Abstract As members of a family, siblings act important roles for their family prosperity in both literary works as well as the real world. Conventionally, sibling cordial love and harmonious interactions are extremely respected and advocated by society. This kind of sibling motif was also frequently seen in plays, fairly tales and folk tales. Moreover, prohibited not only by society but also by the one in the literary works, the theme of the sibling incest becomes a caution for those having too intimate sibling interactions. Similarly, adopting sibling motif as the structure of his two tragedies, The Duchess of Malfi and The White Devil, John Webster applies different sibling interactions from those traditional ones. Both of The Duchess of Malfi and The White Devil end with the tragic ends--their families become devastated and all brothers and sisters are dead. Applying completely different sibling interactions within his two tragedies, John Webster who abandons all the depictions of harmonious sibling interactions may have his own motivation of presenting this kind of sibling conflict and rivalry. For this reason, the main concern of this thesis is to investigate Webster's motivation of adapting the sibling motif in his two tragedies, The Duchess of Malfi and The White Devil and to comprehend his intention of writing this kind of sibling motif. The first chapter introduces a brief introduction of some critics' comments on Webster's plays, the social contexts of Webster's time and the Renaissance plays, fairy tales and folklore applying the sibling as its motif. The second chapter sketches how the family order was reinforced in the house manuals in the sixteenth century, how John Webster altered the historical events to present the sibling conflict and rivalry instead of the revenge plays. What John Webster presents is the complex sibling relationships, which are based on the marriage, the patriarchal figure and family members, property and the class system. The sibling relationship in The Duchess of Malfi obviously establishes the physical concern more than the psychological concern. The third chapter also points out how Webster elaborates the self-concerned brothers utilize his sister to confirm their social status without care as those in The Duchess of Malfi. After comprehending the sibling relationship based on the physical concern due to the social milieu, we may conclude that Webster¡¦s motivation to arrange the sibling motif not only manifest the evilness of human nature but also satirize the reinforcement of the patriarchal family and family order of Webster¡¦s time. On the whole, the morbid society Webster lived resulted in his depiction on the sibling conflict and rivalry in his two tragedies.

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The aim of this paper is to prove that there is a pattern in Webster’s use of imagery, at least in the two great plays. / Thesis / Master of Arts (MA)

Typescript (photocopy). / Digitized by Kansas Correctional Industries / Department: English

Concentrating on six plays in the 1610s, this thesis explores the ways theatrical visual effects described as “strange” channel the period’s moral anxieties about rhetoric, technology, and scepticism. It contributes to debates in repertory studies, textual and material culture, intellectual history, theatre history, and to recent revisionist considerations of spectacle. I argue that “strange” spectacle has its roots in the materialisation of morality: the presentation of moral ideas not as abstract concepts but in physical things. The first part of my PhD is a detailed study of early modern moral philosophy, scepticism, and material and textual culture. The second part of my thesis concentrates on Shakespeare’s Cymbeline (1609-10) and The Tempest (1611), John Webster’s The White Devil (1612), and Thomas Heywood’s first three Age plays (1611-13). These spectacular plays are all written and performed within the years 1610-13, a period in which the changes, challenges, and developments in both stage technology and moral philosophy are at their peak. I set these plays in the context of the wider historical moment, showing that the idiosyncrasy of their “strange” stagecraft reflects the period’s interest in materialisation and its attendant moral anxieties. This thesis implicitly challenges some of the conclusions of repertory studies, which sometimes threatens to hierarchise early modern theatre companies by seeing repertories as indications of audience taste and making too strong a divide between, say, “elite” indoor and “citizen” outdoor playhouses. It is also aligned with recent revisionist considerations of spectacle, and I elide divisions in criticism between interest in original performance conditions, close textual analysis, or historical-contextual readings. I present “strangeness” as a model for appreciating the distinct aesthetic of these plays, by reading them as part of their cultural milieu and the material conditions of their original performance.

This thesis looks at occurrences of "living death" – a liminal state that exists between life and death, and which may be approached from either side – in early modern English drama. Today, reference to the living dead brings to mind zombies and their ilk, creatures which entered the English language and imagination centuries after the time of the great early modern playwrights. Yet, I argue, many post-Reformation writers were imagining states between life and death in ways more complex than existing critical discussions of “ghosts” have tended to perceive. My approach to the subject is broadly historicist, but informed throughout by ideas of stagecraft and performance. In addition to presenting fresh interpretations of well-known plays such as Thomas Middleton’s The Maiden’s Tragedy (1611) and John Webster’s The White Devil (1612), I also endeavour to shed new light on various non-canon works such as the anonymous The Tragedy of Locrine (c.1591), John Marston's Antonio's Revenge (c.1602), and Anthony Munday's mayoral pageants Chruso-thriambos (1611) and Chrysanaleia (1616), works which have received little in the way of serious scholarly attention or, in the case of Antonio's Revenge, been much maligned by critics. These dramatic works depict a whole host of the living dead, including not only ghosts and spirits but also resurrected Lord Mayors, corpses which continue to “perform” after death, and characters who anticipate their deaths or define themselves through last dying speeches. By exploring the significance of these characters, I demonstrate that the concept of living death is vital to our understanding of deeper thematic and symbolic meanings in a wide range of dramatic works.