94), and some of the
lines quoted by Fitzdottrel in the last scene, the play is written
in blank verse throughout.
lines quoted by Fitzdottrel in the last scene, the play is written
in blank verse throughout.
Ben Jonson - The Devil's Association
It furnishes much comic material, and the characters of
Lady Tailbush and Lady Eitherside offer the poet the opportunity for
some of his cleverest touches in characterization and contrast. [54] The
scene, however, is introduced for incidental purposes, the satirization
of foreign fashions and the follies of London society, and is
overelaborated. The catalogue of cosmetics is an instance of Jonson's
intimate acquaintance with recondite knowledge standing in the way of
his art.
Merecraft's 'after game' in the fifth act is of the nature of an
appendix. The play might well have ended with the frustration of his
plan to get possession of the estate. This act is introduced chiefly
for the sake of a satire upon pretended demoniacs and witch-finders. It
also contains the conclusion of the devil-plot.
_The Devil is an Ass_ will always remain valuable as a historical
document, and as a record of Jonson's own attitude towards the abuses
of his times. In the treatment of Fitzdottrel and Merecraft among the
chief persons, and of Plutarchus Guilthead among the lesser, this
play belongs to Jonson's character-drama. [55] It does not, however,
belong to the pure humor-comedy. Like _The Alchemist_, and in marked
contrast to _Every Man out of his Humor_, interest is sought in plot
development. In the scene between Lady Tailbush and Lady Eitherside,
the play becomes a comedy of manners, and in its attack upon state
abuses it is semi-political in nature. Both Gifford and Swinburne have
observed the ethical treatment of the main motives.
With the exception of Prologue and Epilogue, the doggerel couplets
spoken by Iniquity, Wittipol's song (2. 6.
94), and some of the
lines quoted by Fitzdottrel in the last scene, the play is written
in blank verse throughout. Occasional lines of eight (2. 2. 122),
nine (2. 1. 1), twelve (1. 1. 33) or thirteen (1. 1. 113) syllables
are introduced. Most of these could easily be normalized by a slight
emendation or the slurring of a syllable in pronunciation. Many of
the lines, however, are rough and difficult of scansion. Most of the
dialogue is vigorous, though Wittipol's language is sometimes affected
and unnatural (cf. Act 1. Sc. 1).
Lady Tailbush and Lady Eitherside offer the poet the opportunity for
some of his cleverest touches in characterization and contrast. [54] The
scene, however, is introduced for incidental purposes, the satirization
of foreign fashions and the follies of London society, and is
overelaborated. The catalogue of cosmetics is an instance of Jonson's
intimate acquaintance with recondite knowledge standing in the way of
his art.
Merecraft's 'after game' in the fifth act is of the nature of an
appendix. The play might well have ended with the frustration of his
plan to get possession of the estate. This act is introduced chiefly
for the sake of a satire upon pretended demoniacs and witch-finders. It
also contains the conclusion of the devil-plot.
_The Devil is an Ass_ will always remain valuable as a historical
document, and as a record of Jonson's own attitude towards the abuses
of his times. In the treatment of Fitzdottrel and Merecraft among the
chief persons, and of Plutarchus Guilthead among the lesser, this
play belongs to Jonson's character-drama. [55] It does not, however,
belong to the pure humor-comedy. Like _The Alchemist_, and in marked
contrast to _Every Man out of his Humor_, interest is sought in plot
development. In the scene between Lady Tailbush and Lady Eitherside,
the play becomes a comedy of manners, and in its attack upon state
abuses it is semi-political in nature. Both Gifford and Swinburne have
observed the ethical treatment of the main motives.
With the exception of Prologue and Epilogue, the doggerel couplets
spoken by Iniquity, Wittipol's song (2. 6.
94), and some of the
lines quoted by Fitzdottrel in the last scene, the play is written
in blank verse throughout. Occasional lines of eight (2. 2. 122),
nine (2. 1. 1), twelve (1. 1. 33) or thirteen (1. 1. 113) syllables
are introduced. Most of these could easily be normalized by a slight
emendation or the slurring of a syllable in pronunciation. Many of
the lines, however, are rough and difficult of scansion. Most of the
dialogue is vigorous, though Wittipol's language is sometimes affected
and unnatural (cf. Act 1. Sc. 1).
