The White Devil
by John Webster
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Act 1, Scene 1 Quotes

GASPARO:
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.

Related Characters: Gasparo (speaker), Lodovico , Antonelli
Page Number and Citation: 8
Explanation and Analysis:
Count Lodovico, having been banished from Rome for lechery, drunkenness, and murder, wonders why he has been exiled instead of executed. Here, his best friend Gasparo emphasizes the importance of laws that make peace (“mediate”) instead of shedding more “blood.” Rather than hurting Lodovico the way he hurt others, this “gentle” punishment gives him time to reflect on his bad behavior—to do “penance” not under duress but of his own accord. Banishment, Gasparo suggests, may “end […] crimes” because it creates genuine remorse in the criminal, something violent punishment cannot do. Even more importantly, however, Gasparo establishes that moderate punishment Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dic

Act 1, Scene 2 Quotes

FLAMINEO:
It seems you are jealous: I ’ll show you the error of it by a familiar example: I have seen a pair of spectacles fashioned with such perspective art, that lay down but one twelve pence a’ th’ board, twill appear as if there were twenty; now should you wear a pair of these spectacles, and see your wife tying her shoe, you would imagine twenty hands were taking up of your wife’s clothes, and this would put you into a horrible, causeless fury.

CAMILLO:
The fault there, sir, is not in the eyesight.

FLAMINEO:
True, but they that have the yellow jaundice think all objects they look on to be yellow. Jealousy is worse; her fits present to a man, like so many bubbles in a basin of water, twenty several crabbed faces, many times makes his own shadow his cuckold-maker.

Related Characters: Camillo (speaker), Flamineo (speaker), Brachiano, Vittoria
Page Number and Citation: 12
Explanation and Analysis:
Flamineo’s sister Vittoria is cheating on her husband Camillo with the wealthy Duke Brachiano—and because Brachiano is Flamineo’s boss, it is Flamineo’s responsibility to discourage Camillo’s suspicions of adultery. To do this, Flamineo makes Camillo doubt his own “perspective”: he suggests that paranoia—like jaundice—is its own kind of illness, capable of distorting the world so that even one’s own “shadow” becomes suspicious. Of course, Camillo is totally correct in his suspicions, which makes Flamineo’s trick even more impressive (and deceitful). In a play where nothing is at it seems, Flamineo gets Camillo to distrust even the things that are right Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusantium iusto voluptas. Totam quae corporis. Impedit non ut. Incidunt rerum est. Aperiam doloremque eum. Animi soluta perspiciatis. Ut minima autem. Modi omnis iure. Sint qui qui. Qui similique praesentium. Ex consequatur magnam. Aliquid iste enim. Sequi aut maxime. Adipisci voluptate et. Voluptas suscipit alias. In et eveniet. Eaque et repellendus. Dolores aut voluptatibus. Voluptatem qui voluptatum. Voluptatibus sed pla

FLAMINEO:
Come, sister, darkness hides your blush. Women are like cursed dogs: civility keeps them tied all day, but they are loose at midnight. Then they do most good or most mischief.

Related Characters: Flamineo (speaker), Vittoria, Camillo , Brachiano
Page Number and Citation: 20
Explanation and Analysis:
As soon as Vittoria sees Brachiano, her entire demeanor changes—instead of being cold and contained, as she was with her husband Camillo, she now reddens with excitement. To Flamineo, this shift is a sign that women are fundamentally “cursed” and dishonest, capable of “hid[ing]” their lustful natures in the daytime only to reveal themselves “at midnight.” On the one hand, then, this passage illustrates the complex rules of sexuality that Renaissance women had to navigate: social norms (“civility”) demanded that they not express feelings of attraction or longing in public, yet society simultaneously expected women to be objects of desire Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in.

CORNELIA:
The lives of princes should like dials move,
Whose regular example is so strong,
They make the times by them go right or wrong.

