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Title: Webster & Tourneur
Author: John Webster
Cyril Tourneur
Editor: John Addington Symonds
Release date: September 25, 2017 [eBook #55625]
Most recently updated: October 23, 2024
Language: English
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*** START OF THE PROJECT GUTENBERG EBOOK WEBSTER &
TOURNEUR ***](https://image.slidesharecdn.com/51017-250617212551-7927b5d3/85/Project-Management-A-Systems-Approach-to-Planning-Scheduling-and-Controlling-Harold-R-Kerzner-31-320.jpg)
![PLAYS BY WEBSTER &
TOURNEUR
WITH AN INTRODUCTION AND NOTES
BY
JOHN ADDINGTON SYMONDS.
UNEXPURGATED EDITION.
[THE MERMAID SERIES.]
LONDON:
VIZETELLY & CO., 16, HENRIETTA STREET,
COVENT GARDEN.
1888.
[Transcriber's Note: "The Revenger's Tragedy," attributed here to Cyril Tourneur, is now
generally recognised as the work of Thomas Middleton.]](https://image.slidesharecdn.com/51017-250617212551-7927b5d3/85/Project-Management-A-Systems-Approach-to-Planning-Scheduling-and-Controlling-Harold-R-Kerzner-32-320.jpg)
![CONTENTS.
PAGE
The Globe Theatre. v
John Webster and Cyril Tourneur. vi
John Webster:
The White Devil. 1
The Duchess of Malfi. 127
Cyril Tourneur:
The Atheist's Tragedy. 241
The Revenger's Tragedy. 339
[Reattributed to Thomas Middleton.]
Notes. 432
THE GLOBE THEATRE.
The first Globe Theatre, on the Bankside, Southwark, "the summer
theatre of Shakespeare and his fellows," is believed to have been
built in 1594, partly of materials removed from the Theatre in
Shoreditch, "the earliest building erected in or near London
purposely for scenic exhibitions." Outside, the Globe was hexagonal
in shape, and, like all the theatres of that epoch, was open at the
top, excepting the part immediately over the stage, which was
thatched with straw. The interior of the theatre was circular. The
performances took place by daylight, and while they were going on a
flag with the cross of St. George upon it was unfurled from the roof.](https://image.slidesharecdn.com/51017-250617212551-7927b5d3/85/Project-Management-A-Systems-Approach-to-Planning-Scheduling-and-Controlling-Harold-R-Kerzner-33-320.jpg)
![It is needful to dwell on the comparison of these dates, since they
give Tourneur the priority of authorship in a style of tragedy which
both poets cultivated with marked effect. Not to class them together
as the creators of a singular type of drama would be uncritical. They
elaborated similar motives, moved in the same atmosphere of moral
gloom, aimed at the like sententious apophthegms, affected the
same brevity and pungency, handled blank verse and prose on
parallel methods, and owed debts of much the same kind to
Shakespeare. That Webster was the greater writer, as he certainly
possessed a finer cast of mind, and surveyed a wider sphere of
human nature in his work, will be admitted. Yet it seems not
impossible that he may have followed Tourneur's lead in the peculiar
form and tone of his two masterpieces.
Speaking broadly, the two best tragedies of Webster and the two
surviving tragedies of Tourneur constitute a distinct species of the
genus which has been termed Tragedy of Blood.[1] It was Kyd, in his
double drama called The Spanish Tragedy, who first gave definite
form to this type. Those two plays exhibit the main ingredients of
the Tragedy of Blood—a romantic story of crime and suffering, a
violent oppressor, a wronged man bent upon the execution of some
subtle vengeance, a ghost or two, a notorious villain working as the
tyrant's instrument, and a whole crop of murders, deaths, and
suicides to end the action. What use Shakespeare made of the type,
and how he glorified it in Hamlet, is well known. Both Tourneur and
Webster, writing after Shakespeare, had of necessity felt his
influence, and their handling of the species was modified by that of
their great master. Yet they reverted in many important particulars
from the Shakespearean method to Kyd's. The use they both made
of the villain, a personage which Shakespeare discarded, might be
cited as distinctive. Kyd described the villain in the character of his
Lazarrotto thus:—
I have a lad in pickle of this stamp,
A melancholy, discontented courtier,
Whose famished jaws look like the chap of death;](https://image.slidesharecdn.com/51017-250617212551-7927b5d3/85/Project-Management-A-Systems-Approach-to-Planning-Scheduling-and-Controlling-Harold-R-Kerzner-36-320.jpg)
![Wyatt in its present mangled and misshapen form it is impossible to
disengage Webster's handiwork with any certainty. The same may be
said about the brisk and well-wrought pieces Northward Ho and
Westward Ho. Yet I see no reason to dispute Webster's share in
these three plays. A Cure for a Cuckold[2] requires more particular
comment. This comedy was ascribed by the publisher Kirkman to
John Webster and William Rowley. But the ascription stands for
absolutely nothing, unless we can discover corroborative internal
evidence of Webster's collaboration. Such evidence I do not find,
although there is certainly nothing in the play to disprove Kirkman's
assertions. It should be added that a delicate little piece of serio-
comic workmanship lies embedded in the otherwise trashy Cure for a
Cuckold. Mr. Edmund Gosse early saw and twice pointed out how
easily this play within the play could be detached from the rest; and
the Honourable S. E. Spring Rice has recently printed, at Mr. Daniel's
private press, a beautiful edition of what, following Mr. Gosse's
suggestion, he calls Love's Graduate. I should like to believe that
"piece of silver-work," as Mr. Gosse has aptly called it, to be truly the
creation of Webster, "the sculptor whose other groups are all in
bronze." Indeed, there are no reasons why the belief should not be
indulged, except that Kirkman's ascription carries but a feather's
weight, and that there is nothing special in the style to warrant it.
Love's Graduate, rescued from A Cure for a Cuckold by pious hands,
is one of the unclaimed masterpieces of this fruitful epoch.
The great length of Webster's two Italian tragedies rendered it
impossible to print Appius and Virginia in this volume. That is much
to be regretted; for without a study of his Roman play, justice can
hardly be done to the scope and breadth of Webster's genius. Of
Appius and Virginia Mr. Dyce observed with excellent judgment: "this
drama is so remarkable for its simplicity, its deep pathos, its
unobtrusive beauties, its singleness of plot, and the easy, unimpeded
march of its story, that perhaps there are readers who will prefer it
to any other of our author's productions." Webster, who was a Latin
scholar, probably studied the fable in Livy; but its outlines were
familiar to English people through Painter's "Palace of Pleasure." He](https://image.slidesharecdn.com/51017-250617212551-7927b5d3/85/Project-Management-A-Systems-Approach-to-Planning-Scheduling-and-Controlling-Harold-R-Kerzner-41-320.jpg)
![has drawn the mutinous camp before Algidum, the discontented city
ruled by a licentious noble, the stern virtues of Icilius and Virginius,
and the innocent girlhood of Virginia with a quiet mastery and self-
restraint which prove that the violent contrasts of his Italian plays
were calculated for a peculiar effect of romance. When treating a
classical subject, he aimed at classical severity of form. The chief
interest of the drama centres in Appius. This character suited
Webster's vein. He delighted in the delineation of a bold, imperious
tyrant, marching through crimes to the attainment of his lawless
ends, yet never wholly despicable. He also loved to analyse the
subtleties of a deep-brained intriguer, changing from open force to
covert guile, fawning and trampling on the objects of his hate by
turns, assuming the tone of diplomacy and the truculence of
autocratic will at pleasure, on one occasion making the worse appear
the better cause by rhetoric, on another espousing evil with reckless
cynicism. The variations of such a character are presented with force
and lucidity in Appius. Yet the whole play lacks those sudden flashes
of illuminative beauty, those profound and searching glimpses into
the bottomless abyss of human misery, which render Webster's two
Italian tragedies unique. He seems to have been writing under self-
imposed limitations, in order to obtain a certain desired effect—much
in the same way as Ford did when he composed the irreproachable
but somewhat chilling history of Perkin Warbeck.
The detailed criticism of Webster as a dramatist, and the study of his
two chief tragedies in relation to their Italian sources, would lead me
beyond the limits of this Introduction. He is not a poet to be dealt
with by any summary method; for he touches the depths of human
nature in ways that need the subtlest analysis for their proper
explanation. I am, however, loth to close this introduction without a
word or two concerning the peculiarities of Webster's dramatic style.
[3] Owing to condensation of thought and compression of language,
his plays offer considerable difficulties to readers who approach
them for the first time. So many fantastic incidents are crowded into
a single action, and the dialogue is burdened with so much
profoundly studied matter, that the general impression is apt to be](https://image.slidesharecdn.com/51017-250617212551-7927b5d3/85/Project-Management-A-Systems-Approach-to-Planning-Scheduling-and-Controlling-Harold-R-Kerzner-42-320.jpg)
![I prithee, yet remember
Millions are now in graves, which at last day
Like mandrakes shall rise shrieking.
But enough has now been said about these peculiarities of Webster's
dramatic style. It is needful to become acclimatised to his specific
mannerism, both in the way of working and the tone of thinking,
before we can appreciate his real greatness as a dramatic poet and
moralist. Then we recognise the truth of what has recently been
written of him by an acute and sympathetic critic: "There is no poet
morally nobler than Webster."[4]
John Addington Symonds.](https://image.slidesharecdn.com/51017-250617212551-7927b5d3/85/Project-Management-A-Systems-Approach-to-Planning-Scheduling-and-Controlling-Harold-R-Kerzner-45-320.jpg)
![THE WHITE DEVIL;
OR,
VITTORIA COROMBONA.
The White Divel; or, the Tragedy of Paulo Giordano Ursini, Duke of
Brachiano, With the Life and Death of Vittoria Corombona, the
famous Venetian Curtizan, was printed in 1612, as acted by the
Queen's servants, and again in 1631, 1665, and 1672. In 1707
Nahum Tate published an alteration called Injured Love; or, the Cruel
Husband.
