Through him Jonson
passes censure upon the city gallant, the attendant at the theatre, the
victim of the prevalent superstitions, and even the pretended demoniac.
passes censure upon the city gallant, the attendant at the theatre, the
victim of the prevalent superstitions, and even the pretended demoniac.
Ben Jonson - The Devil's Association
Satan
and Iniquity discuss strong waters and tobacco, Whitechapel and
Billingsgate, with the utmost familiarity; even hell's 'most exquisite
tortures' are adapted in part from the homely proverbs of the people.
In the use of his sources three tendencies are especially noticeable:
the motivation of borrowed incidents; the adjusting of action on a
moral basis: the reworking of his own favorite themes and incidents.
[52] See Herford, p. 318.
1. _General Treatment of the Plot_
For the main plot we have no direct source. It represents, however,
Jonson's typical method. It has been pointed out[53] that the
characteristic Jonsonian comedy always consists of two groups, the
intriguers and the victims. In _The Devil is an Ass_ the most purely
comic motive of the play is furnished by a reversal of the usual
relation subsisting between these two groups. Here the devil, who was
wont to be looked upon as arch-intriguer, is constantly 'fooled off
and beaten', and thus takes his position as the comic butt. Pug, in a
sense, represents a satirical trend. Through him Jonson satirizes the
outgrown supernaturalism which still clung to the skirts of Jacobean
realism, and at the same time paints in lively colors the vice of a
society against which hell itself is powerless to contend. It is only,
however, in a general way, where the devil stands for a principle, that
Pug may be considered as in any degree satirical. In the particular
incident he is always a purely comic figure, and furnishes the mirth
which results from a sense of the incongruity between anticipation and
accomplishment.
Fitzdottrel, on the other hand, is mainly satirical.
Through him Jonson
passes censure upon the city gallant, the attendant at the theatre, the
victim of the prevalent superstitions, and even the pretended demoniac.
His dupery, as in the case of his bargain with Wittipol, excites
indignation rather than mirth, and his final discomfiture affords us
almost a sense of poetic justice. This character stands in the position
of chief victim.
In an intermediate position are Merecraft and Everill. They succeed in
swindling Fitzdottrel and Lady Tailbush, but are in turn played upon by
the chief intriguer, Wittipol, with his friend Manly. Jonson's moral
purpose is here plainly visible, especially in contrast to Plautus,
with whom the youthful intriguer is also the stock figure. The motive
of the young man's trickery in the Latin comedy is usually unworthy and
selfish. That of Wittipol, on the other hand, is wholly disinterested,
since he is represented as having already philosophically accepted the
rejection of his advances at the hands of Mrs. Fitzdottrel.
In construction the play suffers from overabundance of material.
Instead of a single main line of action, which is given clear
precedence, there is rather a succession of elaborated episodes,
carefully connected and motivated, but not properly subordinated. The
plot is coherent and intricate rather than unified. This is further
aggravated by the fact that the chief objects of satire are imperfectly
understood by readers of the present day.
Jonson observes unity of time, Pug coming to earth in
the morning and returning at midnight. With the exception
of the first scene, which is indeterminate, and seems at
one moment to be hell, and the next London, the action is
confined to the City, but hovers between Lincoln's Inn,
Newgate, and the house of Lady Tailbush. Unity of action
is of course broken by the interference of the devil-plot and
the episodic nature of the satirical plot.
and Iniquity discuss strong waters and tobacco, Whitechapel and
Billingsgate, with the utmost familiarity; even hell's 'most exquisite
tortures' are adapted in part from the homely proverbs of the people.
In the use of his sources three tendencies are especially noticeable:
the motivation of borrowed incidents; the adjusting of action on a
moral basis: the reworking of his own favorite themes and incidents.
[52] See Herford, p. 318.
1. _General Treatment of the Plot_
For the main plot we have no direct source. It represents, however,
Jonson's typical method. It has been pointed out[53] that the
characteristic Jonsonian comedy always consists of two groups, the
intriguers and the victims. In _The Devil is an Ass_ the most purely
comic motive of the play is furnished by a reversal of the usual
relation subsisting between these two groups. Here the devil, who was
wont to be looked upon as arch-intriguer, is constantly 'fooled off
and beaten', and thus takes his position as the comic butt. Pug, in a
sense, represents a satirical trend. Through him Jonson satirizes the
outgrown supernaturalism which still clung to the skirts of Jacobean
realism, and at the same time paints in lively colors the vice of a
society against which hell itself is powerless to contend. It is only,
however, in a general way, where the devil stands for a principle, that
Pug may be considered as in any degree satirical. In the particular
incident he is always a purely comic figure, and furnishes the mirth
which results from a sense of the incongruity between anticipation and
accomplishment.
Fitzdottrel, on the other hand, is mainly satirical.
Through him Jonson
passes censure upon the city gallant, the attendant at the theatre, the
victim of the prevalent superstitions, and even the pretended demoniac.
His dupery, as in the case of his bargain with Wittipol, excites
indignation rather than mirth, and his final discomfiture affords us
almost a sense of poetic justice. This character stands in the position
of chief victim.
In an intermediate position are Merecraft and Everill. They succeed in
swindling Fitzdottrel and Lady Tailbush, but are in turn played upon by
the chief intriguer, Wittipol, with his friend Manly. Jonson's moral
purpose is here plainly visible, especially in contrast to Plautus,
with whom the youthful intriguer is also the stock figure. The motive
of the young man's trickery in the Latin comedy is usually unworthy and
selfish. That of Wittipol, on the other hand, is wholly disinterested,
since he is represented as having already philosophically accepted the
rejection of his advances at the hands of Mrs. Fitzdottrel.
In construction the play suffers from overabundance of material.
Instead of a single main line of action, which is given clear
precedence, there is rather a succession of elaborated episodes,
carefully connected and motivated, but not properly subordinated. The
plot is coherent and intricate rather than unified. This is further
aggravated by the fact that the chief objects of satire are imperfectly
understood by readers of the present day.
Jonson observes unity of time, Pug coming to earth in
the morning and returning at midnight. With the exception
of the first scene, which is indeterminate, and seems at
one moment to be hell, and the next London, the action is
confined to the City, but hovers between Lincoln's Inn,
Newgate, and the house of Lady Tailbush. Unity of action
is of course broken by the interference of the devil-plot and
the episodic nature of the satirical plot.