Related Characters: Cornelia (speaker), Flamineo, Brachiano, Vittoria, Lodovico
Page Number and Citation: 24
Explanation and Analysis:
Cornelia, having overheard her daughter Vittoria plot with her lover Brachiano, is disgusted to learn that a man of such high status would stoop to such crass schemes. To scold Brachiano, Cornelia compares leaders to sundials—just as people looked to a sundial to determine how they should act (whether it was time for breakfast or dinner, whether they should prepare for bed or prepare for work), they look to “princes” and dukes for a similar “example.” Therefore, when leaders act “right,” modeling kindness and consistency, their subjects behave similarly. But when someone like Brachiano behaves terribly, they make the world Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rer

CORNELIA:
What! because we are poor
Shall we be vicious?

FLAMINEO:
Pray, what means have you
To keep me from the galleys, or the gallows?
My father prov’d himself a gentleman,
Sold all ‘s land, and, like a fortunate fellow,
Died ere the money was spent. You brought me up
At Padua, I confess, where I protest,
For want of means--the University judge me--
I have been fain to heel my tutor’s stockings,
At least seven years; conspiring with a beard,
Made me a graduate; then to this duke’s service,
I visited the court, whence I return’d
More courteous, more lecherous by far,
But not a suit the richer. And shall I,
Having a path so open, and so free
To my preferment, still retain your milk
In my pale forehead? No, this face of mine
I ’ll arm, and fortify with lusty wine,
‘Gainst shame and blushing.

Related Characters: Cornelia (speaker), Flamineo (speaker), Brachiano
Page Number and Citation: 26
Explanation and Analysis:
When Cornelia learns that her son Flamineo is helping the wealthy Duke Brachiano plan a murder, Flamineo’s defense is that he has no other option—as a poor man in a highly stratified society, how else can he hope to better his standing? Cornelia believes that poverty is no excuse for “vicious[ness],” but Flamineo (and perhaps the play itself) complicates this straightforward moralism. In this long monologue, Flamineo reflects on his many failed attempts to raise his own status through legal, legitimate, means. He worked for much of his young adult life to earn his degree and serve as a “tutor,” Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accus

FLAMINEO:
The duchess come to court! I like not that.
We are engag’d to mischief, and must on;
As rivers to find out the ocean
Flow with crook bendings beneath forced banks,
Or as we see, to aspire some mountain’s top,
The way ascends not straight, but imitates
The subtle foldings of a winter’s snake,
So who knows policy and her true aspect,
Shall find her ways winding and indirect.

Related Characters: Flamineo (speaker), Isabella , Brachiano
Page Number and Citation: 27
Explanation and Analysis:
When Flamineo learns that Brachiano’s wife Isabella is returning to Rome, he grows anxious—Brachiano is determined to get rid of his wife some way or another, and as his servant, Flamineo will likely now be responsible for killing her. So, in this act-ending speech, Flamineo reflects on the difficulty of returning to honesty once he has been “engag’d to mischief.” He frets that each new lie requires more lies, as he and Brachiano must cover up their misdeeds. But he also fundamentally links social and financial ascent to deception: to get to the “mountain’s top,” he must take not the Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum

Act 2, Scene 1 Quotes

MONTICELSO:
It is a more direct and even way,
To train to virtue those of princely blood,
By examples than by precepts: if by examples,
Whom should he rather strive to imitate
Than his own father? be his pattern then,
Leave him a stock of virtue that may last,
Should fortune rend his sails, and split his mast.

Related Characters: Monticelso (speaker), Giovanni , Brachiano, Francisco/Mulinassar, Gasparo
Page Number and Citation: 33
Explanation and Analysis:
Just as Brachiano and Francisco are about to come to blows, Cardinal Monticelso stops them, instead urging them both to model good behavior for Brachiano’s young son Giovanni. Earlier in the play, characters like Cornelia and Gasparo have asserted that princes and dukes must act as examples for the people they rule over. But here, Monticelso suggests a more intimate definition of leading “by example”: before Giovanni can govern others, he must learn to govern himself, and who better for him to learn from “than his own father?” This idea that people become virtuous through “imitation” thus takes on both Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit be

Act 2, Scene 2 Quotes

CONJURER:
Both flowers and weeds spring when the sun is warm,
And great men do great good or else great harm.

