His high-handed conduct
soon became unpopular, but he continued in favor with Villiers and
James, and his disgrace did not come until 1621.
soon became unpopular, but he continued in favor with Villiers and
James, and his disgrace did not come until 1621.
Ben Jonson - The Devil's Association
Nor are these merely
class-traits. They are distinctly the faults which marred Coke's career
from the beginning. It is certain that Coke is partially responsible
for this portraiture. Overbury was a personal friend of the poet, and
the trial, begun in the previous year, had extended into 1616. Jonson
must have followed it eagerly. On the other hand, it is improbable that
the picture was aimed exclusively at Coke. He merely furnished traits
for a typical and not uncommon character. As we have seen, it is in
line with Jonson's usual practise to confine personal satire to the
lesser characters.
=Merecraft. = Fleay's identification with Sir Giles Mompesson has very
little to commend it. Mompesson was connected by marriage with James
I. 's powerful favorite, George Villiers, later Duke of Buckingham. In
1616 he suggested to Villiers the creation of a special commission for
the purpose of granting licenses to keepers of inns and ale-houses.
The suggestion was adopted by Villiers; Mompesson was appointed to the
Commission in October, 1616, and knighted on November 18 of that year.
The patent was not sealed until March, 1617.
His high-handed conduct
soon became unpopular, but he continued in favor with Villiers and
James, and his disgrace did not come until 1621.
It will readily be seen that Mompesson's position and career conform
in no particular to those of Merecraft in the present play. Mompesson
was a knight, a friend of the king's favorite, and in favor with
the king. Merecraft is a mere needy adventurer without influence at
court, and the associate of ruffians, who frequent the 'Straits' and
the 'Bermudas'. Mompesson was himself the recipient of a patent (see
section III. 2). Merecraft is merely the projector who devises clever
projects for more powerful patrons. Mompesson's project bears no
resemblance to those suggested by Merecraft, and he could hardly have
attracted any popular dislike at the time when _The Devil is an Ass_
was presented, since, as we have seen, his patent was not even sealed
until the following year. Finally, Jonson would hardly have attacked a
man who stood so high at court as did Mompesson in 1616.
It is evident that Jonson had particularly in mind those projectors
whose object it was to drain the fens of Lincolnshire. The attempts, as
we have seen, were numerous, and it is highly improbable that Jonson
wished to satirize any one of them more severely than another. In a
single passage, however, it seems possible that Sir John Popham (see
page lx) is referred to. In Act 4. Sc. 1 Merecraft speaks of a Sir John
Monie-man as a projector who was able to 'jump a business quickly'
because 'he had great friends'. That Popham is referred to seems not
unlikely from the fact that he was the most important personage who
had embarked upon an enterprise of this sort, that his scheme was one
of the earliest, that he was not a strict contemporary (d.
class-traits. They are distinctly the faults which marred Coke's career
from the beginning. It is certain that Coke is partially responsible
for this portraiture. Overbury was a personal friend of the poet, and
the trial, begun in the previous year, had extended into 1616. Jonson
must have followed it eagerly. On the other hand, it is improbable that
the picture was aimed exclusively at Coke. He merely furnished traits
for a typical and not uncommon character. As we have seen, it is in
line with Jonson's usual practise to confine personal satire to the
lesser characters.
=Merecraft. = Fleay's identification with Sir Giles Mompesson has very
little to commend it. Mompesson was connected by marriage with James
I. 's powerful favorite, George Villiers, later Duke of Buckingham. In
1616 he suggested to Villiers the creation of a special commission for
the purpose of granting licenses to keepers of inns and ale-houses.
The suggestion was adopted by Villiers; Mompesson was appointed to the
Commission in October, 1616, and knighted on November 18 of that year.
The patent was not sealed until March, 1617.
His high-handed conduct
soon became unpopular, but he continued in favor with Villiers and
James, and his disgrace did not come until 1621.
It will readily be seen that Mompesson's position and career conform
in no particular to those of Merecraft in the present play. Mompesson
was a knight, a friend of the king's favorite, and in favor with
the king. Merecraft is a mere needy adventurer without influence at
court, and the associate of ruffians, who frequent the 'Straits' and
the 'Bermudas'. Mompesson was himself the recipient of a patent (see
section III. 2). Merecraft is merely the projector who devises clever
projects for more powerful patrons. Mompesson's project bears no
resemblance to those suggested by Merecraft, and he could hardly have
attracted any popular dislike at the time when _The Devil is an Ass_
was presented, since, as we have seen, his patent was not even sealed
until the following year. Finally, Jonson would hardly have attacked a
man who stood so high at court as did Mompesson in 1616.
It is evident that Jonson had particularly in mind those projectors
whose object it was to drain the fens of Lincolnshire. The attempts, as
we have seen, were numerous, and it is highly improbable that Jonson
wished to satirize any one of them more severely than another. In a
single passage, however, it seems possible that Sir John Popham (see
page lx) is referred to. In Act 4. Sc. 1 Merecraft speaks of a Sir John
Monie-man as a projector who was able to 'jump a business quickly'
because 'he had great friends'. That Popham is referred to seems not
unlikely from the fact that he was the most important personage who
had embarked upon an enterprise of this sort, that his scheme was one
of the earliest, that he was not a strict contemporary (d.
