John Webster facts for kids

John Webster (c. 1578 – c. 1632) was an English Jacobean dramatist best known for his tragedies The White Devil and The Duchess of Malfi, which are often seen as masterpieces of the early 17th-century English stage. His life and career overlapped with Shakespeare's.

Biography

Webster's life is obscure and the dates of his birth and death are not known. His father, a carriage maker also named John Webster, married a blacksmith's daughter named Elizabeth Coates on 4 November 1577 and it is likely that Webster was born not long after, in or near London. The family lived in St Sepulchre's parish. His father John and uncle Edward were Freemen of the Merchant Taylors' Company and Webster attended Merchant Taylors' School in Suffolk Lane, London. On 1 August 1598, "John Webster, lately of the New Inn" was admitted to the Middle Temple, one of the Inns of Court; in view of the legal interests evident in his dramatic work, this may be the playwright. Webster married 17-year-old Sara Peniall on 18 March 1605 at St Mary's Church, Islington. A special licence was needed to permit a wedding in Lent, as Sara was seven months pregnant. Their first child, John Webster III, was baptised at the parish of St Dunstan-in-the-West on 8 March 1606. Bequests in the will of a neighbour who died in 1617, indicate that other children were born to him.

Most of what is otherwise known of him relates to his theatrical activities. Webster was still writing plays in the mid-1620s, but Thomas Heywood's Hierarchie of the Blessed Angels (licensed 7 November 1634) speaks of him in the past tense, implying he was then dead.

There is no known portrait of Webster.

Early collaboration

By 1602, Webster was working with teams of playwrights on history plays, most of which were never printed. They included a tragedy, Caesar's Fall (written with Michael Drayton, Thomas Dekker, Thomas Middleton and Anthony Munday), and a collaboration with Dekker, Christmas Comes but Once a Year (1602). With Dekker he also wrote Sir Thomas Wyatt, which was printed in 1607 and had probably been first performed in 1602. He worked with Dekker again on two city comedies in 1604 and in 1605. Also in 1604, he adapted John Marston's The Malcontent for staging by the King's Men.

The major tragedies

Title page of The Duchess of Malfi, 1623

Despite his ability to write comedy, Webster is best known for two brooding English tragedies based on Italian sources. The White Devil, a retelling of the intrigues involving Vittoria Accoramboni, an Italian woman assassinated at the age of 28, was a failure when staged at the Red Bull Theatre in 1612 (published the same year) being too unusual and intellectual for its audience. The Duchess of Malfi, first performed by the King's Men about 1614 and published nine years later, was more successful. He also wrote a play called Guise, based on French history, of which little else is known, as no text has survived.

Late plays

Webster wrote one more play on his own: The Devil's Law Case (c. 1617–1619), a tragicomedy. His later plays were collaborative city comedies. In 1624, he also co-wrote a topical play about a recent scandal, Keep the Widow Waking (with John Ford, Rowley and Dekker). The play is lost, but its plot is known from a court case. He is believed to have contributed to the tragicomedy The Fair Maid of the Inn with John Fletcher, Ford and Phillip Massinger. His Appius and Virginia, probably written with Thomas Heywood, is of uncertain date.

Reputation

Webster's intricate, complex, subtle and learned plays are difficult, but rewarding and are still frequently staged. Webster has gained a reputation as the Elizabethan and Jacobean dramatist with the most unsparingly dark vision of human nature. In his poem "Whispers of Immortality", T. S. Eliot memorably says that Webster always saw "the skull beneath the skin".

Webster's title character in The Duchess of Malfi is presented as a figure of virtue compared with her malevolent brothers. She faces death with classic Stoic courage in a martyr-like scene which has been compared to that of the king in Christopher Marlowe's play Edward II. Webster's use of a strong, virtuous woman as his main character was rare for his time and marks a deliberate reworking of some of the original historical events on which the play was based. The character of the Duchess recalls the Victorian poet and essayist Algernon Charles Swinburne's comment in A Study of Shakespeare that in tragedies such as King Lear Shakespeare had shown such a bleak world as a foil or backdrop for virtuous heroines such as Ophelia and Imogen, so that their characterisation would not seem too incredible. Swinburne describes such heroines as shining in the darkness.

Webster's drama was generally dismissed in the 18th and 19th centuries, but many 20th-century critics and theatregoers have found The White Devil and The Duchess of Malfi brilliant plays of great poetic quality. One explanation for the change of view is that the horrors of war in the early 20th century had led to desperate protagonists being on stage again and understood. W. A. Edwards wrote of Webster's plays in Scrutiny II (1933–1934) "Events are not within control, nor are our human desires; let's snatch what comes and clutch it, fight our way out of tight corners, and meet the end without squealing." The pessimism of the tragedies have seemed to some analysts close to modern sensibilities.

See also

In Spanish: John Webster para niños