Related Characters: Conjurer (speaker), Brachiano
Related Symbols: Trees
Page Number and Citation: 52
Explanation and Analysis:
After a midnight meeting with the wealthy Duke Brachiano, the conjurer speaks directly to the audience, informing them that the actions powerful people (“great men”) have outsized impacts. When these great men choose to do “good,” they both act as highly visible role models and help large numbers of people through policy choices. But when they choose to do “harm,” they have at their disposal armies (sometimes literally) to help them carry out whatever cruel whim they might be possessed by. The conjurer’s statement thus reflects the dangers of an inequitable society, where a few “great men” are given power Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et.

Act 3, Scene 2 Quotes

MONTICELSO:
Shall I expound whore to you? sure I shall;
I ’ll give their perfect character. They are first,
Sweetmeats which rot the eater; in man’s nostrils
Poison’d perfumes. They are cozening alchemy;
Shipwrecks in calmest weather. What are whores!
Cold Russian winters, that appear so barren,
As if that nature had forgot the spring.
They are the true material fire of hell:
Worse than those tributes i’ th’ Low Countries paid,
Exactions upon meat, drink, garments, sleep,
Ay, even on man’s perdition, his sin.
They are those brittle evidences of law,
Which forfeit all a wretched man’s estate
For leaving out one syllable. What are whores!
They are those flattering bells have all one tune,
At weddings, and at funerals. Your rich whores
Are only treasuries by extortion fill’d,
And emptied by curs’d riot. They are worse,
Worse than dead bodies which are begg’d at gallows,
And wrought upon by surgeons, to teach man
Wherein he is imperfect. What’s a whore!
She’s like the guilty counterfeited coin,
Which, whosoe’er first stamps it, brings in trouble
All that receive it.

Related Characters: Vittoria (speaker), Monticelso (speaker), Brachiano, Lodovico
Related Symbols: Poison
Page Number and Citation: 62
Explanation and Analysis:
Having decided to try Vittoria for adultery, Monticelso takes the lead in questioning her. In this exchange, Vittoria’s refusal to be labeled a “whore” causes Monticelso to launch into this high-spirited tirade against the “character” of such women. And it is only women that Monticelso sees in this way: a whore is always a “she” in his formulation, and so while he spews anger and accusations at Vittoria, he makes no mention of Brachiano (who is guilty of the exact same behavior). In addition to the blatant sexism in this speech, there are a few other details worth taking in. Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusantium iusto voluptas. Totam quae corporis. Impedit non ut. Incidunt rerum est. Aperiam doloremque eum. Animi soluta perspiciatis. Ut minima autem. Modi omnis iure. Sint qui qui. Qui similique praesentium. Ex consequatur magnam. Aliquid iste enim. Sequi aut maxime. Adipisci voluptate et. Voluptas suscipit alias.

VITTORIA:
Terrify babes, my lord, with painted devils,
I am past such needless palsy. For your names
Of ‘whore’ and ‘murderess’, they proceed from you,
As if a man should spit against the wind,
The filth returns in ’s face.

Related Characters: Vittoria (speaker), Monticelso , Brachiano
Page Number and Citation: 64
Explanation and Analysis:
After Monticelso launches into hateful accusations, Vittoria responds with surprising dignity and strength. In this line, she elegantly labels Monticelso (and, by association, his ally Francisco) as a hypocrite. Monticelso might call Vittoria “names,” but in doing so, he reveals his own fixations with sex and murder; the angrier he gets, Vittoria hints, the more his anger reflects back on him, just as spit in the wind only lands on the spitter. In addition to defending her position as a woman, Vittoria turns the accusations of deception back around to Monticelso: maybe it is he who is the “painted devil” Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae ear

FRANCISCO:
My lord, there’s great suspicion of the murder,
But no sound proof who did it. For my part,
I do not think she hath a soul so black
To act a deed so bloody; if she have,
As in cold countries husbandmen plant vines,
And with warm blood manure them; even so
One summer she will bear unsavory fruit,
And ere next spring wither both branch and root.
The act of blood let pass; only descend
To matters of incontinence.

VITTORIA:
I discern poison
Under your gilded pills.

