In a scene that exemplifies dramatic irony, Zanche, servant to Vittoria, reveals their crimes to Francisco and Lodovico, who are disguised to conceal their true identities:
LODOVICO [Aside to FRANCISCO]
Mark her, I prithee. She simpers like the suds
A collier hath been washed in.ZANCHE
Come, sir, good fortune ’tends you.
I did tell you I would reveal a secret: Isabella,
The Duke of Florence’ sister, was empoisoned
By a fumed picture; and Camillo’s neck
Was broke by damned Flaminio, the mischance
Laid on a vaulting-horse.FRANCISCO
Most strange!ZANCHE
Most true.
In order to gain Zanche’s trust, Francisco has seduced her, even claiming to have had sexual dreams about her. Zanche is smitten by Francisco, who has assumed the false identity of Mulinassar, a Moor, or a person of non-European descent. Zanche, who is herself a Moor, finds herself vulnerable to Francisco’s ploy because of what she believes to be their shared ethnic identity as Moors. While she believes that they can conspire together against the wealthy Italians, the audience is aware that she is sharing dangerous secrets with her enemy, demonstrating dramatic irony. Zanche’s desire for Francisco proves to be a fatal weakness in Vittoria’s plot, as Zanche freely shares their secrets, ultimately leading to the execution of both women.
In a scene suffused with dramatic irony, Flamineo alludes to Niccolò Machiavelli, a prominent Italian statesman, philosopher, and diplomat who gained notoriety in the century prior to the production of The White Devil:
FRANCISCO
Sure, this was Florence’ doing.FLAMINIO
Very likely.
Those are found weighty strokes which come from th’hand,
But those are killing strokes which come from th’head.
Oh, the rare tricks of a Machiavellian!
He doth not come like a gross, plodding slave
And buffet you to death. No, my quaint
knave
He tickles you to death, makes you die laughing, As if you had swallowed down a pound of saffron. You see the feat; ’tis practised in a trice –
To teach court-honesty it jumps on ice.
Francisco, disguised as a Moor named Mulinassar, tells Flamineo that the death of Brachiano is “Florence’ doing.” Francisco is in fact the Duke of Florence; in other words, he attributes the murder to himself under the guise of a false identity. This scene demonstrates marked dramatic irony, as Flamineo is unaware that he is speaking to Francisco himself, and agrees with “Mulinassar’s” assessment. Francisco, Flamineo claims, is a “Machiavellian.”
Here, he alludes to Machiavelli, whose book The Prince presents advice to kings and rulers. Throughout Europe, Machiavelli’s tactics were often regarded as devious and cunning, and so his name became synonymous with conniving and unscrupulous scenes. In comparing him to Machiavelli, Flamineo highlights the “tricks” employed by Francisco, who does not attack his enemies directly, but rather pretends to be friendly with his enemies. The dramatic irony of this scene is heightened by the fact that Francisco is there, employing one such “trick” in order to get closer to Flamineo.
