In a few instances modern type has
been substituted for archaic characters.
been substituted for archaic characters.
Ben Jonson - The Devil's Association
65-7): If _The Devil is an Ass_
cannot be ranked among the crowning masterpieces of its author, it is
not because the play shows any sign of decadence in literary power or
in humorous invention. The writing is admirable, the wealth of comic
matter is only too copious, the characters are as firm in outline or as
rich in color as any but the most triumphant examples of his satirical
or sympathetic skill in finished delineation and demarcation of humors.
On the other hand, it is of all Ben Jonson's comedies since the date
of _Cynthia's Revels_ the most obsolete in subject of satire, the most
temporary in its allusions and applications: the want of fusion or even
connection (except of the most mechanical or casual kind) between the
various parts of its structure and the alternate topics of its ridicule
makes the action more difficult to follow than that of many more
complicated plots: and, finally, the admixture of serious sentiment and
noble emotion is not so skilfully managed as to evade the imputation of
incongruity. [The dialogue between Lady Tailbush and Lady Eitherside
in Act 4. Sc. 1 has some touches 'worthy of Moliere himself. ' In Act
4. Sc. 3 Mrs. Fitzdottrel's speech possesses a 'a noble and natural
eloquence,' but the character of her husband is 'almost too loathsome
to be ridiculous,' and unfit 'for the leading part in a comedy of
ethics as well as of morals. '] The prodigality of elaboration lavished
on such a multitude of subordinate characters, at the expense of all
continuous interest and to the sacrifice of all dramatic harmony, may
tempt the reader to apostrophize the poet in his own words:
You are so covetous still to embrace
More than you can, that you lose all.
Yet a word of parting praise must be given to Satan: a small part as
far as extent goes, but a splendid example of high comic imagination
after the order of Aristophanes, admirably relieved by the low comedy
of the asinine Pug and the voluble doggrel by the antiquated Vice.
TEXT
EDITOR'S NOTE
The text here adopted is that of the original edition of 1631.
No changes of reading have been made; spelling, punctuation,
capitalization, and italics are reproduced. The original pagination
is inserted in brackets; the book-holder's marginal notes are inserted
where 1716 and Whalley placed them.
In a few instances modern type has
been substituted for archaic characters. The spacing of the contracted
words has been normalized.
1641 = Pamphlet folio of 1641.
1692 = The Third Folio, 1692.
1716 = Edition of 1716 (17).
W = Whalley's edition, 1756.
G = Gifford's edition, 1816.
SD. = Stage directions at the beginning of a scene.
SN. = Side note, or book-holder's note.
om. = omitted.
ret. = retained.
f.
cannot be ranked among the crowning masterpieces of its author, it is
not because the play shows any sign of decadence in literary power or
in humorous invention. The writing is admirable, the wealth of comic
matter is only too copious, the characters are as firm in outline or as
rich in color as any but the most triumphant examples of his satirical
or sympathetic skill in finished delineation and demarcation of humors.
On the other hand, it is of all Ben Jonson's comedies since the date
of _Cynthia's Revels_ the most obsolete in subject of satire, the most
temporary in its allusions and applications: the want of fusion or even
connection (except of the most mechanical or casual kind) between the
various parts of its structure and the alternate topics of its ridicule
makes the action more difficult to follow than that of many more
complicated plots: and, finally, the admixture of serious sentiment and
noble emotion is not so skilfully managed as to evade the imputation of
incongruity. [The dialogue between Lady Tailbush and Lady Eitherside
in Act 4. Sc. 1 has some touches 'worthy of Moliere himself. ' In Act
4. Sc. 3 Mrs. Fitzdottrel's speech possesses a 'a noble and natural
eloquence,' but the character of her husband is 'almost too loathsome
to be ridiculous,' and unfit 'for the leading part in a comedy of
ethics as well as of morals. '] The prodigality of elaboration lavished
on such a multitude of subordinate characters, at the expense of all
continuous interest and to the sacrifice of all dramatic harmony, may
tempt the reader to apostrophize the poet in his own words:
You are so covetous still to embrace
More than you can, that you lose all.
Yet a word of parting praise must be given to Satan: a small part as
far as extent goes, but a splendid example of high comic imagination
after the order of Aristophanes, admirably relieved by the low comedy
of the asinine Pug and the voluble doggrel by the antiquated Vice.
TEXT
EDITOR'S NOTE
The text here adopted is that of the original edition of 1631.
No changes of reading have been made; spelling, punctuation,
capitalization, and italics are reproduced. The original pagination
is inserted in brackets; the book-holder's marginal notes are inserted
where 1716 and Whalley placed them.
In a few instances modern type has
been substituted for archaic characters. The spacing of the contracted
words has been normalized.
1641 = Pamphlet folio of 1641.
1692 = The Third Folio, 1692.
1716 = Edition of 1716 (17).
W = Whalley's edition, 1756.
G = Gifford's edition, 1816.
SD. = Stage directions at the beginning of a scene.
SN. = Side note, or book-holder's note.
om. = omitted.
ret. = retained.
f.