Related Characters: Francisco/Mulinassar (speaker), Vittoria (speaker), Monticelso
Related Symbols: Poison, Trees
Page Number and Citation: 67
Explanation and Analysis:
After the jury starts to grow skeptical of Monticelso’s venom, Francisco steps in, trying to provide a more balanced perspective. But while outwardly Francisco seems to give Vittoria the benefit of the doubt (saying there is “no sound proof who did” the murder), he also completely denies her agency. Using the tree imagery so prevalent throughout the play, Francisco suggests that the only way Vittoria could have committed “a deed so bloody” is if she were put up to it by someone else (like a tree planted with warm “manure”). Subtly, and with much more tact and skill than Monticelso, Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum

Act 4, Scene 1 Quotes

FRANCISCO:
And thus it happens:
Your poor rogues pay for ’t, which have not the means
To present bribe in fist; the rest o’ th’ band
Are razed out of the knaves’ record; or else
My lord he winks at them with easy will;
His man grows rich, the knaves are the knaves still.
[…] That in so little paper
Should lie th’ undoing of so many men!
’Tis not so big as twenty declarations.
See the corrupted use some make of books:
Divinity, wrested by some factious blood,
Draws swords, swells battles, and o’erthrows all good.

Related Characters: Francisco/Mulinassar (speaker), Monticelso , Brachiano
Related Literary Devices:
Page Number and Citation: 86
Explanation and Analysis:
As he plots his revenge on Brachiano, Francisco borrows a book of names—which is really a list of all kinds of suspected criminals—from Monticelso. But as Francisco flips through the list of usurers and adulterers, corrupt lawyers and murderers, the injustice of his own justice system appalls him. It’s not important whether the people in this book are innocent or guilty—the only thing that matters is whether they are rich enough to “present bribe[s]” to people like Monticelso, thereby protecting their reputation. Only people who are not wealthy (whom Francisco labels as “poor rogues”) actually suffer punishment for the crimes Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusantium iusto voluptas. Totam quae corporis. Impedi

FRANCISCO:
Oh, the fate of princes!
I am so used to frequent flattery
That, being alone, I now flatter myself.

Related Characters: Francisco/Mulinassar (speaker), Flamineo, Monticelso , Marcello , Brachiano, Gasparo , Antonelli , Lodovico , Vittoria
Page Number and Citation: 88
Explanation and Analysis:
Francisco, writing a fake love letter to Vittoria, makes this passing comment in jest. But there is a great deal of truth to what he says. Francisco is constantly surrounded by “flatterers” like Monticelso and Marcello, just as Brachiano always has Flamineo and Vittoria to bolster his ego. And Francisco seems to realize that “flattery” is itself a form of deception; rather than telling him the truth (as Gasparo and Antonelli do for the less powerful Lodovico), the yes-man that surround Francisco are willing to tell him whatever he wants to hear. Over time, this deception distorts his reality—and his Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusant

Act 4, Scene 2 Quotes

FLAMINEO:
Lo you, sister!
Stay, my lord; I ’ll tell you a tale. The crocodile, which lives in the River Nilus, hath a worm breeds i’ th’ teeth of ’t, which puts it to extreme anguish: a little bird, no bigger than a wren, is barber-surgeon to this crocodile; flies into the jaws of ‘t, picks out the worm, and brings present remedy. The fish, glad of ease, but ungrateful to her that did it, that the bird may not talk largely of her abroad for non-payment, closeth her chaps, intending to swallow her, and so put her to perpetual silence. But nature, loathing such ingratitude, hath armed this bird with a quill or prick on the head, top o’ th’ which wounds the crocodile i’ th’ mouth, forceth her open her bloody prison, and away flies the pretty tooth-picker from her cruel patient.

[…]

FLAMINEO:
No, my lord.
You, sister, are the crocodile: you are blemish’d in your fame, my lord cures it; and though the comparison hold not in every particle, yet observe, remember, what good the bird with the prick i’ th’ head hath done you, and scorn ingratitude. It may appear to some ridiculous
[Aside] Thus to talk knave and madman, and sometimes
Come in with a dried sentence, stuffed with sage:
But this allows my varying of shapes;
Knaves do grow great by being great men’s apes.

