Books with author John Weber

"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 Painter's "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.

The Duchess of Malfi (originally published as The Tragedy of the Dutchesse of Malfy) is a macabre, tragic play written by the English dramatist John Webster in 1612–13. It was first performed privately at the Blackfriars Theatre, then later to a larger audience at The Globe, in 1613–14. Published in 1623, the play is loosely based on events that occurred between about 1508 and 1513. The Duchess was Giovanna d'Aragona, Duchess of Amalfi (d. 1511), whose father, Enrico d'Aragona, Marquis of Gerace, was an illegitimate son of Ferdinand I of Naples. As in the play, she secretly married Antonio Beccadelli di Bologna after the death of her first husband Alfonso I Piccolomini, Duke of Amalfi. The play begins as a love story, with a Duchess who marries beneath her class, and ends as a nightmarish tragedy as her two brothers undertake their revenge, destroying themselves in the process. Jacobean drama continued the trend of stage violence and horror set by Elizabethan tragedy, under the influence of Seneca. The complexity of some of the play's characters, particularly Bosola and the Duchess, and Webster's poetic language, ensure that The Duchess of Malfi is considered among the greatest tragedies of English renaissance drama.

Of John Webster's 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 Devil's 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 Painter's "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.

ACT I SCENE I[1] [Enter] ANTONIO and DELIO DELIO. You are welcome to your country, dear Antonio; You have been long in France, and you return A very formal Frenchman in your habit: How do you like the French court? ANTONIO. I admire it: In seeking to reduce both state and people To a fix'd order, their judicious king Begins at home; quits first his royal palace Of flattering sycophants, of dissolute And infamous persons,—which he sweetly terms His master's master-piece, the work of heaven; Considering duly that a prince's court Is like a common fountain, whence should flow Pure silver drops in general, but if 't chance Some curs'd example poison 't near the head, Death and diseases through the whole land spread. And what is 't makes this blessed government But a most provident council, who dare freely Inform him the corruption of the times? Though some o' the court hold it presumption To instruct princes what they ought to do, It is a noble duty to inform them What they ought to foresee.[2]—Here comes Bosola, The only court-gall; yet I observe his railing Is not for simple love of piety: Indeed, he rails at those things which he wants; Would be as lecherous, covetous, or proud, Bloody, or envious, as any man, If he had means to be so.—Here's the cardinal.

The Duchess was Giovanna d'Aragona, Duchess of Amalfi, whose father, Enrico d'Aragona, Marquis of Gerace, was an illegitimate son of Ferdinand I of Naples. As in the play, she secretly married Antonio Beccadelli di Bologna after the death of her first husband Alfonso I Piccolomini, Duke of Amalfi. The play begins as a love story, with a Duchess who marries beneath her class, and ends as a nightmarish tragedy as her two brothers exact their revenge, destroying themselves in the process. Jacobean drama continued the trend of stage violence and horror set by Elizabethan tragedy, under the influence of Seneca. The complexity of some of its characters, particularly Bosola and the Duchess, plus Webster's poetic language, ensure the play is often considered among the greatest tragedies of English renaissance drama.

The Duchess was Giovanna d'Aragona, Duchess of Amalfi, whose father, Enrico d'Aragona, Marquis of Gerace, was an illegitimate son of Ferdinand I of Naples. As in the play, she secretly married Antonio Beccadelli di Bologna after the death of her first husband Alfonso I Piccolomini, Duke of Amalfi. The play begins as a love story, with a Duchess who marries beneath her class, and ends as a nightmarish tragedy as her two brothers exact their revenge, destroying themselves in the process. Jacobean drama continued the trend of stage violence and horror set by Elizabethan tragedy, under the influence of Seneca. The complexity of some of its characters, particularly Bosola and the Duchess, plus Webster's poetic language, ensure the play is often considered among the greatest tragedies of English renaissance drama.

The evils of greed and ambition overwhelm love, innocence, and the bonds of kinship in this dark tragedy, first presented circa 1613. John Webster's great Jacobean drama focuses on a secret marriage that strikes the disastrous spark to an inferno of violence. When the Duchess of Malfi marries Antonio, a household steward, her two fiendishly jealous brothers ? hoping to inherit her title and estates ? plant a household spy whose treachery leads to a bloody and horrifying climax. Often compared to Shakespeare in terms of his dynamic plots and poetic lyricism, Webster created radical, profoundly original works that feature shifting perspectives and thought-provoking challenges to conventional moral judgments.

The Duchess of MalfiA Macabre, Tragic PlaybyJohn WebsterThe Duchess of Malfi (originally published as The Tragedy of the Dutchesse of Malfy) is a macabre, tragic play written by the English dramatist John Webster in 1612–13. It was first performed privately at the Blackfriars Theatre, then before a more general audience at The Globe, in 1613–14.Published in 1623, the play is loosely based on events that occurred between about 1508 and 1513. The Duchess was Giovanna d'Aragona, Duchess of Amalfi (d. 1511), whose father, Enrico d'Aragona, Marquis of Gerace, was an illegitimate son of Ferdinand I of Naples. As in the play, she secretly married Antonio Beccadelli di Bologna after the death of her first husband Alfonso I Piccolomini, Duke of Amalfi.The play begins as a love story, with a Duchess who marries beneath her class, and ends as a nightmarish tragedy as her two brothers exact their revenge, destroying themselves in the process. Jacobean drama continued the trend of stage violence and horror set by Elizabethan tragedy, under the influence of Seneca. The complexity of some of its characters, particularly Bosola and the Duchess, plus Webster's poetic language, ensure the play is often considered among the greatest tragedies of English renaissance drama.

The evils of greed and ambition overwhelm love, innocence, and the bonds of kinship in this dark tragedy, first presented circa 1613. John Webster's great Jacobean drama focuses on a secret marriage that strikes the disastrous spark to an inferno of violence. When the Duchess of Malfi marries Antonio, a household steward, her two fiendishly jealous brothers ? hoping to inherit her title and estates ? plant a household spy whose treachery leads to a bloody and horrifying climax. Often compared to Shakespeare in terms of his dynamic plots and poetic lyricism, Webster created radical, profoundly original works that feature shifting perspectives and thought-provoking challenges to conventional moral judgments.

The evils of greed and ambition overwhelm love, innocence, and the bonds of kinship in this dark tragedy, first presented circa 1613. John Webster's great Jacobean drama focuses on a secret marriage that strikes the disastrous spark to an inferno of violence. When the Duchess of Malfi marries Antonio, a household steward, her two fiendishly jealous brothers ? hoping to inherit her title and estates ? plant a household spy whose treachery leads to a bloody and horrifying climax. Often compared to Shakespeare in terms of his dynamic plots and poetic lyricism, Webster created radical, profoundly original works that feature shifting perspectives and thought-provoking challenges to conventional moral judgments.

Of John Webster's 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 Devil's 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 Painter's "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.