No More Learning

Finally Belphegor's sensational disappearance through the
yawning earth comes somewhat nearer to Jonson than does
the Italian original. The English comedy seems, indeed,
to account adequately for all traces of the Belfagor story
to be found in Jonson's play.

[36] A paraphrase of _Belfagor_ occurs in the Conclusion of
Barnaby Riche's _Riche his Farewell to Militarie Profession_, 1581,
published for the Shakespeare Society by J. P. Collier, 1846. The
name is changed to Balthasar, but the main incidents are the same.

[37] Jonson refers to Machiavelli's political writings in
_Timber_ (ed. Schelling, p. 38).

[38] _Eng. Dram. Lit. _ 2. 606.


6.
_Summary_

It is certain that of the two leading ideas of Jonson's comedy, the
sending of a devil to earth with the object of corrupting men is
derived from the Rush legend. It is probable that the no less important
motive of a baffled devil, happy to make his return to hell, is due
either directly or indirectly to Machiavelli's influence. This motive,
as we have seen, was strengthened by a body of legend and by the
treatment of the devil in the morality play.


7. _The Figure of the Vice_

It is the figure of the Vice which makes Jonson's satire on the
out-of-date moralities most unmistakable. This character has been
the subject of much study and discussion, and there is to-day no
universally accepted theory as to his origin and development. In the
literature of Jonson's day the term Vice is almost equivalent to
harlequin. But whether this element of buffoonery is the fundamental
trait of the character, and that of intrigue is due to a confusion
in the meaning of the word, or whether the element of intrigue is
original, and that of buffoonery has taken its place by a process of
degeneration in the Vice himself, is still a disputed question.

The theory of Cushman and of Eckhardt is substantially the same,
and may be stated as follows. Whether or not the Vice be a direct
descendant of the devil, it is certain that he falls heir to his
predecessor's position in the drama, and that his development is
strongly influenced by that character. Originally, like the devil, he
represents the principle of evil and may be regarded as the summation
of the seven deadly sins. From the beginning, however, he possessed
more comic elements, much being ready made for him through the partial
degeneration of the devil, while the material of the moralities was
by no means so limited in scope as that of the mysteries. This comic
element, comparatively slight at first, soon began to be cultivated
intentionally, and gradually assumed the chief function, while the
allegorical element was largely displaced. In course of time the
transformation from the intriguer to the buffoon became complete. [39]
Moreover, the rapidity of the transformation was hastened by the
influence of the fool, a new dramatic figure of independent origin,
but the partial successor upon the stage of the Vice's comedy part. As
early as 1570 the union of fool and Vice is plainly visible.