The fanciful motive of the infernal
visitant
to earth was found to
be of too slight texture for Jonson's sternly moral and satirical
purpose.
be of too slight texture for Jonson's sternly moral and satirical
purpose.
Ben Jonson - The Devil's Association
275, 302; Fleay, _Hist.
_ 190.
[10] _Roscius Anglicanus_, p. 8.
C. THE DEVIL IS AN ASS
Jonson's characteristic conception of comedy as a vehicle for the
study of 'humors' passed in _Every Man out of his Humor_ into
caricature, and in _Cynthia's Revels_ and _Poetaster_ into allegory.
The process was perfectly natural. In the humor study each character
is represented as absorbed by a single vice or folly. In the
allegorical treatment the abstraction is the starting-point, and the
human element the means of interpretation. Either type of drama, by
a shifting of emphasis, may readily pass over into the other. The
failure of _Cynthia's Revels_, in spite of the poet's arrogant boast
at its close, had an important effect upon his development, and the
plays of Jonson's middle period, from _Sejanus_ to _The Devil is an
Ass_, show more restraint in the handling of character, as well as
far greater care in construction. The figures are typical rather than
allegorical, and the plot in general centres about certain definite
objects of satire. Both plot and characterization are more closely
unified.
_The Devil is an Ass_ marks a return to the supernatural and
allegorical. The main action, however, belongs strictly to the type
of the later drama, especially as exemplified by _The Alchemist_.
The fanciful motive of the infernal visitant to earth was found to
be of too slight texture for Jonson's sternly moral and satirical
purpose. In the development of the drama it breaks down completely,
and is crowded out by the realistic plot. Thus what promised at first
to be the chief, and remains in some respects the happiest, motive
of the play comes in the final execution to be little better than
an inartistic and inharmonious excrescence. Yet Jonson's words to
Drummond seem to indicate that he still looked upon it as the real
kernel of the play. [11]
The action is thus easily divisible into two main lines; the
devil-plot, involving the fortunes of Satan, Pug and Iniquity, and
the satirical or main plot. This division is the more satisfactory,
since Satan and Iniquity are not once brought into contact with the
chief actors, while Pug's connection with them is wholly external,
and affects only his own fortunes. He is, as Herford has already
pointed out, merely 'the fly upon the engine-wheel, fortunate to
escape with a bruising' (_Studies_, p. 320). He forms, however, the
connecting link between the two plots, and his function in the drama
must be regarded from two different points of view, according as it
shares in the realistic or the supernatural element.
[11] 'A play of his, upon which he was accused, The Divell
is ane Ass; according to _Comedia Vetus_, in England the Divell
was brought in either with one Vice or other: the play done the Divel
caried away the Vice, he brings in the Divel so overcome with the
wickedness of this age that thought himself ane Ass. ? ? ? ? ? ?
[10] _Roscius Anglicanus_, p. 8.
C. THE DEVIL IS AN ASS
Jonson's characteristic conception of comedy as a vehicle for the
study of 'humors' passed in _Every Man out of his Humor_ into
caricature, and in _Cynthia's Revels_ and _Poetaster_ into allegory.
The process was perfectly natural. In the humor study each character
is represented as absorbed by a single vice or folly. In the
allegorical treatment the abstraction is the starting-point, and the
human element the means of interpretation. Either type of drama, by
a shifting of emphasis, may readily pass over into the other. The
failure of _Cynthia's Revels_, in spite of the poet's arrogant boast
at its close, had an important effect upon his development, and the
plays of Jonson's middle period, from _Sejanus_ to _The Devil is an
Ass_, show more restraint in the handling of character, as well as
far greater care in construction. The figures are typical rather than
allegorical, and the plot in general centres about certain definite
objects of satire. Both plot and characterization are more closely
unified.
_The Devil is an Ass_ marks a return to the supernatural and
allegorical. The main action, however, belongs strictly to the type
of the later drama, especially as exemplified by _The Alchemist_.
The fanciful motive of the infernal visitant to earth was found to
be of too slight texture for Jonson's sternly moral and satirical
purpose. In the development of the drama it breaks down completely,
and is crowded out by the realistic plot. Thus what promised at first
to be the chief, and remains in some respects the happiest, motive
of the play comes in the final execution to be little better than
an inartistic and inharmonious excrescence. Yet Jonson's words to
Drummond seem to indicate that he still looked upon it as the real
kernel of the play. [11]
The action is thus easily divisible into two main lines; the
devil-plot, involving the fortunes of Satan, Pug and Iniquity, and
the satirical or main plot. This division is the more satisfactory,
since Satan and Iniquity are not once brought into contact with the
chief actors, while Pug's connection with them is wholly external,
and affects only his own fortunes. He is, as Herford has already
pointed out, merely 'the fly upon the engine-wheel, fortunate to
escape with a bruising' (_Studies_, p. 320). He forms, however, the
connecting link between the two plots, and his function in the drama
must be regarded from two different points of view, according as it
shares in the realistic or the supernatural element.
[11] 'A play of his, upon which he was accused, The Divell
is ane Ass; according to _Comedia Vetus_, in England the Divell
was brought in either with one Vice or other: the play done the Divel
caried away the Vice, he brings in the Divel so overcome with the
wickedness of this age that thought himself ane Ass. ? ? ? ? ? ?
