In
the latter he reverses the usual process and carries away the devil to
hell.
the latter he reverses the usual process and carries away the devil to
hell.
Ben Jonson - The Devil's Association
The character of Iniquity, though fully identified with the
buffoon of the later plays, is nevertheless closely connected in the
author's mind with the intriguer of the old moralities. This is clear
above all from the use of the name Iniquity, from his association with
the devil, and from Pug's desire to use him as a means of corrupting
his playfellows. Thus, consciously or unconsciously on Jonson's part,
Iniquity presents in epitome the history of the Vice.
His very name, as we have said, links him with the morality-play. In
fact, all the Vices suggested, Iniquity, Fraud, Covetousness, and Lady
Vanity, are taken from the moralities. The choice of Iniquity was
not without meaning, and was doubtless due to its more general and
inclusive significance. In Shakespeare's time Vice and Iniquity seem
to have been synonymous terms (see Schmidt), from which it has been
inferred that Iniquity was the Vice in many lost moralities. [48]
Of the original Vice-traits Iniquity lays vigorous claim to that of the
corrupter of man. Pug desires a Vice that he may 'practice there-with
any play-fellow', and Iniquity comes upon the stage with voluble
promises to teach his pupil to 'cheat, lie, cog and swagger'. He offers
also to lead him into all the disreputable precincts of the city.
Iniquity appears in only two scenes, Act 1. Sc. 1 and Act 5. Sc. 6.
In
the latter he reverses the usual process and carries away the devil to
hell. This point has already been discussed (p. xxiv).
Aside from these two particulars, Iniquity is far nearer to the fool
than to the original Vice. As he comes skipping upon the stage in the
first scene, reciting his galloping doggerel couplets, we see plainly
that the element of buffoonery is uppermost in Jonson's mind. Further
evidence may be derived from the particularity with which Iniquity
describes the costume which he promises to Pug, and which we are
doubtless to understand as descriptive of his own. Attention should
be directed especially to the wooden dagger, the long cloak, and the
slouch hat. Cushman says (p. 125): 'The vice enjoys the greatest
freedom in the matter of dress; he is not confined to any stereotyped
costume; . . . the opinion that he is always or usually dressed in a
fool's costume has absolutely no justification'. The wooden dagger, a
relic of the Roman stage,[49] is the most frequently mentioned article
of equipment. It is first found (1553-8) as part of the apparel of Jack
Juggler in a print illustrating that play, reproduced by Dodsley. It is
also mentioned in _Like Will to Like_, _Hickescorner_, _King Darius_,
etc. The wooden dagger was borrowed, however, from the fool's costume,
and is an indication of the growing identification of the Vice with
the house-fool.
buffoon of the later plays, is nevertheless closely connected in the
author's mind with the intriguer of the old moralities. This is clear
above all from the use of the name Iniquity, from his association with
the devil, and from Pug's desire to use him as a means of corrupting
his playfellows. Thus, consciously or unconsciously on Jonson's part,
Iniquity presents in epitome the history of the Vice.
His very name, as we have said, links him with the morality-play. In
fact, all the Vices suggested, Iniquity, Fraud, Covetousness, and Lady
Vanity, are taken from the moralities. The choice of Iniquity was
not without meaning, and was doubtless due to its more general and
inclusive significance. In Shakespeare's time Vice and Iniquity seem
to have been synonymous terms (see Schmidt), from which it has been
inferred that Iniquity was the Vice in many lost moralities. [48]
Of the original Vice-traits Iniquity lays vigorous claim to that of the
corrupter of man. Pug desires a Vice that he may 'practice there-with
any play-fellow', and Iniquity comes upon the stage with voluble
promises to teach his pupil to 'cheat, lie, cog and swagger'. He offers
also to lead him into all the disreputable precincts of the city.
Iniquity appears in only two scenes, Act 1. Sc. 1 and Act 5. Sc. 6.
In
the latter he reverses the usual process and carries away the devil to
hell. This point has already been discussed (p. xxiv).
Aside from these two particulars, Iniquity is far nearer to the fool
than to the original Vice. As he comes skipping upon the stage in the
first scene, reciting his galloping doggerel couplets, we see plainly
that the element of buffoonery is uppermost in Jonson's mind. Further
evidence may be derived from the particularity with which Iniquity
describes the costume which he promises to Pug, and which we are
doubtless to understand as descriptive of his own. Attention should
be directed especially to the wooden dagger, the long cloak, and the
slouch hat. Cushman says (p. 125): 'The vice enjoys the greatest
freedom in the matter of dress; he is not confined to any stereotyped
costume; . . . the opinion that he is always or usually dressed in a
fool's costume has absolutely no justification'. The wooden dagger, a
relic of the Roman stage,[49] is the most frequently mentioned article
of equipment. It is first found (1553-8) as part of the apparel of Jack
Juggler in a print illustrating that play, reproduced by Dodsley. It is
also mentioned in _Like Will to Like_, _Hickescorner_, _King Darius_,
etc. The wooden dagger was borrowed, however, from the fool's costume,
and is an indication of the growing identification of the Vice with
the house-fool.
