[incidentally] is
discoursed
of the Duke of Drounland: the King
desired him to conceal it'.
desired him to conceal it'.
Ben Jonson - The Devil's Association
[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. ? ? ? ? ? ? ? ? ?
[incidentally] is discoursed of the Duke of Drounland: the King
desired him to conceal it'. --_Conversations with William Drummond_,
Jonson's _Wks. _ 9. 400-1.
I. THE DEVIL-PLOT
Jonson's title, _The Devil is an Ass_, expresses with perfect adequacy
the familiarity and contempt with which this once terrible personage
had come to be regarded in the later Elizabethan period. The poet, of
course, is deliberately archaizing, and the figures of devil and Vice
are made largely conformable to the purposes of satire. Several years
before, in the Dedication to _The Fox_,[12] Jonson had expressed his
contempt for the introduction of 'fools and devils and those antique
relics of barbarism', characterizing them as 'ridiculous and exploded
follies'. He treats the same subject with biting satire in _The Staple
of News_. [13] Yet with all his devotion to realism in matters of petty
detail, of local color, and of contemporary allusion, he was, as we
have seen, not without an inclination toward allegory. Thus in _Every
Man out of his Humor_ the figure of Macilente is very close to a purely
allegorical expression of envy. In _Cynthia's Revels_ the process was
perfectly conscious, for in the Induction to that play the characters
are spoken of as Virtues and Vices. In _Poetaster_ again we have the
purging of Demetrius and Crispinus. Jonson's return to this field
in _The Devil is an Ass_ is largely prophetic of the future course
of his drama. The allegory of _The Staple of News_ is more closely
woven into the texture of the play than is that of _The Devil is an
Ass_; and the conception of Pecunia and her retinue is worked out with
much elaboration. In the Second Intermean the purpose of this play is
explained as a refinement of method in the use of allegory.
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. ? ? ? ? ? ? ? ? ?
[incidentally] is discoursed of the Duke of Drounland: the King
desired him to conceal it'. --_Conversations with William Drummond_,
Jonson's _Wks. _ 9. 400-1.
I. THE DEVIL-PLOT
Jonson's title, _The Devil is an Ass_, expresses with perfect adequacy
the familiarity and contempt with which this once terrible personage
had come to be regarded in the later Elizabethan period. The poet, of
course, is deliberately archaizing, and the figures of devil and Vice
are made largely conformable to the purposes of satire. Several years
before, in the Dedication to _The Fox_,[12] Jonson had expressed his
contempt for the introduction of 'fools and devils and those antique
relics of barbarism', characterizing them as 'ridiculous and exploded
follies'. He treats the same subject with biting satire in _The Staple
of News_. [13] Yet with all his devotion to realism in matters of petty
detail, of local color, and of contemporary allusion, he was, as we
have seen, not without an inclination toward allegory. Thus in _Every
Man out of his Humor_ the figure of Macilente is very close to a purely
allegorical expression of envy. In _Cynthia's Revels_ the process was
perfectly conscious, for in the Induction to that play the characters
are spoken of as Virtues and Vices. In _Poetaster_ again we have the
purging of Demetrius and Crispinus. Jonson's return to this field
in _The Devil is an Ass_ is largely prophetic of the future course
of his drama. The allegory of _The Staple of News_ is more closely
woven into the texture of the play than is that of _The Devil is an
Ass_; and the conception of Pecunia and her retinue is worked out with
much elaboration. In the Second Intermean the purpose of this play is
explained as a refinement of method in the use of allegory.
