Paradise Lost (Xi) & The White Devil A2 English Lit

Front 1

'Life, as it appears to Webster, is a moral chaos'

Back 1

Travis Bogard

(The White Devil)

Front 2

Ruined cathedral, burnished wrecking-ball, stage littered with shattered religious tablets

Back 2

1991 National Theatre Production of The White Devil

Front 3

Webster is 'not afraid to portray women of power' who 'choose to take risks, and in doing so broaden the female horizons of the Jacobean era, while at the same time undermining norms of established behaviour'

Back 3

Margaret Loftus Ranald

(The White Devil)

Front 4

Flamineo played by a female actress

Back 4

2014 RSC Production of The White Devil

Front 5

Vittoria wearing white during the trial scene

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2014 RSC Production of The White Devil

Front 6

Isabella has all of the 'characteristics of an obedient female'

Back 6

Somer Marie Stahl

(The White Devil)

Front 7

'Eagles eat not men till they are dead, but women devour them alive'

Back 7

Joseph Swetnam

(The White Devil)

AO4

Front 8

Monticelso is 'the most significant and cunning politician in the play. He devotes his life to power and authority... Religion is, for him, another form of control and abuse'

Back 8

Jose Manuel Gonzalez Fernandez

(The White Devil)

Front 9

In 'Lydicas', Milton likens Catholics to hungry wolves leaping into a sheep's pen - an image similar to Satan leaping over the wall into Paradise in Book IV

Back 9

(Paradise Lost)

AO4

Front 10

'Milton was a true poet and of the devil's party without knowing it'

Back 10

William Blake

(Paradise Lost)

Front 11

Vittoria as 'demonstrating a failure of male authority'

Back 11

Dr June Waudby

(The White Devil)

Front 12

Paradise Lost is a 'deeply misogynistic text that clearly echoes the patriarchal society of the seventeenth century'

Back 12

Kaitlyn MacPhee

(Paradise Lost)

Front 13

'Milton shifts his interpretation of Genesis away from conventional misogyny to give Eve more sympathy and more equality'

Back 13

Caroline Moore

(Paradise Lost)

Front 14

'Vittoria is arraigned by powerful male interrogators and her right of response is negated by her gender'

Back 14

Dr June Waudby

(The White Devil)

Front 15

'The interpretation of Vittoria's enigmatic dream is construed in keeping with each character's own personal philosophy'

Back 15

Dr June Waudby (The White Devil)

Front 16

'By giving Satan such interiority, Milton further complicates and revises theheroic materials he inherits’

Back 16

David Lowenstein

(Paradise Lost)

Front 17

The White Devil ‘criticisesthe Jacobean era, yet cannot be considered to be separate from it’

Back 17

Liam McNamara

(The White Devil)

Front 18

Characters only have soliloquies when they are 'fallen or about to fall'

Back 18

Penguin edition Introduction to Paradise Lost

Front 19

‘Vittoria’scharacter has been constructed by the assumptions and interpretations of thecharacters who surround her’

Back 19

Dr June Waudby

(The White Devil)

Front 20

Milton is 'blind yet bold'

Back 20

Andrew Marvell

(Paradise Lost)

Front 21

'The 'inward' soliloquy is self-evidently a highly effective way of showing the human heart of any act of choice'

Back 21

Caroline Moore

(Paradise Lost)

Front 22

The serpent is a 'vessel of wrath fitted for destruction'

Back 22

Romans 9.22

(The Bible)

AO4

Front 23

Satan has 5 soliloquies which 'associate him with the flawed protagonists of the Elizabethan stage'

Back 23

Barbara Lewalksi

(Paradise Lost)

Front 24

'He is a leering, plotting voyeur, closer to Iago than Macbeth'

Back 24

Caroline Moore (Paradise Lost)

Front 25

When he chooses to 'imbrute' himself, 'he has moved outside and below both the classical and the Elizabethan paradigms for tragedy'

Back 25

Barbara Lewalksi

(Paradise Lost)

Front 26

Milton 'never takes the easy misogynist shortcuts of the period, never representing her [Eve], for example as the 'weaker vessel''

Back 26

Caroline Moore (Paradise Lost)

Front 27

'If he had delayed, or allowed himself to think things through, he would not have fallen at all.'

Back 27

Caroline Moore (Paradise Lost)

Front 28

Where there are gaps to be filled, Milton shifts his interpretation of Genesis away from conventional misogyny to give Eve more sympathy and more equality

Back 28

Phillip Gallagher

(Paradise Lost)

Front 29

'Milton is no more a feminist than he is a misogynist'

Back 29

Caroline Moore (Paradise Lost)

Front 30

'In Webster there is no deeper purpose than to make our flesh creep.'

Back 30

Ian Jack

(The White Devil)

Front 31

'The play is a dramatic symbol of moral confusion, the impossibility of distinguishing appearance and reality in a in which evil wears always the mask of virtue, and virtue, the mask of evil.'

Back 31

Irving Ribner

(The White Devil)

Front 32

'the revenges are more repulsive than the wrongdoers they punish.'

Back 32

J.W. Lever

(The White Devil)

Front 33

'In violently protecting his sister's social standing, Flamineo simultaneously protects his own.

Back 33

Strycharsen

(The White Devil)

Front 34

'Patriarchal poetry'

Back 34

Gertrude Stein

(Paradise Lost)

Front 35

'Woman was created for man, and not man for woman'

Back 35

Milton

(Paradise Lost)

Front 36

'Her sin is not in wanting to be free, but in presuming that she is, in not knowing her place in the natural hierarchy'

Back 36

Oriel and Goldberg,

Oxford Introduction

(Paradise Lost)

Front 37

Milton's 'Turkish concept of females, as subordinate and inferior beings'

Back 37

Samuel Johnson

(Paradise Lost)

Front 38

'Adam is more guilty than Eve'

Back 38

Fredson Bowers

(Paradise Lost)