Webster founded this play directly on the history of the Duke di
Brachiano and his two wives, of whom the second, Vittoria
Accorambaoni, was the widow of the nephew of Cardinal Montalto,
afterwards Pope Sixtus V.
TO THE READER.
In publishing this tragedy, I do but challenge to myself that liberty
which other men have ta'en before me: not that I affect praise by it,
for nos hæc novimus esse nihil;[5] 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 play-house 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,—](https://image.slidesharecdn.com/51017-250617212551-7927b5d3/85/Project-Management-A-Systems-Approach-to-Planning-Scheduling-and-Controlling-Harold-R-Kerzner-46-320.jpg)
![Nec ronchos metues maligniorum,
Nec scombris tunicas dabis molestas.[6]
If it be objected this is no true dramatic poem, I shall easily confess
it; non potes in nugas dicere plura meas ipse ego quam dixi.[7]
Willingly, and not ignorantly, in this kind have I faulted: for, should a
man present 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, liven death in the passionate and weighty Nuntius; yet, after
all this divine rapture, O dura messorum ilia,[8] the breath that
comes from the uncapable multitude is able to poison it; and, ere it
be acted, let the author resolve to fix to every scene this of Horace,
Hæc porcis hodie comedenda relinques.[9]
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 if they will needs make it my fault, I must answer them with
that of Euripides to Alcestides,[10] a tragic writer. Alcestides
objecting that Euripides had only, in three days, composed three
verses, whereas himself had written three hundred, "Thou tellest
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 cherished my good opinion of other men's worthy
labours; especially of that full and heightened style of Master
Chapman; the laboured and understanding works of Master Jonson;
the no less worthy composures of the both worthily excellent Master
Beaumont and Master Fletcher; and lastly (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 judgment, I know them so worthy, that though I rest
silent in my own work, yet to most of theirs I dare (without flattery)
fix that of Martial,](https://image.slidesharecdn.com/51017-250617212551-7927b5d3/85/Project-Management-A-Systems-Approach-to-Planning-Scheduling-and-Controlling-Harold-R-Kerzner-47-320.jpg)
![Non norunt hæc monumenta mori.[11]
DRAMATIS PERSONÆ.
Monticelso, a Cardinal, afterwards Pope.
Francisco de Medicis, Duke of Florence.
Brachiano, otherwise Paulo Giordano Ursini, Duke of Brachiano,
Husband of Isabella.
Giovanni, his Son.
Count Lodovico.
Camillo, Husband of Vittoria.
Flamineo, Brother of Vittoria, Secretary to Brachiano.
Marcello, Brother of Vittoria, Attendant on Francisco de Medicis.
Hortensio.
Antonelli.
Gasparo.
Farnese.
Carlo.
Pedro.
Doctor.
Conjurer.
Lawyer.
Jaques.
Julio.](https://image.slidesharecdn.com/51017-250617212551-7927b5d3/85/Project-Management-A-Systems-Approach-to-Planning-Scheduling-and-Controlling-Harold-R-Kerzner-48-320.jpg)
![THE WHITE DEVIL; OR, VITTORIA
COROMBONA.
ACT THE FIRST.
SCENE I.—A Street in Rome.
Enter Count Lodovico, Antonelli, and Gasparo.
Lod. Banished!
Ant. It grieved me much to hear the sentence.
Lod. Ha, ha! O Democritus, thy gods
That govern the whole world! courtly reward
And punishment. Fortune's a right whore:
If she give aught, she deals it in small parcels,
That she may take away all at one swoop.
This 'tis to have great enemies:—God quit[12] them!
Your wolf no longer seems to be a wolf
Than when she's hungry.
Gasp. You term those enemies
Are men of princely rank.
Lod. O, I pray for them:
The violent thunder is adored by those
Are pashed[13] in pieces by it.
Ant. Come, my lord,
You are justly doomed: look but a little back](https://image.slidesharecdn.com/51017-250617212551-7927b5d3/85/Project-Management-A-Systems-Approach-to-Planning-Scheduling-and-Controlling-Harold-R-Kerzner-50-320.jpg)
![Into your former life; you have in three years
Ruined the noblest earldom.
Gasp. Your followers
Have swallowed you like mummia[14] and, being sick
With such unnatural and horrid physic,
Vomit you up i' the kennel.
Ant. All the damnable degrees
Of drinkings have you staggered through: one citizen
Is lord of two fair manors called you master
Only for caviare.
Gasp. Those noblemen
Which were invited to your prodigal feasts
(Wherein the phœnix scarce could scape your throats)
Laugh at your misery; as fore-deeming you
An idle meteor, which, drawn forth the earth,
Would be soon lost i' the air.
Ant. Jest upon you,
And say you were begotten in an earthquake,
You have ruined such fair lordships.
Lod. Very good.
This well goes with two buckets: I must tend
The pouring out of either.
Gasp. Worse than these;
You have acted certain murders here in Rome,
Bloody and full of horror.
Lod. 'Las, they were flea-bitings.
Why took they not my head, then?](https://image.slidesharecdn.com/51017-250617212551-7927b5d3/85/Project-Management-A-Systems-Approach-to-Planning-Scheduling-and-Controlling-Harold-R-Kerzner-51-320.jpg)
![Gasp. O, my lord,
The law doth sometimes mediate, thinks it good
Not ever to steep violent sins in blood:
This gentle penance may both end your crimes,
And in the example better these bad times.
Lod. So; but I wonder, then, some great men scape
This banishment: there's Paulo Giordano Ursini,
The Duke of Brachiano, now lives in Rome,
And by close panderism seeks to prostitute
The honour of Vittoria Corombona;
Vittoria, she that might have got my pardon
For one kiss to the duke.
Ant. Have a full man within you.
We see that trees bear no such pleasant fruit
There where they grew first as where they are new set:
Perfumes, the more they are chafed, the more they render
Their pleasing scents; and so affliction
Expresseth virtue fully, whether true
Or else adulterate.
Lod. Leave your painted comforts:
I'll make Italian cut-works[15] in their guts,
If ever I return.
Gasp. O, sir!
Lod. I am patient.
I have seen some ready to be executed
Give pleasant looks and money, and grown familiar
With the knave hangman: so do I: I thank them,
And would account them nobly merciful,
Would they despatch me quickly.](https://image.slidesharecdn.com/51017-250617212551-7927b5d3/85/Project-Management-A-Systems-Approach-to-Planning-Scheduling-and-Controlling-Harold-R-Kerzner-52-320.jpg)
![Ant. Fare you well:
We shall find time, I doubt not, to repeal
Your banishment.
Lod. I am ever bound to you:
This is the world's alms; pray, make use of it.
Great men sell sheep thus to be cut in pieces,
When first they have shorn them bare and sold their fleeces.
[Exeunt.
SCENE II.—An Apartment in Camillo's House.
Sennet.[16] Enter Brachiano, Camillo, Flamineo, Vittoria Corombona,
and Attendants.
Brach. Your best of rest!
Vit. Cor. Unto my lord, the duke,
The best of welcome!—More lights! attend the duke.
[Exeunt Camillo and Vittoria Corombona.
Brach. Flamineo,—
Flam. My lord?
Brach. Quite lost, Flamineo.
Flam. Pursue your noble wishes, I am prompt.
As lightning to your service. O, my lord,
The fair Vittoria, my happy sister, [Whispers.
Shall give you present audience.—Gentlemen,
Let the caroche[17] go on; and 'tis his pleasure
You put out all your torches, and depart.
[Exeunt Attendants.](https://image.slidesharecdn.com/51017-250617212551-7927b5d3/85/Project-Management-A-Systems-Approach-to-Planning-Scheduling-and-Controlling-Harold-R-Kerzner-53-320.jpg)
![Brach. Are we so happy?
Flam. Can't be otherwise?
Observed you not to-night, my honoured lord,
Which way soe'er you went, she threw her eyes?
I have dealt already with her chambermaid,
Zanche the Moor; and she is wondrous proud
To be the agent for so high a spirit.
Brach. We are happy above thought, because 'bove merit.
Flam. 'Bove merit!—we may now talk freely—'bove merit! What is't
you doubt? her coyness? that's but the superficies of lust most
women have: yet why should ladies blush to hear that named which
they do not fear to handle? O, they are politic: they know our desire
is increased by the difficulty of enjoying; whereas satiety is a blunt,
weary, and drowsy passion. If the buttery-hatch at court stood
continually open, there would be nothing so passionate crowding,
nor hot suit after the beverage.
Brach. O, but her jealous husband.
Flam. Hang him! a gilder that hath his brains perished with quick-
silver is not more cold in the liver: the great barriers moulted not
more feathers[18] than he hath shed hairs, by the confession of his
doctor: an Irish gamester that will play himself naked, and then
wage all downwards at hazard, is not more venturous: so unable to
please a woman, that, like a Dutch doublet, all his back is shrunk
into his breeches.
Shrowd you within this closet, good my lord:
Some trick now must be thought on to divide
My brother-in-law from his fair bedfellow.
Brach. O, should she fail to come!
Flam. I must not have your lordship thus unwisely amorous. I myself
have loved a lady, and pursued her with a great deal of under-age
protestation, whom some three or four gallants that have enjoyed](https://image.slidesharecdn.com/51017-250617212551-7927b5d3/85/Project-Management-A-Systems-Approach-to-Planning-Scheduling-and-Controlling-Harold-R-Kerzner-54-320.jpg)
![would with all their hearts have been glad to have been rid of: 'tis
just like a summer birdcage in a garden; the birds that are without
despair to get in, and the birds that are within despair, and are in a
consumption, for fear they shall never get out. Away, away, my lord!
[Exit Brachiano.
See, here he comes. This fellow by his apparel
Some men would judge a politician;
But call his wit in question, you shall find it
Merely an ass in's foot-cloth.[19]
Re-enter Camillo.[20]
How now, brother!