Related Characters: Flamineo (speaker), Vittoria, Brachiano
Page Number and Citation: 100
Explanation and Analysis:
Before Flamineo, Brachiano, and Vittoria make their escape to Padua, Flamineo offers this strange fable to the group. The anecdote of the crocodile and the fish preaches gratitude, but it is a very specific kind of thanks that Flamineo is talking about; he is urging Brachiano and Vittoria to publicly recognize all the different kinds of help they have gotten, even when to do so would be shameful. It’s no wonder, then, that Brachiano assumes Flamineo is asking to be “rewarded”; after all, Flamineo has done a lot of secretive dirty work for the adulterous couple, who have promised him Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusantium iusto voluptas. Totam quae corporis. Impedit non ut. Incidunt r

Act 4, Scene 3 Quotes

LODOVICO:
Why now ’tis come about. He rail’d upon me;
And yet these crowns were told out, and laid ready,
Before he knew my voyage. Oh, the art,
The modest form of greatness! that do sit,
Like brides at wedding-dinners, with their looks turn’d
From the least wanton jests, their puling stomach
Sick from the modesty, when their thoughts are loose,
Even acting of those hot and lustful sports
Are to ensue about midnight: such his cunning!
He sounds my depth thus with a golden plummet.
I am doubly arm’d now. Now to th’ act of blood,
There ’s but three furies found in spacious hell,
But in a great man’s breast three thousand dwell.

Related Characters: Lodovico (speaker), Monticelso , Francisco/Mulinassar
Related Literary Devices:
Page Number and Citation: 108
Explanation and Analysis:
When Monticelso finds out that Lodovico is working as Francisco’s hired assassin, he acts disgusted, condemning such amoral behavior—and actually causing Lodovico to change his mind. But before Lodovico can call off the plan, he learns that Monticelso (despite his outward performance) is actually sponsoring the murderous plan (his “crowns,” a form of currency, “were told out, and laid ready”). Monticelso’s goodness is only an act—a testament to his “cunning” as a political operative. There are two especially salient ideas in this passage. First, as Lodovico processes Monticelso’s deceit, he immediately reaches for a comparison in female sexuality: Monticelso is Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi e

Act 5, Scene 1 Quotes

FRANCISCO:
I shall never flatter him: I have studied man too much to do that. What difference is between the duke and I? no more than between two bricks, all made of one clay: only ’t may be one is placed in top of a turret, the other in the bottom of a well, by mere chance. If I were placed as high as the duke, I should stick as fast, make as fair a show, and bear out weather equally.

Related Characters: Francisco/Mulinassar (speaker), Flamineo, Brachiano
Page Number and Citation: 113
Explanation and Analysis:
Duke Francisco, in disguise as a fictional soldier named Mulinassar, uses his anonymity to discuss class and power with the lowlier Flamineo. In this moment, Francisco gestures toward the fruitlessness of class divides: all people, he suggests, are “made of one clay,” and the only difference is they have been “placed” (meaning, what kind of life they have been born into). Francisco-as-Mulinassar also emphasizes that there is no difference in moral standing or leadership capabilities between those of different classes; if a soldier were “as high as the duke,” he would be as clever, as strong, and as just. Of Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. S

Act 5, Scene 2 Quotes

MARCELLO:
There are some sins which heaven doth duly punish
In a whole family. This is it to rise
By dishonest means. Let all men know
That tree shall long time keep a steady foot
Whose branches spread no wider than the root.

Related Characters: Marcello (speaker), Cornelia , Flamineo
Related Symbols: Trees
Page Number and Citation: 121
Explanation and Analysis:
Marcello, having been stabbed to death by his brother Flamineo, utters these devastating deathbed words. “This is it,” Marcello asserts, “to rise by dishonest means.” Ultimately, all of Flamineo’s violence and deception can only end in the destruction of his nearest and dearest. And to drive his point home, Marcello appeals to the tree symbolism that has permeated the entire piece. Flamineo has overreached, growing too “wide” to support himself; in doing so, he has abandoned the family history that kept him “root[ed].” Once again (though the word “rot” is not used here), the sense of decay is palpable in Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducim

CORNELIA:
Let me go, let me go.

She runs to Flamineo with her knife drawn, and coming to him lets it fall.

The God of heaven forgive thee! Dost not wonder
I pray for thee? I ’ll tell thee what ’s the reason,
I have scarce breath to number twenty minutes;
I ’d not spend that in cursing. Fare thee well:
Half of thyself lies there; and mayst thou live
To fill an hour-glass with his moulder’d ashes,
To tell how thou shouldst spend the time to come
In blessed repentance!

