The
character
was a favorite
with Jonson.
with Jonson.
Ben Jonson - The Devil's Association
Moreover the motive of the
devil as an animal for riding is not infrequent. In the _Castle of
Perseverance_ the devil carries away the hero, Humanum Genus. The
motive appears also in Greene's _Friar Bacon and Friar Bungay_ and
Lodge and Greene's _Looking Glass for London and England_, and
especially in _Histriomastix_, where the Vice rides a roaring devil
(Eckhardt, pp. 86 f. ). We have also another bit of evidence from
Jonson himself. In _The Staple of News_ Mirth relates her reminiscences
of the old comedy. In speaking of the devil she says: 'He
would carry away the Vice on his back quick to hell in every play'.
3. _The Influence of Robin Goodfellow and of Popular Legend_
A constant element of the popular demonology was the belief in the
kobold or elfish sprite. This figure appears in the mysteries in
the shape of Titivillus, but is not found in the moralities. Robin
Goodfellow, however, makes his appearance in at least three comedies,
_Midsummer Night's Dream_, 1593-4, _Grim, the Collier of Croyden_,
c 1600, and _Wily Beguiled_, 1606. The last of these especially
approaches Jonson's conception. 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_.
devil as an animal for riding is not infrequent. In the _Castle of
Perseverance_ the devil carries away the hero, Humanum Genus. The
motive appears also in Greene's _Friar Bacon and Friar Bungay_ and
Lodge and Greene's _Looking Glass for London and England_, and
especially in _Histriomastix_, where the Vice rides a roaring devil
(Eckhardt, pp. 86 f. ). We have also another bit of evidence from
Jonson himself. In _The Staple of News_ Mirth relates her reminiscences
of the old comedy. In speaking of the devil she says: 'He
would carry away the Vice on his back quick to hell in every play'.
3. _The Influence of Robin Goodfellow and of Popular Legend_
A constant element of the popular demonology was the belief in the
kobold or elfish sprite. This figure appears in the mysteries in
the shape of Titivillus, but is not found in the moralities. Robin
Goodfellow, however, makes his appearance in at least three comedies,
_Midsummer Night's Dream_, 1593-4, _Grim, the Collier of Croyden_,
c 1600, and _Wily Beguiled_, 1606. The last of these especially
approaches Jonson's conception. 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_.