What, travelling to bed to your kind wife?
Cam. I assure you, brother, no; my voyage lies
More northerly, in a far colder clime:
I do not well remember, I protest,
When I last lay with her.
Flam. Strange you should lose your count.
Cam. We never lay together, but ere morning
There grew a flaw[21] between us.
Flam. 'Thad been your part
To have made up that flaw.
Cam. True, but she loathes
I should be seen in't.
Flam. Why, sir, what's the matter?
Cam. The duke, your master, visits me, I thank him;
And I perceive how, like an earnest bowler,](https://image.slidesharecdn.com/51017-250617212551-7927b5d3/85/Project-Management-A-Systems-Approach-to-Planning-Scheduling-and-Controlling-Harold-R-Kerzner-55-320.jpg)
Project Management A Systems Approach to Planning Scheduling and Controlling Harold R. Kerzner
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- 3. What Executives Need to Know About Project Management 1st Edition Harold Kerzner https://ebookultra.com/download/what-executives-need-to-know-about- project-management-1st-edition-harold-kerzner/ Haemophilia and Haemostasis A Case based Approach to Management 1st Edition Harold R. Roberts https://ebookultra.com/download/haemophilia-and-haemostasis-a-case- based-approach-to-management-1st-edition-harold-r-roberts/ Project Planning Scheduling Control 3rd Edition James P. Lewis https://ebookultra.com/download/project-planning-scheduling- control-3rd-edition-james-p-lewis/ A Guide to the Project Management Body of Knowledge Pmbok r Guide Seventh Edition Project Management Institute https://ebookultra.com/download/a-guide-to-the-project-management- body-of-knowledge-pmbok-r-guide-seventh-edition-project-management- institute/ Construction Project Scheduling and Control 3rd Edition Saleh A. Mubarak https://ebookultra.com/download/construction-project-scheduling-and- control-3rd-edition-saleh-a-mubarak/
- 5. Project Management A Systems Approach to Planning Scheduling and Controlling Harold R. Kerzner Digital Instant Download Author(s): Harold R. Kerzner ISBN(s): 9781118022276, 1118022270 Edition: Hardcover File Details: PDF, 23.76 MB Year: 2013 Language: english
- 7. Contents Preface Chapter 1: Overview 1.0 Introduction 1.1 Understanding Project Management 1.2 Defining Project Success 1.3 Success, Trade-Offs, and Competing Constraints 1.4 The Project Manager–Line Manager Interface 1.5 Defining the Project Manager’s Role 1.6 Defining the Functional Manager’s Role 1.7 Defining the Functional Employee’s Role 1.8 Defining the Executive’s Role 1.9 Working with Executives 1.10 Committee Sponsorship/Governance 1.11 The Project Manager as the Planning Agent 1.12 Project Champions 1.13 The Downside of Project Management 1.14 Project-Driven versus Non–Project-Driven Organizations 1.15 Marketing in the Project-Driven Organization 1.16 Classification of Projects 1.17 Location of the Project Manager 1.18 Differing Views of Project Management 1.19 Public-Sector Project Management 1.20 International Project Management 1.21 Concurrent Engineering: A Project Management Approach 1.22 Added Value 1.23 Studying Tips for the PMI® Project Management Certification Exam Answers Problems Chapter 2: Project Management Growth: Concepts and Definitions 2.0 Introduction 2.1 General Systems Management 2.2 Project Management: 1945–1960 2.3 Project Management: 1960–1985 2.4 Project Management: 1985–2012 2.5 Resistance to Change 2.6 Systems, Programs, and Projects: A Definition 2.7 Product versus Project Management: A Definition 2.8 Maturity and Excellence: A Definition 2.9 Informal Project Management: A Definition 2.10 The Many Faces of Success 2
- 8. 2.11 The Many Faces of Failure 2.12 The Stage-Gate Process 2.13 Project Life Cycles 2.14 Gate Review Meetings (Project Closure) 2.15 Engagement Project Management 2.16 Project Management Methodologies: A Definition 2.17 Enterprise Project Management Methodologies 2.18 Methodologies Can Fail 2.19 Organizational Change Management and Corporate Cultures 2.20 Project Management Intellectual Property 2.21 Systems Thinking 2.22 Studying Tips for the PMI® Project Management Certification Exam Answers Problems Chapter 3: Organizational Structures 3.0 Introduction 3.1 Organizational Work Flow 3.2 Traditional (Classical) Organization 3.3 Developing Work Integration Positions 3.4 Line-Staff Organization (Project Coordinator) 3.5 Pure Product (Projectized) Organization 3.6 Matrix Organizational Form 3.7 Modification of Matrix Structures 3.8 The Strong, Weak, or Balanced Matrix 3.9 Center for Project Management Expertise 3.10 Matrix Layering 3.11 Selecting the Organizational Form 3.12 Structuring the Small Company 3.13 Strategic Business Unit (SBU) Project Management 3.14 Transitional Management 3.15 Barriers to Implementing Project Management in Emerging Markets 3.16 Seven Fallacies that Delay Project Management Maturity 3.17 Studying Tips for the PMI® Project Management Certification Exam Answers Problems Chapter 4: Organizing and Staffing The Project Office and Team 4.0 Introduction 4.1 The Staffing Environment 4.2 Selecting the Project Manager: An Executive Decision 4.3 Skill Requirements for Project and Program Managers 4.4 Special Cases in Project Manager Selection 4.5 Selecting the Wrong Project Manager 4.6 Next Generation Project Managers 3
- 9. 4.7 Duties and Job Descriptions 4.8 The Organizational Staffing Process 4.9 The Project Office 4.10 The Functional Team 4.11 The Project Organizational Chart 4.12 Special Problems 4.13 Selecting the Project Management Implementation Team 4.14 Mistakes Made by Inexperienced Project Managers 4.15 Studying Tips for the PMI® Project Management Certification Exam Answers Problems Chapter 5: Management Functions 5.0 Introduction 5.1 Controlling 5.2 Directing 5.3 Project Authority 5.4 Interpersonal Influences 5.5 Barriers to Project Team Development 5.6 Suggestions for Handling the Newly Formed Team 5.7 Team Building as an Ongoing Process 5.8 Dysfunctions of a Team 5.9 Leadership in a Project Environment 5.10 Life-Cycle Leadership 5.11 Value-Based Project Leadership 5.12 Organizational Impact 5.13 Employee–Manager Problems 5.14 Management Pitfalls 5.15 Communications 5.16 Project Review Meetings 5.17 Project Management Bottlenecks 5.18 Cross-Cutting Skills 5.19 Active Listening 5.20 Project Problem-Solving 5.21 Brainstorming 5.22 Project Decision-Making 5.23 Predicting the Outcome of a Decision 5.24 Facilitation 5.25 Handling Negative Team Dynamics 5.26 Communication Traps 5.27 Proverbs and Laws 5.28 Human Behavior Education 5.29 Management Policies and Procedures 5.30 Studying Tips for the PMI® Project Management Certification Exam Answers 4
- 10. Problems Chapter 6: Management Of your time and Stress 6.0 Introduction 6.1 Understanding Time Management 6.2 Time Robbers 6.3 Time Management Forms 6.4 Effective Time Management 6.5 Stress and Burnout 6.6 Studying Tips for the PMI® Project Management Certification Exam Answers Problems Chapter 7: Conflicts 7.0 Introduction 7.1 Objectives 7.2 The Conflict Environment 7.3 Types of Conflicts 7.4 Conflict Resolution 7.5 Understanding Superior, Subordinate, and Functional Conflicts 7.6 The Management of Conflicts 7.7 Conflict Resolution Modes 7.8 Studying Tips for the PMI® Project Management Certification Exam Answers Problems Chapter 8: Special Topics 8.0 Introduction 8.1 Performance Measurement 8.2 Financial Compensation and Rewards 8.3 Critical Issues with Rewarding Project Teams 8.4 Effective Project Management in the Small Business Organization 8.5 Mega Projects 8.6 Morality, Ethics, and the Corporate Culture 8.7 Professional Responsibilities 8.8 Internal Partnerships 8.9 External Partnerships 8.10 Training and Education 8.11 Integrated Product/Project Teams 8.12 Virtual Project Teams 8.13 Breakthrough Projects 8.14 Managing Innovation Projects 8.15 Agile Project Management 8.16 Studying Tips for the PMI® Project Management Certification Exam Answers 5
- 11. Problems Chapter 9: The Variables for Success 9.0 Introduction 9.1 Predicting Project Success 9.2 Project Management Effectiveness 9.3 Expectations 9.4 Lessons Learned 9.5 Understanding Best Practices 9.6 Best Practices versus Proven Practices 9.7 Studying Tips for the PMI® Project Management Certification Exam Answers Problems Chapter 10: Working with Executives 10.0 Introduction 10.1 The Project Sponsor 10.2 Handling Disagreements with the Sponsor 10.3 The Collective Belief 10.4 The Exit Champion 10.5 The In-House Representatives 10.6 Stakeholder Relations Management 10.7 Politics 10.8 Studying Tips for the PMI® Project Management Certification Exam Answers Problems Chapter 11: Planning 11.0 Introduction 11.1 Validating the Assumptions 11.2 Validating the Objectives 11.3 General Planning 11.4 Life-Cycle Phases 11.5 Proposal Preparation 11.6 Kickoff Meetings 11.7 Understanding Participants’ Roles 11.8 Project Planning 11.9 The Statement of Work 11.10 Project Specifications 11.11 Milestone Schedules 11.12 Work Breakdown Structure 11.13 WBS Decomposition Problems 11.14 Work Breakdown Structure Dictionary 11.15 Role of the Executive in Project Selection 11.16 Role of the Executive in Planning 6
- 12. 11.17 The Planning Cycle 11.18 Work Planning Authorization 11.19 Why Do Plans Fail? 11.20 Stopping Projects 11.21 Handling Project Phaseouts and Transfers 11.22 Detailed Schedules and Charts 11.23 Master Production Scheduling 11.24 Project Plan 11.25 Total Project Planning 11.26 The Project Charter 11.27 Project Baselines 11.28 Verification and Validation 11.29 Requirements Traceability Matrix 11.30 Management Control 11.31 The Project Manager–Line Manager Interface 11.32 Fast-Tracking 11.33 Configuration Management 11.34 Enterprise Project Management Methodologies 11.35 Project Audits 11.36 Studying Tips for the PMI® Project Management Certification Exam Answers Problems Chapter 12: Network Scheduling Techniques 12.0 Introduction 12.1 Network Fundamentals 12.2 Graphical Evaluation and Review Technique (GERT) 12.3 Dependencies 12.4 Slack Time 12.5 Network Replanning 12.6 Estimating Activity Time 12.7 Estimating Total Project Time 12.8 Total PERT/CPM Planning 12.9 Crash Times 12.10 PERT/CPM Problem Areas 12.11 Alternative PERT/CPM Models 12.12 Precedence Networks 12.13 Lag 12.14 Scheduling Problems 12.15 The Myths of Schedule Compression 12.16 Understanding Project Management Software 12.17 Software Features Offered 12.18 Software Classification 12.19 Implementation Problems 12.20 Critical Chain 7
