The comedy
is at the same time full of humor, particularly in the entire character
of Fitzdottrel.
is at the same time full of humor, particularly in the entire character
of Fitzdottrel.
Ben Jonson - The Devil's Association
Pug, the
hero of the adventure, is a pretty, petulant boy, more human by many
degrees than the half fairy Puck of Shakespeare, which doubtless helped
to suggest him, and the arch-fiend Satan is a bluff old politician,
anxious to ward off the perils of London from his young simpleton of a
son, who is equally eager to plunge into them. The old savage horror
fades away before Jonson's humanising touch, the infernal world loses
all its privilege of peculiar terror and strength, and sinks to the
footing of a mere rival state, whose merchandise can be kept out of the
market and its citizens put in the Counter or carted to Tyburn.
A. W. WARD (_Eng. Dram. Lit. _, pp. 372-3): The oddly-named comedy
of _The Devil is an Ass_, acted in 1616, seems already to exhibit a
certain degree of decay in the dramatic powers which had so signally
called forth its predecessor. Yet this comedy possesses a considerable
literary interest, as adapting both to Jonson's dramatic method, and
to the general moral atmosphere of his age, a theme connecting itself
with some of the most notable creations of the earlier Elizabethan
drama. . . . The idea of the play is as healthy as its plot is ingenious;
but apart from the circumstance that the latter is rather slow in
preparation, and by no means, I think, gains in perspicuousness as it
proceeds, the design itself suffers from one radical mistake. Pug's
intelligence is so much below par that he suffers as largely on account
of his clumsiness as on account of his viciousness, while remaining
absolutely without influence upon the course of the action.
The comedy
is at the same time full of humor, particularly in the entire character
of Fitzdottrel.
SWINBURNE (_Study of Ben Jonson_, pp. 65-7): If _The Devil is an Ass_
cannot be ranked among the crowning masterpieces of its author, it is
not because the play shows any sign of decadence in literary power or
in humorous invention. The writing is admirable, the wealth of comic
matter is only too copious, the characters are as firm in outline or as
rich in color as any but the most triumphant examples of his satirical
or sympathetic skill in finished delineation and demarcation of humors.
On the other hand, it is of all Ben Jonson's comedies since the date
of _Cynthia's Revels_ the most obsolete in subject of satire, the most
temporary in its allusions and applications: the want of fusion or even
connection (except of the most mechanical or casual kind) between the
various parts of its structure and the alternate topics of its ridicule
makes the action more difficult to follow than that of many more
complicated plots: and, finally, the admixture of serious sentiment and
noble emotion is not so skilfully managed as to evade the imputation of
incongruity. [The dialogue between Lady Tailbush and Lady Eitherside
in Act 4. Sc. 1 has some touches 'worthy of Moliere himself. ' In Act
4. Sc. 3 Mrs. Fitzdottrel's speech possesses a 'a noble and natural
eloquence,' but the character of her husband is 'almost too loathsome
to be ridiculous,' and unfit 'for the leading part in a comedy of
ethics as well as of morals. '] The prodigality of elaboration lavished
on such a multitude of subordinate characters, at the expense of all
continuous interest and to the sacrifice of all dramatic harmony, may
tempt the reader to apostrophize the poet in his own words:
You are so covetous still to embrace
More than you can, that you lose all.
Yet a word of parting praise must be given to Satan: a small part as
far as extent goes, but a splendid example of high comic imagination
after the order of Aristophanes, admirably relieved by the low comedy
of the asinine Pug and the voluble doggrel by the antiquated Vice.
TEXT
EDITOR'S NOTE
The text here adopted is that of the original edition of 1631.
No changes of reading have been made; spelling, punctuation,
capitalization, and italics are reproduced.
hero of the adventure, is a pretty, petulant boy, more human by many
degrees than the half fairy Puck of Shakespeare, which doubtless helped
to suggest him, and the arch-fiend Satan is a bluff old politician,
anxious to ward off the perils of London from his young simpleton of a
son, who is equally eager to plunge into them. The old savage horror
fades away before Jonson's humanising touch, the infernal world loses
all its privilege of peculiar terror and strength, and sinks to the
footing of a mere rival state, whose merchandise can be kept out of the
market and its citizens put in the Counter or carted to Tyburn.
A. W. WARD (_Eng. Dram. Lit. _, pp. 372-3): The oddly-named comedy
of _The Devil is an Ass_, acted in 1616, seems already to exhibit a
certain degree of decay in the dramatic powers which had so signally
called forth its predecessor. Yet this comedy possesses a considerable
literary interest, as adapting both to Jonson's dramatic method, and
to the general moral atmosphere of his age, a theme connecting itself
with some of the most notable creations of the earlier Elizabethan
drama. . . . The idea of the play is as healthy as its plot is ingenious;
but apart from the circumstance that the latter is rather slow in
preparation, and by no means, I think, gains in perspicuousness as it
proceeds, the design itself suffers from one radical mistake. Pug's
intelligence is so much below par that he suffers as largely on account
of his clumsiness as on account of his viciousness, while remaining
absolutely without influence upon the course of the action.
The comedy
is at the same time full of humor, particularly in the entire character
of Fitzdottrel.
SWINBURNE (_Study of Ben Jonson_, pp. 65-7): If _The Devil is an Ass_
cannot be ranked among the crowning masterpieces of its author, it is
not because the play shows any sign of decadence in literary power or
in humorous invention. The writing is admirable, the wealth of comic
matter is only too copious, the characters are as firm in outline or as
rich in color as any but the most triumphant examples of his satirical
or sympathetic skill in finished delineation and demarcation of humors.
On the other hand, it is of all Ben Jonson's comedies since the date
of _Cynthia's Revels_ the most obsolete in subject of satire, the most
temporary in its allusions and applications: the want of fusion or even
connection (except of the most mechanical or casual kind) between the
various parts of its structure and the alternate topics of its ridicule
makes the action more difficult to follow than that of many more
complicated plots: and, finally, the admixture of serious sentiment and
noble emotion is not so skilfully managed as to evade the imputation of
incongruity. [The dialogue between Lady Tailbush and Lady Eitherside
in Act 4. Sc. 1 has some touches 'worthy of Moliere himself. ' In Act
4. Sc. 3 Mrs. Fitzdottrel's speech possesses a 'a noble and natural
eloquence,' but the character of her husband is 'almost too loathsome
to be ridiculous,' and unfit 'for the leading part in a comedy of
ethics as well as of morals. '] The prodigality of elaboration lavished
on such a multitude of subordinate characters, at the expense of all
continuous interest and to the sacrifice of all dramatic harmony, may
tempt the reader to apostrophize the poet in his own words:
You are so covetous still to embrace
More than you can, that you lose all.
Yet a word of parting praise must be given to Satan: a small part as
far as extent goes, but a splendid example of high comic imagination
after the order of Aristophanes, admirably relieved by the low comedy
of the asinine Pug and the voluble doggrel by the antiquated Vice.
TEXT
EDITOR'S NOTE
The text here adopted is that of the original edition of 1631.
No changes of reading have been made; spelling, punctuation,
capitalization, and italics are reproduced.
