Both show a
survival
of
a past interest, of which the dramatist himself realizes the obsolete
character.
a past interest, of which the dramatist himself realizes the obsolete
character.
Ben Jonson - The Devil's Association
Here Robin Goodfellow is a malicious
intriguer, whose nature, whether human or diabolical, is left somewhat
in doubt. His plans are completely frustrated, he is treated with
contempt, and is beaten by Fortunatus. The character was a favorite
with Jonson. In the masque of _The Satyr_, 1603,[22] that character
is addressed as Pug, which here seems evidently equivalent to Puck or
Robin Goodfellow. Similarly Thomas Heywood makes Kobald, Hobgoblin,
Robin Goodfellow, and Pug practically identical. [23] Butler, in the
_Hudibras_,[24] gives him the combination-title of good 'Pug-Robin'.
Jonson's character of Pug was certainly influenced in some degree both
by the popular and the literary conception of this 'lubber fiend'.
The theme of a stupid or outwitted devil occurred also both in ballad
literature[25] and in popular legend. Roskoff[26] places the change in
attitude toward the devil from a feeling of fear to one of superiority
at about the end of the eleventh century. The idea of a baffled devil
may have been partially due to the legends of the saints, where the
devil is constantly defeated, though he is seldom made to appear stupid
or ridiculous. The notion of a 'stupid devil' is not very common in
English, but occasionally appears. In the Virgilius legend the fiend
is cheated of his reward by stupidly putting himself into the physical
power of the wizard. In the Friar Bacon legend the necromancer delivers
an Oxford gentleman by a trick of sophistry. [27] In the story upon
which the drama of _The Merry Devil of Edmonton_ was founded, the devil
is not only cleverly outwitted, but appears weak and docile in his
indulgence of the wizard's plea for a temporary respite. It may be said
in passing, in spite of Herford's assertion to the contrary, that the
supernatural machinery in this play has considerably less connection
with the plot than in _The Devil is an Ass_.
Both show a survival of
a past interest, of which the dramatist himself realizes the obsolete
character.
[22] Cf. also _Love Restored_, 1610-11, and the
character of Puck Hairy in _The Sad Shepherd_.
[23] _Hierarchie of the Blessed Angels_ 9.
[24] Part 3. Cant. 1, l. 1415.
[25] Cf. _Devil in Britain and America_, ch. 2.
[26] _Geschichte des Teufels_ 1. 316, 395.
[27] Hazlitt, _Tales_, pp. 39, 83.
4.
intriguer, whose nature, whether human or diabolical, is left somewhat
in doubt. His plans are completely frustrated, he is treated with
contempt, and is beaten by Fortunatus. The character was a favorite
with Jonson. In the masque of _The Satyr_, 1603,[22] that character
is addressed as Pug, which here seems evidently equivalent to Puck or
Robin Goodfellow. Similarly Thomas Heywood makes Kobald, Hobgoblin,
Robin Goodfellow, and Pug practically identical. [23] Butler, in the
_Hudibras_,[24] gives him the combination-title of good 'Pug-Robin'.
Jonson's character of Pug was certainly influenced in some degree both
by the popular and the literary conception of this 'lubber fiend'.
The theme of a stupid or outwitted devil occurred also both in ballad
literature[25] and in popular legend. Roskoff[26] places the change in
attitude toward the devil from a feeling of fear to one of superiority
at about the end of the eleventh century. The idea of a baffled devil
may have been partially due to the legends of the saints, where the
devil is constantly defeated, though he is seldom made to appear stupid
or ridiculous. The notion of a 'stupid devil' is not very common in
English, but occasionally appears. In the Virgilius legend the fiend
is cheated of his reward by stupidly putting himself into the physical
power of the wizard. In the Friar Bacon legend the necromancer delivers
an Oxford gentleman by a trick of sophistry. [27] In the story upon
which the drama of _The Merry Devil of Edmonton_ was founded, the devil
is not only cleverly outwitted, but appears weak and docile in his
indulgence of the wizard's plea for a temporary respite. It may be said
in passing, in spite of Herford's assertion to the contrary, that the
supernatural machinery in this play has considerably less connection
with the plot than in _The Devil is an Ass_.
Both show a survival of
a past interest, of which the dramatist himself realizes the obsolete
character.
[22] Cf. also _Love Restored_, 1610-11, and the
character of Puck Hairy in _The Sad Shepherd_.
[23] _Hierarchie of the Blessed Angels_ 9.
[24] Part 3. Cant. 1, l. 1415.
[25] Cf. _Devil in Britain and America_, ch. 2.
[26] _Geschichte des Teufels_ 1. 316, 395.
[27] Hazlitt, _Tales_, pp. 39, 83.
4.