- 13. 12.21 Studying Tips for the PMI® Project Management Certification Exam Answers Problems Chapter 13: Project Graphics 13.0 Introduction 13.1 Customer Reporting 13.2 Bar (Gantt) Chart 13.3 Other Conventional Presentation Techniques 13.4 Logic Diagrams/Networks 13.5 Studying Tips for the PMI® Project Management Certification Exam Answers Problems Chapter 14: Pricing and Estimating 14.0 Introduction 14.1 Global Pricing Strategies 14.2 Types of Estimates 14.3 Pricing Process 14.4 Organizational Input Requirements 14.5 Labor Distributions 14.6 Overhead Rates 14.7 Materials/Support Costs 14.8 Pricing Out the Work 14.9 Smoothing Out Department Man-Hours 14.10 The Pricing Review Procedure 14.11 Systems Pricing 14.12 Developing the Supporting/Backup Costs 14.13 The Low-Bidder Dilemma 14.14 Special Problems 14.15 Estimating Pitfalls 14.16 Estimating High-Risk Projects 14.17 Project Risks 14.18 The Disaster of Applying the 10 Percent Solution to Project Estimates 14.19 Life-Cycle Costing (LCC) 14.20 Logistics Support 14.21 Economic Project Selection Criteria: Capital Budgeting 14.22 Payback Period 14.23 The Time Value of Money 14.24 Net Present Value (NPV) 14.25 Internal Rate of Return (IRR) 14.26 Comparing IRR, NPV, and Payback 14.27 Risk Analysis 14.28 Capital Rationing 14.29 Project Financing 8
- 14. 14.30 Studying Tips for the PMI® Project Management Certification Exam Answers Problems Chapter 15: Cost Control 15.0 Introduction 15.1 Understanding Control 15.2 The Operating Cycle 15.3 Cost Account Codes 15.4 Budgets 15.5 The Earned Value Measurement System (EVMS) 15.6 Variance and Earned Value 15.7 The Cost Baseline 15.8 Justifying the Costs 15.9 The Cost Overrun Dilemma 15.10 Recording Material Costs Using Earned Value Measurement 15.11 The Material Accounting Criterion 15.12 Material Variances: Price and Usage 15.13 Summary Variances 15.14 Status Reporting 15.15 Cost Control Problems 15.16 Project Management Information Systems 15.17 Enterprise Resource Planning 15.18 Project Metrics 15.19 Key Performance Indicators 15.20 Value-Based Metrics 15.21 Dashboards and Scorecards 15.22 Business Intelligence 15.23 Infographics 15.24 Studying Tips for the PMI® Project Management Certification Exam Answers Problems Chapter 16: Trade-Off Analysis in a Project Environment 16.0 Introduction 16.1 Methodology for Trade-Off Analysis 16.2 Contracts: Their Influence on Projects 16.3 Industry Trade-Off Preferences 16.4 Conclusion 16.5 Studying Tips for the PMI® Project Management Certification Exam Answers Chapter 17: Risk Management 17.0 Introduction 17.1 Definition of Risk 9
- 15. 17.2 Tolerance for Risk 17.3 Definition of Risk Management 17.4 Certainty, Risk, and Uncertainty 17.5 Risk Management Process 17.6 Plan Risk Management (11.1) 17.7 Risk Identification (11.2) 17.8 Risk Analysis (11.3, 11.4) 17.9 Qualitative Risk Analysis (11.3) 17.10 Quantitative Risk Analysis (11.4) 17.11 Probability Distributions and the Monte Carlo Process 17.12 Plan Risk Response (11.5) 17.13 Monitor and Control Risks (11.6) 17.14 Some Implementation Considerations 17.15 The Use of Lessons Learned 17.16 Dependencies Between Risks 17.17 The Impact of Risk Handling Measures 17.18 Risk and Concurrent Engineering 17.19 Studying Tips for the PMI® Project Management Certification Exam Answers Problems Chapter 18: Learning Curves 18.0 Introduction 18.1 General Theory 18.2 The Learning Curve Concept 18.3 Graphic Representation 18.4 Key Words Associated with Learning Curves 18.5 The Cumulative Average Curve 18.6 Sources of Experience 18.7 Developing Slope Measures 18.8 Unit Costs and Use of Midpoints 18.9 Selection of Learning Curves 18.10 Follow-On Orders 18.11 Manufacturing Breaks 18.12 Learning Curve Limitations 18.13 Prices and Experience 18.14 Competitive Weapon 18.15 Studying Tips for the PMI® Project Management Certification Exam Answers Problems Chapter 19: Contract Management 19.0 Introduction 19.1 Procurement 19.2 Plan Procurements 10
- 16. 19.3 Conducting the Procurements 19.4 Conduct Procurements: Request Seller Responses 19.5 Conduct Procurements: Select Sellers 19.6 Types of Contracts 19.7 Incentive Contracts 19.8 Contract Type versus Risk 19.9 Contract Administration 19.10 Contract Closure 19.11 Using a Checklist 19.12 Proposal-Contractual Interaction 19.13 Summary 19.14 Studying Tips for the PMI® Project Management Certification Exam Answers Chapter 20: Quality Management 20.0 Introduction 20.1 Definition of Quality 20.2 The Quality Movement 20.3 Comparison of the Quality Pioneers 20.4 The Taguchi Approach 20.5 The Malcolm Baldrige National Quality Award 20.6 ISO 9000 20.7 Quality Management Concepts 20.8 The Cost of Quality 20.9 The Seven Quality Control Tools 20.10 Process Capability (CP) 20.11 Acceptance Sampling 20.12 Implementing Six Sigma 20.13 Lean Six Sigma and DMAIC 20.14 Quality Leadership 20.15 Responsibility for Quality 20.16 Quality Circles 20.17 Just-In-Time Manufacturing (JIT) 20.18 Total Quality Management (TQM) 20.19 Studying Tips for the PMI® Project Management Certification Exam Answers Chapter 21: Modern Developments in Project Management 21.0 Introduction 21.1 The Project Management Maturity Model (PMMM) 21.2 Developing Effective Procedural Documentation 21.3 Project Management Methodologies 21.4 Continuous Improvement 21.5 Capacity Planning 21.6 Competency Models 11
- 17. 21.7 Managing Multiple Projects 21.8 End-of-Phase Review Meetings Chapter 22: The Business of Scope Changes 22.0 Introduction 22.1 Need for Business Knowledge 22.2 Timing of Scope Changes 22.3 Business Need for a Scope Change 22.4 Rationale for Not Approving a Scope Change Chapter 23: The Project Office 23.0 Introduction 23.1 Present-Day Project Office 23.2 Implementation Risks 23.3 Types of Project Offices 23.4 Networking Project Management Offices 23.5 Project Management Information Systems 23.6 Dissemination of Information 23.7 Mentoring 23.8 Development of Standards and Templates 23.9 Project Management Benchmarking 23.10 Business Case Development 23.11 Customized Training (Related to Project Management) 23.12 Managing Stakeholder Relations 23.13 Continuous Improvement 23.14 Capacity Planning 23.15 Risks of Using a Project Office 23.16 Project Portfolio Management Chapter 24: Managing Crisis Projects 24.0 Introduction 24.1 Understanding Crisis Management 24.2 Ford versus Firestone 24.3 The Air France Concorde Crash 24.4 Intel and the Pentium Chip 24.5 The Russian Submarine Kursk 24.6 The Tylenol Poisonings 24.7 Nestlé’s Marketing of Infant Formula 24.8 The Space Shuttle Challenger Disaster 24.9 The Space Shuttle Columbia Disaster 24.10 Victims Versus Villains 24.11 Life-Cycle Phases 24.12 Project Management Implications Chapter 25: Future of Project Management 12
- 18. 25.0 Changing Times 25.1 Complex Projects 25.2 Complexity Theory 25.3 Scope Creep 25.4 Project Health Checks 25.5 Managing Troubled Projects Chapter 26: The Rise, Fall, and Resurrection of Iridium: A Project Management Perspective 26.0 Introduction 26.1 Naming the Project “Iridium” 26.2 Obtaining Executive Support 26.3 Launching the Venture 26.4 The Iridium System 26.5 The Terrestrial and Space-Based Network 26.6 Project Initiation: Developing the Business Case 26.7 The “Hidden” Business Case 26.8 Risk Management 26.9 The Collective Belief 26.10 The Exit Champion 26.11 Iridium’s Infancy Years 26.12 Debt Financing 26.13 The M-Star Project 26.14 A New CEO 26.15 Satellite Launches 26.16 An Initial Public Offering (IPO) 26.17 Signing Up Customers 26.18 Iridium’s Rapid Ascent 26.19 Iridium’s Rapid Descent 26.20 The Iridium “Flu” 26.21 Searching for a White Knight 26.22 The Definition of Failure (October, 1999) 26.23 The Satellite Deorbiting Plan 26.24 Iridium is Rescued for $25 Million 26.25 Iridium Begins to Grow 26.26 Shareholder Lawsuits 26.27 The Bankruptcy Court Ruling 26.28 Autopsy 26.29 Financial Impact of the Bankruptcy 26.30 What Really Went Wrong? 26.31 Lessons Learned 26.32 Conclusion Epilogue (2011) Appendix A. Solutions to the Project Management Conflict Exercise 13
- 19. Appendix B. Solution to Leadership Exercise Appendix C. Dorale Products Case Studies Appendix D. Solutions to the Dorale Products Case Studies Appendix E. Alignment of the PMBOK® Guide to the Text Author Index Subject Index 14
- 20. Dr. Kerzner’s 16 Points to Project Management Maturity 1. Adopt a project management methodology and use it consistently. 2. Implement a philosophy that drives the company toward project management maturity and communicate it to everyone. 3. Commit to developing effective plans at the beginning of each project. 4. Minimize scope changes by committing to realistic objectives. 5. Recognize that cost and schedule management are inseparable. 6. Select the right person as the project manager. 7. Provide executives with project sponsor information, not project management information. 8. Strengthen involvement and support of line management. 9. Focus on deliverables rather than resources. 10. Cultivate effective communication, cooperation, and trust to achieve rapid project management maturity. 11. Share recognition for project success with the entire project team and line management. 12. Eliminate nonproductive meetings. 13. Focus on identifying and solving problems early, quickly, and cost effectively. 14. Measure progress periodically. 15. Use project management software as a tool—not as a substitute for effective planning or interpersonal skills. 16. Institute an all-employee training program with periodic updates based upon documented lessons learned. 15
- 21. 16
