The
substance
of the story is this.
Ben Jonson - The Devil's Association
The
song already referred to possesses delicacy and some beauty of imagery,
but lacks Jonson's customary polish and smoothness.
As a work of art the play must rely chiefly upon the vigor of its
satiric dialogue and the cleverness of its character sketches. It lacks
the chief excellences of construction--unity of interest, subordination
of detail, steady and uninterrupted development, and prompt conclusion.
[53] Woodbridge, _Studies_, p. 33.
[54] Contrasted companion-characters are a favorite device with
Jonson. Compare Corvino, Corbaccio, and Voltore in _The Fox_, Ananias
and Tribulation Wholesome in _The Alchemist_, etc.
[55] It should be noticed that in the case of Merecraft the method
employed is the caricature of a profession, as well as the exposition
of personality.
2. _Chief Sources of the Plot_
The first source to be pointed out was that of Act 1. Sc. 4-6. [56]
This was again noticed by Koeppel, who mentions one of the
word-for-word borrowings, and points out the moralistic tendency in
Jonson's treatment of the husband, and his rejection of the Italian
story's licentious conclusion. [57] The original is from Boccaccio's
_Decameron_, the fifth novella of the third day. Boccaccio's title
is as follows: 'Il Zima dona a messer Francesco Vergellesi un suo
pallafreno, e per quello con licenzia di lui parla alla sua donna, ed
ella tacendo, egli in persona di lei si risponde, e secondo la sua
risposta poi l'effetto segue'.
The substance of the story is this. Il
Zima, with the bribe of a palfrey, makes a bargain with Francesco. For
the gift he is granted an interview with the wife of Francesco and in
the latter's presence. This interview, however, unlike that in _The
Devil is an Ass_, is not in the husband's hearing. To guard against any
mishap, Francesco secretly commands his wife to make no answer to the
lover, warning her that he will be on the lookout for any communication
on her part. The wife, like Mrs. Fitzdottrel, upbraids her husband,
but is obliged to submit. Il Zima begins his courtship, but, though
apparently deeply affected, she makes no answer. The young man then
suspects the husband's trick (e poscia s'incomincio ad accorgere dell'
arte usata dal cavaliere). He accordingly hits upon the device of
supposing himself in her place and makes an answer for her, granting an
assignation. As a signal he suggests the hanging out of the window of
two handkerchiefs. He then answers again in his own person. Upon the
husband's rejoining them he pretends to be deeply chagrined, complains
that he has met a statue of marble (una statua di marmo) and adds:
'Voi avete comperato il pallafreno, e io non l'ho venduto'. Il Zima is
successful in his ruse, and Francesco's wife yields completely to his
seduction.
A close comparison of this important source is highly instructive.
Verbal borrowings show either that Jonson had the book before him, or
that he remembered many of the passages literally.
song already referred to possesses delicacy and some beauty of imagery,
but lacks Jonson's customary polish and smoothness.
As a work of art the play must rely chiefly upon the vigor of its
satiric dialogue and the cleverness of its character sketches. It lacks
the chief excellences of construction--unity of interest, subordination
of detail, steady and uninterrupted development, and prompt conclusion.
[53] Woodbridge, _Studies_, p. 33.
[54] Contrasted companion-characters are a favorite device with
Jonson. Compare Corvino, Corbaccio, and Voltore in _The Fox_, Ananias
and Tribulation Wholesome in _The Alchemist_, etc.
[55] It should be noticed that in the case of Merecraft the method
employed is the caricature of a profession, as well as the exposition
of personality.
2. _Chief Sources of the Plot_
The first source to be pointed out was that of Act 1. Sc. 4-6. [56]
This was again noticed by Koeppel, who mentions one of the
word-for-word borrowings, and points out the moralistic tendency in
Jonson's treatment of the husband, and his rejection of the Italian
story's licentious conclusion. [57] The original is from Boccaccio's
_Decameron_, the fifth novella of the third day. Boccaccio's title
is as follows: 'Il Zima dona a messer Francesco Vergellesi un suo
pallafreno, e per quello con licenzia di lui parla alla sua donna, ed
ella tacendo, egli in persona di lei si risponde, e secondo la sua
risposta poi l'effetto segue'.
The substance of the story is this. Il
Zima, with the bribe of a palfrey, makes a bargain with Francesco. For
the gift he is granted an interview with the wife of Francesco and in
the latter's presence. This interview, however, unlike that in _The
Devil is an Ass_, is not in the husband's hearing. To guard against any
mishap, Francesco secretly commands his wife to make no answer to the
lover, warning her that he will be on the lookout for any communication
on her part. The wife, like Mrs. Fitzdottrel, upbraids her husband,
but is obliged to submit. Il Zima begins his courtship, but, though
apparently deeply affected, she makes no answer. The young man then
suspects the husband's trick (e poscia s'incomincio ad accorgere dell'
arte usata dal cavaliere). He accordingly hits upon the device of
supposing himself in her place and makes an answer for her, granting an
assignation. As a signal he suggests the hanging out of the window of
two handkerchiefs. He then answers again in his own person. Upon the
husband's rejoining them he pretends to be deeply chagrined, complains
that he has met a statue of marble (una statua di marmo) and adds:
'Voi avete comperato il pallafreno, e io non l'ho venduto'. Il Zima is
successful in his ruse, and Francesco's wife yields completely to his
seduction.
A close comparison of this important source is highly instructive.
Verbal borrowings show either that Jonson had the book before him, or
that he remembered many of the passages literally.
