[14] Count
Baudissin
translated two of Jonson's comedies into German,
_The Alchemist_ and _The Devil is an Ass_ (_Der Dumme Teufel_).
_The Alchemist_ and _The Devil is an Ass_ (_Der Dumme Teufel_).
Ben Jonson - The Devil's Association
The
connection with Machiavelli's novella of _Belfagor_ was pointed out
by Count Baudissin,[14] _Ben Jonson und seine Schule_, Leipzig 1836,
and has been worked out exhaustively by Dr. E. Hollstein in a Halle
dissertation, 1901. Dr. C. H. Herford, however, had already suggested
that the chief source of the devil-plot was to be found in the legend
of Friar Rush.
[12] _Wks. _ 3. 158.
[13] _Wks. _ 5. 105 f. Cf. also Shirley, Prologue to _The Doubtful Heir_.
[14] Count Baudissin translated two of Jonson's comedies into German,
_The Alchemist_ and _The Devil is an Ass_ (_Der Dumme Teufel_).
1. _The Devil in the pre-Shakespearian Drama_
The sources for the conception of the devil in the mediaeval drama
are to be sought in a large body of non-dramatic literature. In this
literature the devil was conceived of as a fallen angel, the enemy of
God and his hierarchy, and the champion of evil. As such he makes his
appearance in the mystery-plays. The mysteries derived their subjects
from Bible history, showed comparatively little pliancy, and dealt
always with serious themes. In them the devil is with few exceptions a
serious figure. Occasionally, however, even at this early date, comedy
and satire find place. The most prominent example is the figure of
Titivillus in the Towneley cycle.
In the early moralities the devil is still of primary importance, and
is always serious. But as the Vice became a more and more prominent
figure, the devil became less and less so, and in the later drama his
part is always subordinate. The play of _Nature_ (c. 1500) is the first
morality without a devil. Out of fifteen moralities of later date
tabulated by Cushman, only four are provided with this character.
The degeneration of the devil as a dramatic figure was inevitable. His
grotesque appearance, at first calculated to inspire terror, by its
very exaggeration produced, when once familiar, a wholly comic effect.
connection with Machiavelli's novella of _Belfagor_ was pointed out
by Count Baudissin,[14] _Ben Jonson und seine Schule_, Leipzig 1836,
and has been worked out exhaustively by Dr. E. Hollstein in a Halle
dissertation, 1901. Dr. C. H. Herford, however, had already suggested
that the chief source of the devil-plot was to be found in the legend
of Friar Rush.
[12] _Wks. _ 3. 158.
[13] _Wks. _ 5. 105 f. Cf. also Shirley, Prologue to _The Doubtful Heir_.
[14] Count Baudissin translated two of Jonson's comedies into German,
_The Alchemist_ and _The Devil is an Ass_ (_Der Dumme Teufel_).
1. _The Devil in the pre-Shakespearian Drama_
The sources for the conception of the devil in the mediaeval drama
are to be sought in a large body of non-dramatic literature. In this
literature the devil was conceived of as a fallen angel, the enemy of
God and his hierarchy, and the champion of evil. As such he makes his
appearance in the mystery-plays. The mysteries derived their subjects
from Bible history, showed comparatively little pliancy, and dealt
always with serious themes. In them the devil is with few exceptions a
serious figure. Occasionally, however, even at this early date, comedy
and satire find place. The most prominent example is the figure of
Titivillus in the Towneley cycle.
In the early moralities the devil is still of primary importance, and
is always serious. But as the Vice became a more and more prominent
figure, the devil became less and less so, and in the later drama his
part is always subordinate. The play of _Nature_ (c. 1500) is the first
morality without a devil. Out of fifteen moralities of later date
tabulated by Cushman, only four are provided with this character.
The degeneration of the devil as a dramatic figure was inevitable. His
grotesque appearance, at first calculated to inspire terror, by its
very exaggeration produced, when once familiar, a wholly comic effect.