- 22. Cover illustration: xiaoke ma/iStockphoto Copyright © 2013 by John Wiley & Sons, Inc. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with the respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. Neither the publisher nor the author shall be liable for damages arising herefrom. For general information about our other products and services, please contact our Customer Care Department within the United States at (800) 762-2974, outside the United States at (317) 572-3993 or fax (317) 572-4002. Wiley publishes in a variety of print and electronic formats and by print-on-demand. Some material included with standard print versions of this book may not be included in e-books or in print-on-demand. If this book refers to media such as a CD or DVD that is not included in the version you purchased, you may download this material at http://booksupport.wiley.com. For more information about Wiley products, visit www.wiley.com. Library of Congress Cataloging-in-Publication Data: Kerzner, Harold. Project management : a systems approach to planning, scheduling, and controlling / Harold Kerzner, Ph. D. Senior Executive Director for Project Management, the International Institute for Learning, New York, New York. — Eleventh edition. pages cm Includes bibliographical references and index. ISBN 978-1-118-02227-6 (cloth); ISBN 978-1-118-41585-6 (ebk); ISBN 978-1-118-41855-0 (ebk); ISBN 978-1-118- 43357-7 (ebk); ISBN 978-1-118-48322-0 (ebk); ISBN 978-1-118-48323-7 (ebk) 1. Project management. 2. Project management—Case studies. I. Title. HD69.P75K47 2013 658.4’04—dc23 2012026239 17
- 23. To Dr. Herman Krier, my Friend and Guru, who taught me well the meaning of the word “persistence” 18
- 24. Preface Project management has evolved from a management philosophy restricted to a few functional areas and regarded as something nice to have to an enterprise project management system affecting every functional unit of the company. Simply stated, project management has evolved into a business process rather than merely a project management process. More and more companies are now regarding project management as being mandatory for the survival of the firm. Organizations that were opponents of project management are now advocates. Management educators of the past, who preached that project management could not work and would be just another fad, are now staunch supporters. Project management is here to stay. Colleges and universities are now offering graduate degrees in project management. The text discusses the principles of project management. Students who are interested in advanced topics, such as some of the material in Chapters 21 to 25 of this text, may wish to read one of my other texts, Advanced Project Management: Best Practices in Implementation (New York: Wiley, 2004) and Project Management Best Practices: Achieving Global Excellence, 2nd edition (Hoboken, NJ: Wiley and IIL Publishers, 2010). John Wiley & Sons and the International Institute for Learning also introduced a four-book series on project management best practices, authored by Frank Saladis, Carl Belack, and Harold Kerzner. This book is addressed not only to those undergraduate and graduate students who wish to improve upon their project management skills but also to those functional managers and upper-level executives who serve as project sponsors and must provide continuous support for projects. During the past several years, management’s knowledge and understanding of project management has matured to the point where almost every company is using project management in one form or another. These companies have come to the realization that project management and productivity are related and that we are now managing our business as though it is a series of projects. Project management coursework is now consuming more of training budgets than ever before. General reference is provided in the text to engineers. However, the reader should not consider project management as strictly engineering-related. The engineering examples are the result of the fact that project management first appeared in the engineering disciplines, and we should be willing to learn from their mistakes. Project management now resides in every profession, including information systems, health care, consulting, pharmaceutical, banks, and government agencies. The text can be used for both undergraduate and graduate courses in business, information systems, and engineering. The structure of the text is based upon my belief that project management is much more behavioral than quantitative since projects are managed by people rather than tools. The first five chapters are part of the basic core of knowledge necessary to understand project management. Chapters 6 through 8 deal with the support functions of managing your time effectively, conflicts, and other special topics. Chapters 9 and 10 describe factors for predicting success and management support. It may seem strange that ten chapters on organizational behavior and structuring are needed prior to the “hard-core” chapters of planning, scheduling, and controlling. These first ten chapters are needed to understand the cultural environment for all projects and systems. These chapters are necessary for the reader to understand the difficulties in achieving cross-functional cooperation on projects where team members are working on multiple projects concurrently and why the people involved, all of whom may have different backgrounds, cannot simply be forged into a cohesive work unit without friction. Chapters 11 through 20 are more of the quantitative chapters on planning, scheduling, cost control, estimating, contracting (and procurement), and quality. The next five chapters are advanced topics and future trends. Chapter 26 is a capstone case study that can be related to almost all of the chapters in the text. The changes that were made in the eleventh edition include: A new section on success, trade-offs, and competing constraints A new section on added value A new section on business intelligence A new section on project governance An updated section on processes supporting project management An updated section on the types of project closure A new section on engagement project management A new section on barriers to implementing project management in emerging markets A new section on fallacies in implementing project management A new section on enterprise project management systems A new section on How Project Management Methodologies Can Fail A new section on the future of project management 19
- 25. A new section on managing complex projects A new section on managing scope creep A new section on project health checks A new section on how to recover a troubled project A new section on managing public projects A new section on managing international projects A new section on project politics A new section on twenty common mistakes in project management A new section on managing innovation projects A new section on the differences between best practices and proven practices An updated section on project sponsorship An updated section on culture, teamwork, and trust A New Section on stakeholder relations management A new section on value-based leadership An updated section on validating project assumptions A new section on validating project objectives A new section on the WBS dictionary A new section on validation and verification A new section on project management baselines A new section on the traceability matrix An expansion on WBS core attributes An expansion on using the WBS and WBS dictionary for verification A new section on project management metrics A new section on key performance indicators A new section on value metrics A new section on project management dashboards A new section on portfolio management A new section on complexity theory A new section on project management information systems A new section on enterprise resource planning A new section on project problem solving A new section on brainstorming A new section on project decision-making A new section on determining the impact of a decision A new section on active listening A new section on agile project management A capstone case study which can be used as a review of the entire PMBOK® Guide, 5th edition, domain areas The text contains more than 25 case studies, more than 125 multiple-choice questions, and nearly 400 discussion questions. There is also a separate book of cases (Project Management Case Studies, fourth edition) that provides additional real-world examples. This text, the PMBOK® Guide, and the book of cases are ideal as self-study tools for the Project Management Institute’s PMP® Certification exam. Because of this, there are tables of cross references on each chapter’s opening page in the textbook detailing the sections from the book of cases and the Guide to the Project Management Body of Knowledge (PMBOK® Guide) that apply to that chapter’s content. The left-hand margin of the pages in the text has side bars that identify the cross-listing of the material on that page to the appropriate section(s) of the PMBOK® Guide. At the end of most of the chapters is a section on study tips for the PMP® exam, including more than 125 multiple-choice questions. This textbook is currently used in the college market, in the reference market, and for studying for the PMP® Certification exam. Therefore, to satisfy the needs of all markets, a compromise had to be reached on how much of the text would be aligned to the PMBOK® Guide and how much new material would be included without doubling the size of the text. Some colleges and universities use the textbook to teach project management fundamentals without reference to the PMBOK® Guide. The text does not contain all of the material necessary to support each section of the PMBOK® Guide. Therefore, to study for the PMP® Certification exam, the PMBOK® Guide must also be used together with this text. The text covers material for almost all of the PMBOK® Guide knowledge areas but not necessarily in the depth that appears in the PMBOK® Guide. 20
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- 30. The Project Gutenberg eBook of Webster & Tourneur
- 31. This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: Webster & Tourneur Author: John Webster Cyril Tourneur Editor: John Addington Symonds Release date: September 25, 2017 [eBook #55625] Most recently updated: October 23, 2024 Language: English Credits: Produced by Clare Graham and Marc D'Hooghe at Free Literature (online soon in an extended version,also linking to free sources for education worldwide ... MOOC's, educational materials,...) Images generously made available by the Internet Archive.) *** START OF THE PROJECT GUTENBERG EBOOK WEBSTER & TOURNEUR ***
- 32. PLAYS BY WEBSTER & TOURNEUR WITH AN INTRODUCTION AND NOTES BY JOHN ADDINGTON SYMONDS. UNEXPURGATED EDITION. [THE MERMAID SERIES.] LONDON: VIZETELLY & CO., 16, HENRIETTA STREET, COVENT GARDEN. 1888. [Transcriber's Note: "The Revenger's Tragedy," attributed here to Cyril Tourneur, is now generally recognised as the work of Thomas Middleton.]
