Webster employs a subtle and ambiguous style in The White Devil, which persistently frustrates any attempt by the audience to reduce the play to a simple moral lesson. One of the key elements that contributes to this ambiguous style is the moral complexity of its characters, who are multifaceted and morally ambiguous, making it difficult to categorize them as strictly good or evil. Their motivations and actions are layered and often driven by a mix of personal vendettas, political aspirations, and broader societal pressures.
This moral ambiguity makes it difficult to identify any clear “protagonists” or “antagonists” in the play. Vittoria, for example, is in some ways an antagonist, authorizing Brachiano’s plot to kill her husband, Camillo, and later displays a (mutual) willingness to betray her brother, Flamineo. On the other hand, she is treated in an unfair and sexist manner at court, is persecuted by equally flawed figures, and receives news of her forthcoming execution with stoic dignity and strength. She is the most obvious candidate for the "White Devil" of the play's title, though this description could equally serve multiple other characters, including the corrupt Pope Monticelso.
Further, Webster's complex dialogue adds to the subtlety of the play. Throughout The White Devil, characters employ symbolically rich and poetic language that allows for multiple interpretations. Metaphors, similes, and wordplay create layers of meaning in the dialogue, communicating different meanings to different characters. Because these speeches often contain hidden agendas and subtext, it becomes necessary for the audience to read between the lines to fully grasp the nuances of their motivations and intentions.