Related Characters: Cornelia (speaker), Flamineo, Marcello
Page Number and Citation: 122
Explanation and Analysis:
After Flamineo murders his younger brother Marcello, Cornelia’s love for one son almost causes her to stab the other. But she is unable to bring herself to kill one of her children—unable to engage in the eye-for-an-eye retribution so common in the play—and so Cornelia calls Flamineo to look for punishment within himself. “Half of thyself lies there,” she says; onstage, she would indicate Marcello’s limp body, forcing Flamineo to look on the beloved life he has taken. Rather than taking Flamineo’s capacity to think and feel from him, Cornelia gives him “the time” to come to terms with what Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque place

Act 5, Scene 3 Quotes

Here, the rest being departed, LODOVICO and GASPARO discover themselves.

LODOVICO:
Devil Brachiano, thou art damn’d.
[…]You that were held the famous politician,
Whose art was poison.

GASPARO:
And whose conscience, murder.

LODOVICO:
That would have broke your wife’s neck down the stairs,
Ere she was poison’d.

GASPARO:
That had your villainous sallets.

LODOVICO:
And fine embroider’d bottles, and perfumes,
Equally mortal with a winter plague.

GASPARO:
Now there ’s mercury—

LODOVICO:
And copperas----

GASPARO:
And quicksilver----

LODOVICO:
With other devilish ’pothecary stuff,
A-melting in your politic brains: dost hear? […]
And thou shalt die like a poor rogue […]
And be forgotten
Before the funeral sermon.

Related Characters: Lodovico (speaker), Gasparo (speaker), Brachiano, Isabella
Related Symbols: Poison
Page Number and Citation: 133
Explanation and Analysis:
To escape unnoticed in Padua, Lodovico and Gasparo dress as Capuchin monks—and use their disguises to secretly poison Brachiano’s helmet, killing him. As he dies, the two men promise to give Brachiano extreme unction, helping him transition into the afterlife. But instead of doing so, they “discover” (reveal) themselves as his murderers. As a stage picture, the sight of monks tossing off their garments to proudly boast of murder functions as a potent critique of religion; it also visually reiterates Webster’s theme that no one is how they appear to be. The other fascinating part of this exchange is the Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusant

FLAMINEO:
Had women navigable rivers in their eyes,
They would dispend them all. Surely, I wonder
Why we should wish more rivers to the city,
When they sell water so good cheap. I ’ll tell thee
These are but Moorish shades of griefs or fears;
There ’s nothing sooner dry than women’s tears.
Why, here ’s an end of all my harvest; he has given me nothing.
Court promises! let wise men count them curs’d;
For while you live, he that scores best, pays worst.

FRANCISCO:
Sure this was Florence’ doing.

FLAMINEO:
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 swallow’d down a pound of saffron.
You see the feat, ’tis practis’d in a trice;
To teach court honesty, it jumps on ice.

Related Characters: Flamineo (speaker), Francisco/Mulinassar (speaker), Vittoria, Brachiano, Zanche
Related Literary Devices:
Page Number and Citation: 135
Explanation and Analysis:
Brachiano perishes, Vittoria wails, and Flamineo and Francisco-as-Mulinassar look out on the carnage. As Flamineo reflects once more on the deceptiveness around him, the true extent of his prejudice comes into view. First, he labels women’s tears as “cheap” and dishonest, drying as soon as they are no longer in public view. He then extends that prejudice to Moors, reflecting both religious and racial biases; false “griefs,” he argues, are “Moorish.” But if Flamineo sees dishonesty in women and in Moors, he also asserts that the political machine of Renaissance Italy is no more truthful. Duke Brachiano has not left Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperi

Act 5, Scene 4 Quotes

FLAMINEO:
I have a strange thing in me, to th’which
I cannot give a name without it be
Compassion.

