scene ii]
[Act IV, Scene iii]
[Act V, Scene i]
[Act V, Scene ii]
[Act V, Scene iii]
[Act V, Scene iv]
[Act V, Scene v]
[Act V, Scene vi]