- 33. CONTENTS. PAGE The Globe Theatre. v John Webster and Cyril Tourneur. vi John Webster: The White Devil. 1 The Duchess of Malfi. 127 Cyril Tourneur: The Atheist's Tragedy. 241 The Revenger's Tragedy. 339 [Reattributed to Thomas Middleton.] Notes. 432 THE GLOBE THEATRE. The first Globe Theatre, on the Bankside, Southwark, "the summer theatre of Shakespeare and his fellows," is believed to have been built in 1594, partly of materials removed from the Theatre in Shoreditch, "the earliest building erected in or near London purposely for scenic exhibitions." Outside, the Globe was hexagonal in shape, and, like all the theatres of that epoch, was open at the top, excepting the part immediately over the stage, which was thatched with straw. The interior of the theatre was circular. The performances took place by daylight, and while they were going on a flag with the cross of St. George upon it was unfurled from the roof.
- 34. Originally, in place of scenery, the names of the localities supposed to be represented were inscribed on boards or hangings for the information of the audience. The sign of the theatre was a figure of Hercules supporting the globe, beneath which was written "Totus mundus agit Histrionem." In 1601, the Globe Theatre was used as a place of meeting by the conspirators engaged in Essex's rebellion, and next year Shakespeare's Hamlet, following upon other of his plays, was here produced for the first time. In subsequent years plays by Shakespeare, Webster, Ford, and contemporary dramatists were performed at the Globe, until in 1613 the theatre was burnt to the ground owing to some lighted paper, thrown from a piece of ordnance used in the performance, igniting the thatch. The theatre was rebuilt in the following spring with a tiled roof, and according to Howes's MS., quoted by Collier in his life of Shakespeare, "at the great charge of King James and many noblemen and others." Ben Jonson styled the new theatre "the glory of the Bank and the fort of the whole parish." The Globe Theatre was pulled down in 1644 by Sir Matthew Brand with the view to tenements being erected upon its site, a portion of which at the present day is occupied by Barclay and Perkins's brewery. JOHN WEBSTER AND CYRIL TOURNEUR. Nothing is known about the lives of John Webster and Cyril Tourneur. We are ignorant when they were born and when they died. We possess only meagre hints of what contemporaries thought of them. One allusion to Tourneur survives, which shows that he was not popular in his lifetime as a dramatist:—
- 35. His fame unto that pitch so only raised As not to be despised nor too much praised. A superficial critic speaks of "crabbed Webster, the playwright, cart- wright," and proceeds, at some length, to deride his laborious style and obscurity. Commendatory verses by S. Sheppard, Th. Middleton, W. Shirley, and John Ford prove, however, that Webster's tragedies won the suffrage of the best judges. None such are printed with Tourneur's plays. Webster began to write for the stage as early as 1601. Between that date and 1607 he worked upon Marston's Malcontent, and is supposed to have collaborated with Dekker in the History of Sir Th. Wyatt, Northward Ho, and Westward Ho. Tourneur began his literary career by a satire called Transformed Metamorphosis, in 1600, which was followed in 1609 by a Funeral Poem on the Death of Sir Francis Vere. Both he and Webster published Elegies in 1613 upon the death of Prince Henry. In this year he was employed upon some business for the Court, as appears from this passage in the Revels Accounts (ed. Cunningham, p. xliii.): To Cyrill Turner, upon a warraunte signed by the Lord Chamberleyne and Mr. Chauncellor, dated at Whitehall, 23rd December, 1613, for his chardges and paines in carrying l'res for his Mats. service to Brussells.... X li. The amount of this payment renders it improbable that Tourneur's mission was of any political or diplomatical importance. We do not know when he commenced playwright; but The Revenger's Tragedy was licensed in 1607 and printed in the same year. The Atheist's Tragedy was printed in 1611; it had been written almost certainly at some earlier period. Webster's White Devil was printed and probably produced in 1612; his Duchess of Malfi, produced perhaps in 1616, was printed in 1623.
- 36. It is needful to dwell on the comparison of these dates, since they give Tourneur the priority of authorship in a style of tragedy which both poets cultivated with marked effect. Not to class them together as the creators of a singular type of drama would be uncritical. They elaborated similar motives, moved in the same atmosphere of moral gloom, aimed at the like sententious apophthegms, affected the same brevity and pungency, handled blank verse and prose on parallel methods, and owed debts of much the same kind to Shakespeare. That Webster was the greater writer, as he certainly possessed a finer cast of mind, and surveyed a wider sphere of human nature in his work, will be admitted. Yet it seems not impossible that he may have followed Tourneur's lead in the peculiar form and tone of his two masterpieces. Speaking broadly, the two best tragedies of Webster and the two surviving tragedies of Tourneur constitute a distinct species of the genus which has been termed Tragedy of Blood.[1] It was Kyd, in his double drama called The Spanish Tragedy, who first gave definite form to this type. Those two plays exhibit the main ingredients of the Tragedy of Blood—a romantic story of crime and suffering, a violent oppressor, a wronged man bent upon the execution of some subtle vengeance, a ghost or two, a notorious villain working as the tyrant's instrument, and a whole crop of murders, deaths, and suicides to end the action. What use Shakespeare made of the type, and how he glorified it in Hamlet, is well known. Both Tourneur and Webster, writing after Shakespeare, had of necessity felt his influence, and their handling of the species was modified by that of their great master. Yet they reverted in many important particulars from the Shakespearean method to Kyd's. The use they both made of the villain, a personage which Shakespeare discarded, might be cited as distinctive. Kyd described the villain in the character of his Lazarrotto thus:— I have a lad in pickle of this stamp, A melancholy, discontented courtier, Whose famished jaws look like the chap of death;
- 37. Upon whose eyebrow hangs damnation; Whose hands are washed in rape and murders bold; Him with a golden bait will I allure, For courtiers will do anything for gold. The outlines sketched by Kyd were filled in with touches of diseased perversity and crippled nobleness by Tourneur in his Vendice, and were converted into full-length portraits of impressive sombreness by Webster in his Flamineo and Bosola. When we compare Tourneur with Webster as artists in the Tragedy of Blood, the former is seen at once to stand upon a lower level. His workmanship was rougher and less equal; his insight into nature less humane, though hardly less incisive; his moral tone muddier and more venomous; his draughtsmanship spasmodic and uncertain. Tourneur seems to have invented his own plots; they have the air of being fabricated after a recipe. This flaw—an apparent insincerity in the choice of motives—corresponds to the more painful moral flaw which makes his occasional good work like that of a remorseful and regretful fallen angel. While we read his plays, the line of Persius rises to our lips:— Virtutem videant intabescantque relictâ. Webster, as man and artist, never descends to Tourneur's level. He selects his two great subjects from Italian story, deriving thence the pith and marrow of veracity. These subjects he treats carefully and conscientiously, according to his own conception of the dreadful depths in human nature revealed to us by sixteenth century Italy. He does not use the vulgar machinery of revenge and ghosts in order to evolve an action. In so far as this goes, he may even be said to have advanced a step beyond Hamlet in the evolution of the Tragedy of Blood. His dramatic issues are worked out, without much alteration, from the matter given in the two Italian tales he used. Only he claims the right to view human fates and fortunes with despair, to paint a broad black background for his figures, to detach them sharply in sinister or pathetic relief, and to leave us at the last without a prospect over hopeful things. "One great Charybdis
- 38. swallows all," said the Greek Simonides; and this motto might be chosen for the work of Shakespeare's greatest pupil in the art of tragedy. Yet Webster never fails to touch our hearts, and makes us remember a riper utterance upon the piteousness of man's ephemeral existence:— Sunt lacrimæ rerum, et mentem mortalia tangunt. It is just this power of blending tenderness and pity with the exhibition of acute moral anguish by which Webster is so superior to Tourneur as a dramatist. Both playwrights have this point in common, that their forte lies not in the construction of plots, or in the creation of characters, so much as in an acute sense for dramatic situations. Their plots are involved and stippled in with slender touches; they lack breadth, and do not rightly hang together. Their characters, though forcibly conceived, tend to monotony, and move mechanically. But when it is needful to develop a poignant, a passionate, or a delicate situation, Tourneur and Webster show themselves to be masters of their art. They find inevitable words, the right utterance, not indeed always for their specific personages, but for generic humanity, under the peine forte et dure of intense emotional pressure. Webster, being the larger, nobler, deeper in his touch on nature, offers a greater variety of situations which reveal the struggles of the human soul with sin and fate. He is also better able to sustain these situations at a high dramatic pitch—as in the scene of Vittoria before her judges, and the scene of the Duchess of Malfi's assassination. Still Tourneur can display a few such moments by apocalyptic flashes—notably in the scenes where Vendice deals with his mother and sister. Both playwrights indulge the late Elizabethan predilection for conceits. Webster, here as elsewhere, proves himself the finer artist. He inserts Vittoria's dream, Antonio's dialogue with Echo, Bosola's Masque of Madmen, accidentally and subserviently to action. Tourneur enlarges needlessly, but with lurid rhetorical effect, upon the grisly humours suggested by the skull of Vendice's dead mistress. Using similar materials, the one asserts his claim to be
- 39. called the nobler poet by more steady observance of the Greek precept "Nothing overmuch." Words to the same effect might be written about their several employment of blank verse and prose. Both follow Shakespeare's distribution of these forms, while both run verse into prose as Shakespeare never did. Yet I think we may detect a subtler discriminative quality in Webster's most chaotic periods than we can in Tourneur's; and what upon this point deserves notice is that Webster, of the two, alone shows lyrical faculty. His three dirges are of exquisite melodic rhythm, in a rich low minor key; much of his blank verse has the ring of music; and even his prose suggests the colour of song by its cadence. This cannot be said of the sinister and arid Muse of Tourneur. She wears no evergreens of singing, nay, no yew-boughs even, on her forehead. Her dusky eyes sparkle with sharp metallic scintillations, as when Castiza says to her mother:— Come from that poisonous woman there. The Revenger's Tragedy is an entangled web of lust, incest, fratricide, rape, adultery, mutual suspicion, hate, and bloodshed, through which runs, like a thread of glittering copper, the vengeance of a cynical plague-fretted spirit. Vendice emerges from the tainted crew of Duke and Duchess, Lussurioso, Spurio and Junior, Ambitioso and Supervacuo, with a kind of blasted splendour. They are curling and engendering, a brood of flat-headed asps, in the slime of their filthy appetites and gross ambitions. He treads and tramples, on them all. But he bears on his own forehead the brands of Lucifer, the rebel, and of Cain, the assassin. The social corruption which transformed them into reptiles, has made him a fiend incarnate. Penetrated to the core with evil, conscious of sin far more than they are, he towers above them by his satanic force of purpose. Though ruined, as they are ruined, and by like causes, he maintains the dignity of mind and of volition. The right is on his side; the right of a tyrannicide, who has seen his own mistress, his own father, the wife of his friend, done to death by the brutalities of wanton princelings. But Tourneur did not choose to gift Vendice with elevation of nature. In the strongest scene of the play he showed this scorpion of