Related Characters: Flamineo (speaker), Marcello , Cornelia
Page Number and Citation: 146
Explanation and Analysis:
After Cornelia urges Flamineo to seek “repentance” for murdering his brother Marcello, Flamineo puzzles out this thoughtful, uncharacteristic line. For most of The White Devil, Flamineo has been concerned only with his own status: he fights with his brother, insults his mother, and betrays his sister in an effort to impress her wealthy lover. But now he feels “compassion,” shifting his focus from his personal success to the lives and experiences of others. This brief, lyrical passage contains a few especially salient details. The line breaks here are telling—from the Renaissance to today, the way lines are distributed on the Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui e

Act 5, Scene 6 Quotes

FLAMINEO:
Whither shall I go now? O Lucian, thy ridiculous purgatory! To find Alexander the Great cobbling shoes, Pompey tagging points, and Julius Cæsar making hair-buttons, Hannibal selling blacking, and Augustus crying garlic, Charlemagne selling lists by the dozen, and King Pepin crying apples in a cart drawn with one horse!
Whether I resolve to fire, earth, water, air,
Or all the elements by scruples, I know not,
Nor greatly care.

Related Characters: Flamineo (speaker), Vittoria, Zanche
Page Number and Citation: 154
Explanation and Analysis:
In an almost farcical turn near the end of the play, Flamineo fakes his own death in the hopes that Vittoria and Zanche will actually kill themselves. But in the midst of this chaotic scene, Flamineo’s fakery contains a crucial peek inside his brain—and specifically, into the complex feelings about class that have plagued him for his entire life. In this strange monologue, he pictures meeting great emperors like Julius Caesar and Augustus (Roman) and King Pepin and Charlemagne (French) in the afterlife. But there’s a twist: instead of being rich and powerful, these men are now members of the Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus q

VITTORIA:
If Florence be in the court, would he would kill me.

GASPARO:
Fool! Princes give rewards with their own hands,
But death or punishment by the hands of others.

Related Characters: Vittoria (speaker), Gasparo (speaker), Lodovico , Brachiano, Francisco/Mulinassar
Page Number and Citation: 158
Explanation and Analysis:
Vittoria, facing execution at the hands of Gasparo and Lodovico, cannot help wishing that Duke Francisco would kill her instead. This desire to be killed by a powerful man instead of by his minions reflects, perhaps, that even in her dying moment, Vittoria is obsessed with status. But more interestingly, Gasparo’s claim reflects the privilege of being a duke or “prince”: Francisco can claim good behavior as his own and outsource bad behavior to his underlings. In a play that has so consistently emphasized the importance of leading by example, Francisco’s willingness to distance himself from the effects of his Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debit

VITTORIA:
Oh, thou art deceived. I am too true a woman:
Conceit can never kill me. I’ll tell thee what,
I will not in my death shed one base tear,
Or if look pale, for want of blood not fear.

Related Characters: Vittoria (speaker), Lodovico , Gasparo , Monticelso
Page Number and Citation: 161
Explanation and Analysis:
When Gasparo and Lodovico threaten Vittoria, they expect her to collapse—but she refuses, instead asserting her own dignity to the very end (“I will not in my death shed one base tear”). On the one hand, then, this final act of defiance adds a grace note to the misogynistic view most of the play has taken. Vittoria is strong not in spite of her gender, but because of it: she is “too true a woman” to faint into fright. And just as she did in her face-off against Monticelso at court, Vittoria emerges as a rich, contradictory character, simultaneously greedy Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta imped

FLAMINEO:
‘Tis well yet there’s some goodness in my death;
My life was a black charnel. I have caught
An everlasting cold; I have lost my voice
Most irrecoverably. Farewell, glorious villains.
This busy trade of life appears most vain,
Since rest breeds rest, where all seek pain by pain.
Let no harsh flattering bells resound my knell;
Strike, thunder, and strike loud, to my farewell!

Related Characters: Flamineo (speaker), Marcello
Page Number and Citation: 162
Explanation and Analysis:
In this, the penultimate moment of the play, Flamineo uses his impending execution to reflect on his life of “black charnel” (a charnel is a house of death.) But even more than he regrets his various murders, Flamineo seems to mourn the time he spent lying to other people. In a strange, beautiful, metaphor, Webster compares a life of dishonesty to an “everlasting cold”: just as a cold would cause Flamineo to lose his “voice,” deception has caused him to lose his sense of self. At last, Flamineo has looked inward. And here, he builds on the newfound, repentant “compassion” Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusantium iusto voluptas. Totam quae corpor
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