46:
Purest lips, soft banks of blisses,
Self alone deserving kisses.
Purest lips, soft banks of blisses,
Self alone deserving kisses.
Ben Jonson - The Devil's Association
Buckingham's father was Sir George Villiers of Brooksby in
Leicestershire. He was not himself raised to the nobility until August
27, 1616, when he was created Viscount Villiers and Baron Waddon. It
was not until January 5, 1617 (not 1616, as Cunningham says), that he
became Earl of Buckingham, and it is unlikely that before this time
any allusion to Villiers' aspiration to a dukedom would have been
intelligible to Jonson's audience.
Fleay's theory that the 'noble house' was that of Stuart may be
accepted provisionally. Lodowick was made Earl of Richmond in 1613, and
Duke in 1623. He was acceptable to king and people, and in this very
year was made steward of the household.
[86] See Dedication to _The Fox_, Second Prologue to _The Silent
Woman_, Induction to _Bartholomew Fair_, _Staple of News_
(Second Intermean), _Magnetic Lady_ (Second Intermean).
[87] See the note prefixed to _Staple of News_, Act 3, and
the second Prologue for _The Silent Woman_.
[88] _Ev. Man in. _
[89] _Case is Altered. _
[90] _Staple of News. _
[91] Dedication to _The Fox_.
[92] The passage from the _Gipsies_ especially finds a close parallel
in the fragment of a song in Marston's _Dutch Courtezan_, 1605, _Wks. _
2.
46:
Purest lips, soft banks of blisses,
Self alone deserving kisses.
Are not these lines from Jonson's hand? This was the year of his
collaboration with Marston in _Eastward Ho_.
D. AFTER-INFLUENCE OF THE DEVIL IS AN ASS
A few instances of the subsequent rehandling of certain motives in
this play are too striking to be completely overlooked. John Wilson,
1627-c 1696, a faithful student and close imitator of Jonson, produced
in 1690 a drama called _Belphegor_, or _The Marriage of the Devil,
a Tragi-comedy_. While it is founded on the English translation of
Machiavelli's novella, which appeared in 1674, and closely adheres
to the lines of the original, it shows clear evidence of Jonson's
influence. The subject has been fully investigated by Hollstein (cf.
_Verhaltnis_, pp. 22-24, 28-30, 35, 43, 50).
_The Cheats_, 1662, apparently refers to _The Devil is an Ass_ in
the _Prologue_. The characters of Bilboe and Titere Tu belong to the
same class of low bullies as Merecraft and Everill, but the evident
prototypes of these characters are Subtle and Face in _The Alchemist_.
A third play of Wilson's, _The Projectors_, 1664, shows unmistakable
influence of _The Devil is an Ass_. The chief object of satire is
of course the same, and the character of Sir Gudgeon Credulous is
modeled after that of Fitzdottrel. The scenes in which the projects are
explained, 2. 1 and 3.
Leicestershire. He was not himself raised to the nobility until August
27, 1616, when he was created Viscount Villiers and Baron Waddon. It
was not until January 5, 1617 (not 1616, as Cunningham says), that he
became Earl of Buckingham, and it is unlikely that before this time
any allusion to Villiers' aspiration to a dukedom would have been
intelligible to Jonson's audience.
Fleay's theory that the 'noble house' was that of Stuart may be
accepted provisionally. Lodowick was made Earl of Richmond in 1613, and
Duke in 1623. He was acceptable to king and people, and in this very
year was made steward of the household.
[86] See Dedication to _The Fox_, Second Prologue to _The Silent
Woman_, Induction to _Bartholomew Fair_, _Staple of News_
(Second Intermean), _Magnetic Lady_ (Second Intermean).
[87] See the note prefixed to _Staple of News_, Act 3, and
the second Prologue for _The Silent Woman_.
[88] _Ev. Man in. _
[89] _Case is Altered. _
[90] _Staple of News. _
[91] Dedication to _The Fox_.
[92] The passage from the _Gipsies_ especially finds a close parallel
in the fragment of a song in Marston's _Dutch Courtezan_, 1605, _Wks. _
2.
46:
Purest lips, soft banks of blisses,
Self alone deserving kisses.
Are not these lines from Jonson's hand? This was the year of his
collaboration with Marston in _Eastward Ho_.
D. AFTER-INFLUENCE OF THE DEVIL IS AN ASS
A few instances of the subsequent rehandling of certain motives in
this play are too striking to be completely overlooked. John Wilson,
1627-c 1696, a faithful student and close imitator of Jonson, produced
in 1690 a drama called _Belphegor_, or _The Marriage of the Devil,
a Tragi-comedy_. While it is founded on the English translation of
Machiavelli's novella, which appeared in 1674, and closely adheres
to the lines of the original, it shows clear evidence of Jonson's
influence. The subject has been fully investigated by Hollstein (cf.
_Verhaltnis_, pp. 22-24, 28-30, 35, 43, 50).
_The Cheats_, 1662, apparently refers to _The Devil is an Ass_ in
the _Prologue_. The characters of Bilboe and Titere Tu belong to the
same class of low bullies as Merecraft and Everill, but the evident
prototypes of these characters are Subtle and Face in _The Alchemist_.
A third play of Wilson's, _The Projectors_, 1664, shows unmistakable
influence of _The Devil is an Ass_. The chief object of satire is
of course the same, and the character of Sir Gudgeon Credulous is
modeled after that of Fitzdottrel. The scenes in which the projects are
explained, 2. 1 and 3.
