No More Learning

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. Jonson may be looked
upon as reverting, perhaps unconsciously, to the original
and truer conception.

In other respects Pug exhibits only the characteristics of the
inheritor of the devil's comedy part, the butt or clown. As we have
seen, one of the chief sources, as well as one of the constant modes
of manifestation, of this figure was the servant or man of low social
rank. Pug, too, on coming to earth immediately attaches himself to
Fitzdottrel as a servant, and throughout his brief sojourn on earth he
continues to exhibit the wonted stupidity and clumsy uncouthness of
the clown. He appears, to be sure, in a fine suit of clothes, but he
soon shows himself unfit for the position of gentleman-usher, and his
stupidity appears at every turn. The important element in the clown's
comedy part, of a contrast between intention and accomplishment,
is of course exactly the sort of fun inspired by Pug's repeated
discomfiture. With the clown it often takes the form of blunders
in speech, and his desire to appear fine and say the correct thing
frequently leads him into gross absurdities. This is brought out with
broad humor in 4. 4.
219, where Pug, on being catechized as to what
he should consider 'the height of his employment', stumbles upon the
unfortunate suggestion: 'To find out a good _Corne-cutter_'. His
receiving blows at the hand of his master further distinguishes him
as a clown. The investing of Pug with such attributes was, as we have
seen, no startling innovation on Jonson's part. Moreover, it fell
into line with his purpose in this play, and was the more acceptable
since it allowed him to make use of the methods of realism instead
of forcing him to draw a purely conventional figure. Pug, of course,
even in his character of clown, is not the unrelated stock-figure,
introduced merely for the sake of inconsequent comic dialogue and rough
horse-play. His part is important and definite, though not sufficiently
developed.

[18] In the Digby group of miracle-plays roaring by the devil is a
prominent feature. Stage directions in _Paul_ provide for 'cryeing
and rorying' and Belial enters with the cry, 'Ho, ho, behold me'.
Among the moralities _The Disobedient Child_ may be mentioned.

[19] So in _Gammer Gurton's Needle_, c 1562, we read: 'But
Diccon, Diccon, did not the devil cry ho, ho, ho? ' Cf. also the
translation of Goulart's Histories, 1607 (quoted by Sharp, p. 59):
'The fellow--coming to the stove--sawe the Diuills in horrible
formes, some sitting, some standing, others walking, some ramping
against the walles, but al of them, assoone as they beheld him,
crying Hoh, hoh, what makest thou here? '

[20] Cf. the words of Robin Goodfellow in _Wily Beguiled_
(_O. Pl.