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Compare and contrast how Webster presents Vittoria in Act One Scene Two and Act Three Scene
Two of The White Devil
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’ On the whole, the character of Vittoria is portrayed across both of the
aforementioned acts and scenes as one who is manipulative and wicked
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This could be
because the context behind Act One Scene Two and Act Three Scene Two are totally different – in
Act One Scene Two, Webster presents Vittoria as a fairly innocent and fragile woman through the
use of the dream sequence, downplaying her intellect to dupe Bracciano into orchestrating murder
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Subverting the traditional Gothic archetype of the frail and vulnerable maiden, Vittoria is portrayed
as wicked by Webster from her second line of dialogue in Act One Scene Two: ‘’how shall’s rid him
hence?’’ This utterance is used to characterise Vittoria as a fairly cold individual from the outset of
the play as she conspires against her husband, Camillo
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She is motivated by her adulterous relationship with
Bracciano, further exemplifying her lack of morality, especially since adultery was a criminal offence
in Webster’s era
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These feelings are
shock towards Vittoria and Bracciano’s infidelity are certainly exhibited by some of the characters
within ‘The White Devil’
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Judas,
the betrayer of Jesus Christ, still resounds as a symbol of disloyalty in this day and age, so to have
been branded ‘’Judas-like’’ in Webster’s era of piety would’ve been one of the worst possible
sentiments, especially from a mother to a daughter, one who is supposed to love their child
unconditionally
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Whilst most females
within the Gothic genre are presented as virginal and selfless, such as Matilda in ‘The Castle of
Otranto’ who sacrificed her love for the sake of her cousin, Vittoria is presented as selfish and
callous, plotting to ‘’rid’’ herself of her husband to continue her affair with Bracciano
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Whilst her wickedness was far more explicit in Act One Scene
Two through her comments regarding her husband, as well as her obvious adulterous acts with
Bracciano, her wickedness in Act Three Scene Two is far more subtle as she is being observed in a
court of law
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He commences the trial in Latin,
but Vittoria quickly claims that ‘’I will not have my accusation clouded in a strange tongue,’’ implying
that she would rather he spoke English
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’’ Furthermore, Vittoria is shown by Webster to be spiteful and nasty as she insults
Monticelso’s profession, attacking his duel function as both a cardinal and a lawyer: ‘’It doth not suit

a reverend cardinal to play the lawyer thus
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’’ The lexical choice of ‘’scarlet’’ is a reference to the clothing
donned by a cardinal, again relating back to the Gothic convention of religion, just as the ‘’Judas’’
remark does
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Additionally, by
insulting Monticelso’s role as a cardinal, Vittoria’s inclination juxtaposes the stereotypical portrayal
of religion in Gothic literature as one that is pure and liberating – for instance when Van Helsing uses
the sign of the cross to ward off evil in Stoker’s ‘Dracula
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The first instance in which Vittoria is called a ‘’devil’’ comes after her
cunning manipulation of Bracciano through the use of a dream sequence
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Whilst retelling
her dream in which she is conspired against by Isabella and Camillo, she consistently refers to the
‘’yew-tree’’ and its ‘’massy arm’’ that saves her, with the lexis ‘’yew’’ phonetically sounding like
‘you,’ thus inciting Bracciano to act upon it
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This act of sheer manipulation certainly fooled Bracciano, but was
observed by her brother Flamineo, sparking his ‘’excellent devil’’ retort, directly relating the
character of Vittoria back to the juxtaposed title of ‘The White Devil’ for the first time – though she
is ‘’white’’ and appears pure, she is truly a ‘’devil’’ underneath, a sentiment of which is alluded to in
Act Three Scene Two
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’’ The reference to ‘’Sodom and
Gomorrah’’ is derived from Deuteronomy by which the grapes growing in Sodom and Gomorrah are
bitter in actuality
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Her manipulation is heightened further as she boldly demands that
the lawyer should ‘’speak his usual tongue’’ resulting in his dismissal
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Two traits possessed by Vittoria are her courage and intellect, both of which Webster brings to the
forefront during Act Three Scene Two as opposed to Act One Scene Two
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Despite her wickedness and manipulation, it is undeniable that Vittoria’s bravery in
such a patriarchal society is impressive
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’’ By dismissing Monticelso’s verse,
Vittoria is valiantly defending herself in a society dominated by males
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In this scene, she
generally appears as very innocent and fragile – fitting the archetype of the traditional Gothic
maiden - seemingly doting on her husband Camillo: ‘’I did nothing to displease him
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Although it can be argued that going against her husband was
a brave decision, it is one that isn’t commendable, as opposed to her impressive self-defence in Act
Three Scene Two
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Additionally, a sense of naivety could’ve been paramount in
deceiving Camillo in Act One Scene Two, whilst courage (even if it’s to maintain face) is required on a
higher level in a court room deciding your fate, such as in Act Three Scene Two
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Her aforementioned complications with the lawyer, resulting in his firing make
her simultaneously manipulative and highly intelligent
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To find
fault in the lawyer of the case was a very intelligent move, albeit the dishonest one
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’’ Intelligence, like courage, is portrayed by Webster as an underlying trait
of Vittoria’s in Act One Scene Two
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It is only until Act Three Scene Two, when she is on her own, that Vittoria’s own knowledge
and intellect really thrives
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He utilities Vittoria’s manipulation and wickedness in both scenes as she aims to deceive and
manipulate both Camillo and Bracciano, subverting the typical angelic Gothic maiden
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This may be because Act Three Scene Two is set in a
court room, by which Vittoria is pitted against men, but may also be because she is made to conspire
alongside Flamineo in Act One Scene Two; her intelligence is potentially undermined by that of her
brother’s manipulation and schemes, by which Vittoria is made to act less intelligent than she is

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