- 40. revenge, stooping to feign a pander's part, tempting his mother and his sister as none but a moral leper could have done. In the minor scene of the duke's murder, he made him malicious beyond the scope of human cruelty and outrage. It was inherent apparently in this poet's conception of life that evil should be proclaimed predominant. His cynicism stands self-revealed in the sentence he puts into Antonio's mouth, condemning Vendice to death:— You that would murder him would murder me. Even justice, in his view, rests on egotism. And yet Tourneur has endowed Vendice with redeeming qualities. The hero of this crooked play is true to his ideal of duty, true to his sense of honour. He dies contented because he has perfected his revenge, preserved his sister's chastity, and converted his mother at the poniard's point. Where all are so bad and base, Vendice appears by comparison sublime. If we are to admire tone and keeping in a work of art, we certainly find it here; for the moral gradations are relentlessly scaled within the key of sin and pollution. The only character who stirs a pulse of sympathy is vicious. Castiza is a mere lay figure, and her mother one of the most repulsive personages of the Jacobean drama. Webster presents a larger mass of dramatic work to the critic. Beside the tragedies included in this volume, he wrote another tragedy, Appius and Virginia, a tragi-comedy entitled The Devil's Law-case, and is said to have had a share in the history-play of Sir Thomas Wyatt, and in three comedies, Northward Ho, Westward Ho, and A Cure for a Cuckold. The Devil's Law-case shows how much this playwright depended on material supplied him, and how little he could trust his own inventive faculty. It starts with an involved plot of Italian deceit and contemplated crime, which Webster develops in his careful but not very lucid manner. We feel that we are working toward some sinister dénouement, when suddenly, by a twist of the hand, a favourable turn is given to events, and the play ends happily —violating probability, artistic tone, and the ethical integrity of the chief character, Romelio. From The Famous History of Sir Thomas
- 41. Wyatt in its present mangled and misshapen form it is impossible to disengage Webster's handiwork with any certainty. The same may be said about the brisk and well-wrought pieces Northward Ho and Westward Ho. Yet I see no reason to dispute Webster's share in these three plays. A Cure for a Cuckold[2] requires more particular comment. This comedy was ascribed by the publisher Kirkman to John Webster and William Rowley. But the ascription stands for absolutely nothing, unless we can discover corroborative internal evidence of Webster's collaboration. Such evidence I do not find, although there is certainly nothing in the play to disprove Kirkman's assertions. It should be added that a delicate little piece of serio- comic workmanship lies embedded in the otherwise trashy Cure for a Cuckold. Mr. Edmund Gosse early saw and twice pointed out how easily this play within the play could be detached from the rest; and the Honourable S. E. Spring Rice has recently printed, at Mr. Daniel's private press, a beautiful edition of what, following Mr. Gosse's suggestion, he calls Love's Graduate. I should like to believe that "piece of silver-work," as Mr. Gosse has aptly called it, to be truly the creation of Webster, "the sculptor whose other groups are all in bronze." Indeed, there are no reasons why the belief should not be indulged, except that Kirkman's ascription carries but a feather's weight, and that there is nothing special in the style to warrant it. Love's Graduate, rescued from A Cure for a Cuckold by pious hands, is one of the unclaimed masterpieces of this fruitful epoch. The great length of Webster's two Italian tragedies rendered it impossible to print Appius and Virginia in this volume. That is much to be regretted; for without a study of his Roman play, justice can hardly be done to the scope and breadth of Webster's genius. Of Appius and Virginia Mr. Dyce observed with excellent judgment: "this drama is so remarkable for its simplicity, its deep pathos, its unobtrusive beauties, its singleness of plot, and the easy, unimpeded march of its story, that perhaps there are readers who will prefer it to any other of our author's productions." Webster, who was a Latin scholar, probably studied the fable in Livy; but its outlines were familiar to English people through Painter's "Palace of Pleasure." He
- 42. has drawn the mutinous camp before Algidum, the discontented city ruled by a licentious noble, the stern virtues of Icilius and Virginius, and the innocent girlhood of Virginia with a quiet mastery and self- restraint which prove that the violent contrasts of his Italian plays were calculated for a peculiar effect of romance. When treating a classical subject, he aimed at classical severity of form. The chief interest of the drama centres in Appius. This character suited Webster's vein. He delighted in the delineation of a bold, imperious tyrant, marching through crimes to the attainment of his lawless ends, yet never wholly despicable. He also loved to analyse the subtleties of a deep-brained intriguer, changing from open force to covert guile, fawning and trampling on the objects of his hate by turns, assuming the tone of diplomacy and the truculence of autocratic will at pleasure, on one occasion making the worse appear the better cause by rhetoric, on another espousing evil with reckless cynicism. The variations of such a character are presented with force and lucidity in Appius. Yet the whole play lacks those sudden flashes of illuminative beauty, those profound and searching glimpses into the bottomless abyss of human misery, which render Webster's two Italian tragedies unique. He seems to have been writing under self- imposed limitations, in order to obtain a certain desired effect—much in the same way as Ford did when he composed the irreproachable but somewhat chilling history of Perkin Warbeck. The detailed criticism of Webster as a dramatist, and the study of his two chief tragedies in relation to their Italian sources, would lead me beyond the limits of this Introduction. He is not a poet to be dealt with by any summary method; for he touches the depths of human nature in ways that need the subtlest analysis for their proper explanation. I am, however, loth to close this introduction without a word or two concerning the peculiarities of Webster's dramatic style. [3] Owing to condensation of thought and compression of language, his plays offer considerable difficulties to readers who approach them for the first time. So many fantastic incidents are crowded into a single action, and the dialogue is burdened with so much profoundly studied matter, that the general impression is apt to be
- 43. blurred. We rise from the perusal of his Italian tragedies with a deep sense of the poet's power and personality, an ineffaceable recollection of one or two resplendent scenes, and a clear conception of the leading characters. Meanwhile the outlines of the fable, the structure of the drama as a complete work of art, seem to elude our grasp. The persons, who have played their part upon the stage of our imagination, stand apart from one another, like figures in a tableau vivant. Appius and Virginia, indeed, proves that Webster understood the value of a simple plot, and that he was able to work one out with conscientious firmness. But in Vittoria Corombona and The Duchess of Malfi, each part is etched with equal effort after luminous effect upon a murky background; and the whole play is a mosaic of these parts. It lacks the breadth which comes from concentration on a master-motive. We feel that the author had a certain depth of tone and intricacy of design in view, combining sensational effect and sententious pregnancy of diction in works of laboured art. It is probable that able representation upon the public stage of an Elizabethan theatre gave them the coherence, the animation, and the movement which a chamber-student misses. When familiarity has brought us acquainted with Webster's way of working, we perceive that he treats terrible and striking subjects with a concentrated vigour special to his genius. Each word and trait of character has been studied for a particular effect. Brief lightning flashes of acute self-revelation illuminate the midnight darkness of the lost souls he has painted. Flowers of the purest and most human pathos, like Giovanni de Medici's dialogue with his uncle in Vittoria Corombona, bloom by the charnel-house on which the poet's fancy loved to dwell. The culmination of these tragedies, setting like stormy suns in blood-red clouds, is prepared by gradual approaches and degrees of horror. No dramatist showed more consummate ability in heightening terrific effects, in laying bare the inner mysteries of crime, remorse, and pain combined to make men miserable. He seems to have had a natural bias toward the dreadful stuff with which he deals so powerfully. He was drawn to comprehend and reproduce abnormal elements of spiritual anguish. The materials with which he builds are sought for in the ruined
- 44. places of abandoned lives, in the agonies of madness and despair, in the sarcasms of reckless atheism, in slow tortures, griefs beyond endurance, the tempests of sin-haunted conscience, the spasms of fratricidal bloodshed, the deaths of frantic hope-deserted criminals. He is often melodramatic in the means employed to bring these psychological elements of tragedy home to our imagination. He makes free use of poisoned engines, daggers, pistols, disguised murderers, masques, and nightmares. Yet his firm grasp upon the essential qualities of diseased and guilty human nature, his profound pity for the innocent who suffer shipwreck in the storm of evil passions not their own, save him, even at his gloomiest and wildest, from the unrealities and extravagances into which less potent artists —Tourneur, for example—blundered. That the tendency to brood on what is ghastly belonged to Webster's idiosyncrasy appears in his use of metaphor. He cannot say the simplest thing without giving it a sinister turn—as thus: You speak as if a man Should know what fowl is coffined in a baked meat, Afore you cut it open. When knaves come to preferment, they rise as gallowses are raised in the Low Countries, one upon another's shoulders. Pleasure of life! what is't? only the good hours of an ague. I would sooner eat a dead pigeon taken from the soles of the feet of one sick of the plague than kiss one of you fasting. In his dialogue, people bandy phrases like—"O you screech-owl!" and "Thou foul black cloud!" A sister warns her brother to think twice before committing suicide, with this weird admonition:—
- 45. I prithee, yet remember Millions are now in graves, which at last day Like mandrakes shall rise shrieking. But enough has now been said about these peculiarities of Webster's dramatic style. It is needful to become acclimatised to his specific mannerism, both in the way of working and the tone of thinking, before we can appreciate his real greatness as a dramatic poet and moralist. Then we recognise the truth of what has recently been written of him by an acute and sympathetic critic: "There is no poet morally nobler than Webster."[4] John Addington Symonds.
