' came in later days to be
recognized
as the conventional cry of the
fiend upon making his entrance.
fiend upon making his entrance.
Ben Jonson - The Devil's Association
42 f.
]
[16] _Ibid. _, p. 67 f. ]
[17] In general the devil is more closely related to the
clown, and the Vice to the fool. In some cases, however, the devil
is to be identified with the fool, and the Vice with the clown.
2. _Jonson's Treatment of the Devil_
In the present play the devil-type is represented by the arch-fiend
Satan and his stupid subordinate, Pug. Of these two Satan received
more of the formal conventional elements of the older drama, while Pug
for the most part represents the later or clownish figure. As in the
morality-play Satan's chief function is the instruction of his emissary
of evil. In no scene does he come into contact with human beings, and
he is always jealously careful for the best interests of his state. In
addition Jonson employs one purely conventional attribute belonging to
the tradition of the church- and morality-plays. This is the cry of
'Ho, ho! ', with which Satan makes his entrance upon the stage in the
first scene. [18] Other expressions of emotion were also used, but 'Ho,
ho!
' came in later days to be recognized as the conventional cry of the
fiend upon making his entrance. [19]
How the character of Satan was to be represented is of course
impossible to determine. The devil in the pre-Shakespearian drama was
always a grotesque figure, often provided with the head of a beast and
a cow's tail. [20] In the presentation of Jonson's play the ancient
tradition was probably followed. Satan's speeches, however, are not
undignified, and too great grotesqueness of costume must have resulted
in considerable incongruity.
In the figure of Pug few of the formal elements of the
pre-Shakespearian devil are exhibited. He remains, of course, the
ostensible champion of evil, but is far surpassed by his earthly
associates, both in malice and in intellect. In personal appearance he
is brought by the assumption of the body and dress of a human being
into harmony with his environment. A single conventional episode,
with a reversal of the customary proceeding, is retained from the
morality-play. While Pug is languishing in prison, Iniquity appears,
Pug mounts upon his back, and is carried off to hell. Iniquity comments
upon it:
The Diuell was wont to carry away the euill;
But, now, the Euill out-carries the Diuell.
That the practice above referred to was a regular or even
a frequent feature of the morality-play has been disputed,
but the evidence seems fairly conclusive that it was common
in the later and more degenerate moralities. At any rate,
like the cry of 'Ho, ho! ' it had come to be looked upon
as part of the regular stock in trade, and this was enough
for Jonson's purpose. [21] This motive of the Vice riding the
devil had changed from a passive to an active comic part.
Instead of the devil's prey he had become in the eyes of
the spectators the devil's tormentor.
[16] _Ibid. _, p. 67 f. ]
[17] In general the devil is more closely related to the
clown, and the Vice to the fool. In some cases, however, the devil
is to be identified with the fool, and the Vice with the clown.
2. _Jonson's Treatment of the Devil_
In the present play the devil-type is represented by the arch-fiend
Satan and his stupid subordinate, Pug. Of these two Satan received
more of the formal conventional elements of the older drama, while Pug
for the most part represents the later or clownish figure. As in the
morality-play Satan's chief function is the instruction of his emissary
of evil. In no scene does he come into contact with human beings, and
he is always jealously careful for the best interests of his state. In
addition Jonson employs one purely conventional attribute belonging to
the tradition of the church- and morality-plays. This is the cry of
'Ho, ho! ', with which Satan makes his entrance upon the stage in the
first scene. [18] Other expressions of emotion were also used, but 'Ho,
ho!
' came in later days to be recognized as the conventional cry of the
fiend upon making his entrance. [19]
How the character of Satan was to be represented is of course
impossible to determine. The devil in the pre-Shakespearian drama was
always a grotesque figure, often provided with the head of a beast and
a cow's tail. [20] In the presentation of Jonson's play the ancient
tradition was probably followed. Satan's speeches, however, are not
undignified, and too great grotesqueness of costume must have resulted
in considerable incongruity.
In the figure of Pug few of the formal elements of the
pre-Shakespearian devil are exhibited. He remains, of course, the
ostensible champion of evil, but is far surpassed by his earthly
associates, both in malice and in intellect. In personal appearance he
is brought by the assumption of the body and dress of a human being
into harmony with his environment. A single conventional episode,
with a reversal of the customary proceeding, is retained from the
morality-play. While Pug is languishing in prison, Iniquity appears,
Pug mounts upon his back, and is carried off to hell. Iniquity comments
upon it:
The Diuell was wont to carry away the euill;
But, now, the Euill out-carries the Diuell.
That the practice above referred to was a regular or even
a frequent feature of the morality-play has been disputed,
but the evidence seems fairly conclusive that it was common
in the later and more degenerate moralities. At any rate,
like the cry of 'Ho, ho! ' it had come to be looked upon
as part of the regular stock in trade, and this was enough
for Jonson's purpose. [21] This motive of the Vice riding the
devil had changed from a passive to an active comic part.
Instead of the devil's prey he had become in the eyes of
the spectators the devil's tormentor.
