JOHN WEBSTER

In publishing this tragedy, I do but challenge myself that liberty, which other men have taken before me; not that I affect praise by it, for, nos hc 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; and that since that time I have noted, most of the people that 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 rhoncos metues maligniorum,Nec scombris tunicas dabis molestas.

John Websters *The White Devil* is a compelling Jacobean tragedy that explores themes of vice, ambition, and the complexity of human nature. Written in a rich, poetic style, the play delves into the moral corruption of its characters, particularly through the figure of Vittoria Corombona, a defiant woman navigating a patriarchal society. Websters darkly atmospheric setting and nuanced characterizations align with the dramatic conventions of his time, while also challenging the audiences perceptions of good and evil, revealing the intricate interplay of power and passion. Webster, a contemporary of Shakespeare, was deeply influenced by the socio-political climate of early 17th-century England, including the tensions of court politics and social justice. His experiences working within the theatrical world, alongside themes of retribution and social commentary, fueled the creation of *The White Devil*, where deadly machinations unfold against a backdrop of societal decay. Websters sharp wit and understanding of the human psyche are evident throughout the text, elevating the play beyond mere tragedy to a reflection on moral ambiguity. I wholeheartedly recommend *The White Devil* to anyone interested in the darker side of human nature and the complexities of moral dilemmas. Readers will find themselves captivated by Websters intricate plot and powerful dialogue, sparking thoughtful discussions about the characters choices and their haunting consequences. This play remains a vital part of the exploration of tragedy in English literature.

These four plays, written during the reigns of James I and Charles I, took revenge tragedy in dark and ambiguous new directions. In The Duchess of Malfi and The White Devil, John Webster explores the role of women and issues of power, sex and corruption in the Italian court, creating two unforgettable anti-heroines. In The Broken Heart, John Ford questions the value of emotional repression as his characters attempt to subdue their desires and hatreds in ancient Greece. Finally, Ford''s masterpiece ''Tis Pity She''s a Whore explores the taboo themes of incest and forbidden lust in a daring reworking of Romeo and Juliet.Jane Kingsley-Smith has edited the plays from the earliest quartos and added invaluable editorial material, including explanatory glosses and a new introduction that discusses how the playwrights used the theatre to explore issues around women, sex, power and violence.Together with the Penguin volume of Five Revenge Tragedies, edited by Emma Smith, this is the essential sourcebook for drama in the period.''Revenge, hatred, villainy, incest, and murder upon murder are their constant themes ... and they handle these horrors with little or no moral purpose, save that of exciting and amusing the audience ... We should call him a madman who allowed his daughters or his servants to see such representations'' - Charles KingsleyJOHN WEBSTER was born in about 1578 in London. He studied law at the Middle Temple before embarking on a career in the theatre, collaborating on many plays with contemporary dramatists. But it was his two solo-authored tragedies, The White Devil (1612) and The Duchess of Malfi (1614) which sealed his reputation. In 1606 he married Sara Peniall, who was seven months pregnant, and they went on to have at least four children. He died in the 1630s.JOHN FORD was born in 1586 in Devon. His early career was wholly concerned with poetry and philosophical works, and it was not until the 1620s that he began collaborating on stage plays. In the late 1620s, he began writing alone, producing the eight plays on which his reputation would be based, including The Broken Heart (1620) and ''Tis Pity She''s a Whore (c.1630). Nothing more is known of Ford after the performance of his last play in 1638.JANE KINGSLEY-SMITH completed her PhD at the Shakespeare Institute, Stratford-upon-Avon and is the author of two monographs:Shakespeare''s Drama of Exile (2003) and Cupid in Early Modern Literature and Culture (2010). She is a Reader at Roehampton University, London, and a regular guest speaker at Shakespeare''s Globe.

Esta obra extraordinária apresenta uma exposição curta da natureza da teologia cristã. Em uma série de seis preleções, John Webster explora o privilégio de pensar e falar sobre Deus à luz das "boas-n

John Websters The White Devil is a poignant and intense Jacobean tragedy that explores themes of revenge, corruption, and the destructive forces of power. Written in the early 17th century, the play is known for its intricately woven plot and complex characters, making it a classic example of the revenge tragedy genre popular during the period. Websters use of dramatic irony and moral ambiguity adds depth to the narrative, leaving readers questioning the nature of good and evil. The plays poetic language and vivid imagery enhance the overall theatrical experience, creating a dark and captivating atmosphere for readers to immerse themselves in. The White Devil serves as a significant contribution to English Renaissance drama, showcasing Websters skillful storytelling and keen insight into human nature. Webster, a contemporary of Shakespeare, was a seasoned playwright with a knack for exploring the darker aspects of humanity. His experiences living in a tumultuous political and social climate likely influenced the themes present in The White Devil. Readers who enjoy classic literature filled with intrigue and moral dilemmas will find The White Devil a compelling and thought-provoking read that continues to resonate with audiences centuries after its initial publication.

"I found myself joining in his joyful Amen! to all of the promises that we have in Jesus Christ." --Michael Horton In this rich collection of sermons, John Webster considers the power of the gospel and the truth of Gods grace. Born from years of theological and biblical study, these reflections serve to challenge, stimulate, and inspire, demonstrating the grace of God at work in the complexities of life. By pointing us toward Christ, Confronted by Grace helps us grow in our understanding of the truth of the gospel.

The churchs vocation is to treasure the gospel and live it out. The late theologian John Webster believed Christian preachers and theologians should be principally concerned with the proclamation of this news. At the center of that proclamation is our salvation in Christ. In this compilation of homilies, John Webster explores the various contours of the salvation accomplished for us in Christ and displays for preachers a model of theological exegesis that understands that the gospel is the heart of holy Scripture. Readers of Christ Our Salvation will be presented with a feast of "theological" theology for Christian proclamation.

Of John Websters life almost nothing is known. The dates 1580-1625 given for his birth and death are conjectural inferences, about which the best that can be said is that no known facts contradict them.The first notice of Webster so far discovered shows that he was collaborating in the production of plays for the theatrical manager, Henslowe, in 1602, and of such collaboration he seems to have done a considerable amount. Four plays exist which he wrote alone, "The White Devil,""The Duchess of Malfi,""The Devils Law-Case," and "Appius and Virginia.""The Duchess of Malfi" was published in 1623, but the date of writing may have been as early as 1611. It is based on a story in Painters "Palace of Pleasure," translated from the Italian novelist, Bandello; and it is entirely possible that it has a foundation in fact. In any case, it portrays with a terrible vividness one side of the court life of the Italian Renaissance; and its picture of the fierce quest of pleasure, the recklessness of crime, and the worldliness of the great princes of the Church finds only too ready corroboration in the annals of the time.