Thus the friar becomes the unwitting
instrument
of
the very thing which he is trying to prevent.
the very thing which he is trying to prevent.
Ben Jonson - The Devil's Association
I cannot refrain in conclusion
from making a somewhat doubtful conjecture. It is noticeable that while
Jonson follows so many of the details of this story with the greatest
fidelity he substitutes the gift of a cloak for that of the original
'pallafreno' (palfrey). [60] The word is usually written 'palafreno' and
so occurs in Florio. Is it possible that Jonson was unfamiliar with the
word, and, not being able to find it in a dictionary, conjectured that
it was identical with 'palla', a cloak?
In other respects Jonson's handling of the story displays his
characteristic methods. Boccaccio spends very few words in description
of either husband or suitor. Jonson, however, is careful to make plain
the despicable character of Fitzdottrel, while Wittipol is represented
as an attractive and high-minded young man. Further than this, both
Mrs. Fitzdottrel and Wittipol soon recover completely from their
infatuation.
Koeppel has suggested a second source from the _Decameron_, Day 3,
Novella 3. The title is: 'Sotto spezie di confessione e di purissima
coscienza una donna, innamorata d'un giovane, induce un solenne frate,
senza avvedersene egli, a dar modo che'l piacer di lei avessi intero
effetto'. The story is briefly this. A lady makes her confessor the
means of establishing an acquaintance with a young man with whom she
has fallen in love. Her directions are conveyed to him under the guise
of indignant prohibitions. By a series of messages of similar character
she finally succeeds in informing him of the absence of her husband
and the possibility of gaining admittance to her chamber by climbing a
tree in the garden.
Thus the friar becomes the unwitting instrument of
the very thing which he is trying to prevent. So in Act 2. Sc. 2 and 6,
Mrs. Fitzdottrel suspects Pug of being her husband's spy. She dares not
therefore send Wittipol a direct message, but requests him to cease his
attentions to her
At the Gentlemans chamber-window in _Lincolnes-Inne_ there,
That opens to my gallery.
Wittipol takes the hint, and promptly appears at the place indicated.
Von Rapp[61] has mentioned certain other scenes as probably of
Italian origin, but, as he advances no proofs, his suggestions may be
neglected. It seems to me possible that in the scene above referred
to, where the lover occupies a house adjoining that of his mistress,
and their secret amour is discovered by her servant and reported to
his master, Jonson had in mind the same incident in Plautus' _Miles
Gloriosus_, Act. 2. Sc. 1 f.
The trait of jealousy which distinguishes Fitzdottrel was suggested
to some extent by the character of Euclio in the _Aulularia_, and a
passage of considerable length[62] is freely paraphrased from that
play. The play and the passage had already been used in _The Case is
Altered_.
Miss Woodbridge has noticed that the scene in which Lady Tailbush and
her friends entertain Wittipol disguised as a Spanish lady is similar
to Act 3. Sc.
from making a somewhat doubtful conjecture. It is noticeable that while
Jonson follows so many of the details of this story with the greatest
fidelity he substitutes the gift of a cloak for that of the original
'pallafreno' (palfrey). [60] The word is usually written 'palafreno' and
so occurs in Florio. Is it possible that Jonson was unfamiliar with the
word, and, not being able to find it in a dictionary, conjectured that
it was identical with 'palla', a cloak?
In other respects Jonson's handling of the story displays his
characteristic methods. Boccaccio spends very few words in description
of either husband or suitor. Jonson, however, is careful to make plain
the despicable character of Fitzdottrel, while Wittipol is represented
as an attractive and high-minded young man. Further than this, both
Mrs. Fitzdottrel and Wittipol soon recover completely from their
infatuation.
Koeppel has suggested a second source from the _Decameron_, Day 3,
Novella 3. The title is: 'Sotto spezie di confessione e di purissima
coscienza una donna, innamorata d'un giovane, induce un solenne frate,
senza avvedersene egli, a dar modo che'l piacer di lei avessi intero
effetto'. The story is briefly this. A lady makes her confessor the
means of establishing an acquaintance with a young man with whom she
has fallen in love. Her directions are conveyed to him under the guise
of indignant prohibitions. By a series of messages of similar character
she finally succeeds in informing him of the absence of her husband
and the possibility of gaining admittance to her chamber by climbing a
tree in the garden.
Thus the friar becomes the unwitting instrument of
the very thing which he is trying to prevent. So in Act 2. Sc. 2 and 6,
Mrs. Fitzdottrel suspects Pug of being her husband's spy. She dares not
therefore send Wittipol a direct message, but requests him to cease his
attentions to her
At the Gentlemans chamber-window in _Lincolnes-Inne_ there,
That opens to my gallery.
Wittipol takes the hint, and promptly appears at the place indicated.
Von Rapp[61] has mentioned certain other scenes as probably of
Italian origin, but, as he advances no proofs, his suggestions may be
neglected. It seems to me possible that in the scene above referred
to, where the lover occupies a house adjoining that of his mistress,
and their secret amour is discovered by her servant and reported to
his master, Jonson had in mind the same incident in Plautus' _Miles
Gloriosus_, Act. 2. Sc. 1 f.
The trait of jealousy which distinguishes Fitzdottrel was suggested
to some extent by the character of Euclio in the _Aulularia_, and a
passage of considerable length[62] is freely paraphrased from that
play. The play and the passage had already been used in _The Case is
Altered_.
Miss Woodbridge has noticed that the scene in which Lady Tailbush and
her friends entertain Wittipol disguised as a Spanish lady is similar
to Act 3. Sc.