- 46. THE WHITE DEVIL; OR, VITTORIA COROMBONA. The White Divel; or, the Tragedy of Paulo Giordano Ursini, Duke of Brachiano, With the Life and Death of Vittoria Corombona, the famous Venetian Curtizan, was printed in 1612, as acted by the Queen's servants, and again in 1631, 1665, and 1672. In 1707 Nahum Tate published an alteration called Injured Love; or, the Cruel Husband. Webster founded this play directly on the history of the Duke di Brachiano and his two wives, of whom the second, Vittoria Accorambaoni, was the widow of the nephew of Cardinal Montalto, afterwards Pope Sixtus V. TO THE READER. In publishing this tragedy, I do but challenge to myself that liberty which other men have ta'en before me: not that I affect praise by it, for nos hæc novimus esse nihil;[5] 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 play-house 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,—
- 47. Nec ronchos metues maligniorum, Nec scombris tunicas dabis molestas.[6] If it be objected this is no true dramatic poem, I shall easily confess it; non potes in nugas dicere plura meas ipse ego quam dixi.[7] Willingly, and not ignorantly, in this kind have I faulted: for, should a man present 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, liven death in the passionate and weighty Nuntius; yet, after all this divine rapture, O dura messorum ilia,[8] the breath that comes from the uncapable multitude is able to poison it; and, ere it be acted, let the author resolve to fix to every scene this of Horace, Hæc porcis hodie comedenda relinques.[9] 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 if they will needs make it my fault, I must answer them with that of Euripides to Alcestides,[10] a tragic writer. Alcestides objecting that Euripides had only, in three days, composed three verses, whereas himself had written three hundred, "Thou tellest 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 cherished my good opinion of other men's worthy labours; especially of that full and heightened style of Master Chapman; the laboured and understanding works of Master Jonson; the no less worthy composures of the both worthily excellent Master Beaumont and Master Fletcher; and lastly (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 judgment, I know them so worthy, that though I rest silent in my own work, yet to most of theirs I dare (without flattery) fix that of Martial,
- 48. Non norunt hæc monumenta mori.[11] DRAMATIS PERSONÆ. Monticelso, a Cardinal, afterwards Pope. Francisco de Medicis, Duke of Florence. Brachiano, otherwise Paulo Giordano Ursini, Duke of Brachiano, Husband of Isabella. Giovanni, his Son. Count Lodovico. Camillo, Husband of Vittoria. Flamineo, Brother of Vittoria, Secretary to Brachiano. Marcello, Brother of Vittoria, Attendant on Francisco de Medicis. Hortensio. Antonelli. Gasparo. Farnese. Carlo. Pedro. Doctor. Conjurer. Lawyer. Jaques. Julio.
- 49. Christophero. Ambassadors, Physicians, Officers, Attendants, &c. Isabella, Sister of Francisco de Medicis, Wife of Brachiano. Vittoria Corombona, married first to Camillo, afterwards to Brachiano. Cornelia, Mother of Vittoria. Zanche, a Moor, Waiting-woman to Vittoria. Matron of the House of Convertites. SCENE—Rome and Padua.
- 50. THE WHITE DEVIL; OR, VITTORIA COROMBONA. ACT THE FIRST. SCENE I.—A Street in Rome. Enter Count Lodovico, Antonelli, and Gasparo. Lod. Banished! Ant. It grieved me much to hear the sentence. Lod. Ha, ha! O Democritus, thy gods That govern the whole world! courtly reward And punishment. Fortune's a right whore: If she give aught, she deals it in small parcels, That she may take away all at one swoop. This 'tis to have great enemies:—God quit[12] them! Your wolf no longer seems to be a wolf Than when she's hungry. Gasp. You term those enemies Are men of princely rank. Lod. O, I pray for them: The violent thunder is adored by those Are pashed[13] in pieces by it. Ant. Come, my lord, You are justly doomed: look but a little back
- 51. Into your former life; you have in three years Ruined the noblest earldom. Gasp. Your followers Have swallowed you like mummia[14] and, being sick With such unnatural and horrid physic, Vomit you up i' the kennel. Ant. All the damnable degrees Of drinkings have you staggered through: one citizen Is lord of two fair manors called you master Only for caviare. Gasp. Those noblemen Which were invited to your prodigal feasts (Wherein the phœnix scarce could scape your throats) Laugh at your misery; as fore-deeming you An idle meteor, which, drawn forth the earth, Would be soon lost i' the air. Ant. Jest upon you, And say you were begotten in an earthquake, You have ruined such fair lordships. Lod. Very good. This well goes with two buckets: I must tend The pouring out of either. Gasp. Worse than these; You have acted certain murders here in Rome, Bloody and full of horror. Lod. 'Las, they were flea-bitings. Why took they not my head, then?
- 52. Gasp. O, my lord, The law doth sometimes mediate, thinks it good Not ever to steep violent sins in blood: This gentle penance may both end your crimes, And in the example better these bad times. Lod. So; but I wonder, then, some great men scape This banishment: there's Paulo Giordano Ursini, The Duke of Brachiano, now lives in Rome, And by close panderism seeks to prostitute The honour of Vittoria Corombona; Vittoria, she that might have got my pardon For one kiss to the duke. Ant. Have a full man within you. We see that trees bear no such pleasant fruit There where they grew first as where they are new set: Perfumes, the more they are chafed, the more they render Their pleasing scents; and so affliction Expresseth virtue fully, whether true Or else adulterate. Lod. Leave your painted comforts: I'll make Italian cut-works[15] in their guts, If ever I return. Gasp. O, sir! Lod. I am patient. I have seen some ready to be executed Give pleasant looks and money, and grown familiar With the knave hangman: so do I: I thank them, And would account them nobly merciful, Would they despatch me quickly.
- 53. Ant. Fare you well: We shall find time, I doubt not, to repeal Your banishment. Lod. I am ever bound to you: This is the world's alms; pray, make use of it. Great men sell sheep thus to be cut in pieces, When first they have shorn them bare and sold their fleeces. [Exeunt. SCENE II.—An Apartment in Camillo's House. Sennet.[16] Enter Brachiano, Camillo, Flamineo, Vittoria Corombona, and Attendants. Brach. Your best of rest! Vit. Cor. Unto my lord, the duke, The best of welcome!—More lights! attend the duke. [Exeunt Camillo and Vittoria Corombona. Brach. Flamineo,— Flam. My lord? Brach. Quite lost, Flamineo. Flam. Pursue your noble wishes, I am prompt. As lightning to your service. O, my lord, The fair Vittoria, my happy sister, [Whispers. Shall give you present audience.—Gentlemen, Let the caroche[17] go on; and 'tis his pleasure You put out all your torches, and depart. [Exeunt Attendants.
- 54. Brach. Are we so happy? Flam. Can't be otherwise? Observed you not to-night, my honoured lord, Which way soe'er you went, she threw her eyes? I have dealt already with her chambermaid, Zanche the Moor; and she is wondrous proud To be the agent for so high a spirit. Brach. We are happy above thought, because 'bove merit. Flam. 'Bove merit!—we may now talk freely—'bove merit! What is't you doubt? her coyness? that's but the superficies of lust most women have: yet why should ladies blush to hear that named which they do not fear to handle? O, they are politic: they know our desire is increased by the difficulty of enjoying; whereas satiety is a blunt, weary, and drowsy passion. If the buttery-hatch at court stood continually open, there would be nothing so passionate crowding, nor hot suit after the beverage. Brach. O, but her jealous husband. Flam. Hang him! a gilder that hath his brains perished with quick- silver is not more cold in the liver: the great barriers moulted not more feathers[18] than he hath shed hairs, by the confession of his doctor: an Irish gamester that will play himself naked, and then wage all downwards at hazard, is not more venturous: so unable to please a woman, that, like a Dutch doublet, all his back is shrunk into his breeches. Shrowd you within this closet, good my lord: Some trick now must be thought on to divide My brother-in-law from his fair bedfellow. Brach. O, should she fail to come! Flam. I must not have your lordship thus unwisely amorous. I myself have loved a lady, and pursued her with a great deal of under-age protestation, whom some three or four gallants that have enjoyed
- 55. would with all their hearts have been glad to have been rid of: 'tis just like a summer birdcage in a garden; the birds that are without despair to get in, and the birds that are within despair, and are in a consumption, for fear they shall never get out. Away, away, my lord! [Exit Brachiano. See, here he comes. This fellow by his apparel Some men would judge a politician; But call his wit in question, you shall find it Merely an ass in's foot-cloth.[19] Re-enter Camillo.[20] How now, brother! What, travelling to bed to your kind wife? Cam. I assure you, brother, no; my voyage lies More northerly, in a far colder clime: I do not well remember, I protest, When I last lay with her. Flam. Strange you should lose your count. Cam. We never lay together, but ere morning There grew a flaw[21] between us. Flam. 'Thad been your part To have made up that flaw. Cam. True, but she loathes I should be seen in't. Flam. Why, sir, what's the matter? Cam. The duke, your master, visits me, I thank him; And I perceive how, like an earnest bowler,
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