Of
resemblance
of specific details not much can be made.
Ben Jonson - The Devil's Association
Both devils are bound by certain
definite conditions. Belfagor must choose a wife, and live with her ten
years; Pug must return at midnight. Belfagor, like Pug, must be subject
to 'ogni infortunio nel quale gli uomini scorrono'.
In certain important respects Machiavelli's story differs essentially
from Jonson's. Both Dekker and Machiavelli place the opening scene in
the classical Hades instead of in the Christian hell. But Dekker's
treatment of the situation is far more like Jonson's than is the
novella's. Herford makes the distinction clear: 'Macchiavelli's Hades
is the council-chamber of an Italian Senate, Dekker's might pass for
some tavern haunt of Thames watermen. Dekker's fiends are the drudges
of Pluto, abused for their indolence, flogged at will, and peremptorily
sent where he chooses. Machiavelli's are fiends whose advice he
requests with the gravest courtesy and deference, and who give it
with dignity and independence'. Further, the whole object of the
visit, instead of being the corruption of men, is a mere sociological
investigation. Pug is eager to undertake his mission; Belfagor is
chosen by lot, and very loath to go. Pug becomes a servant, Belfagor a
nobleman.
But in one very important matter the stories coincide, that of the
general character and fate of the two devils. As Hollstein points out,
each comes with a firm resolve to do his best, each finds at once that
his opponents are too strong for him, each through his own docility
and stupidity meets repulse after repulse, ending in ruin, and each is
glad to return to hell. This, of course, involves the very essence of
Jonson's drama, and on its resemblance to the novella must be based any
theory that Jonson was familiar with the latter.
Of resemblance of specific details not much can be made. The two
stories have in common the feature of demoniacal possession, but
this, as we have seen, occurs also in the Rush legend. The fact that
the princess speaks Latin, while Fitzdottrel surprises his auditors
by his 'several languages', is of no more significance. This is one
of the stock indications of witchcraft. It is mentioned by Darrel,
and Jonson could not have overlooked a device so obvious. Certain
other resemblances pointed out by Dr. Hollstein are of only the most
superficial nature. On the whole we are not warranted in concluding
with any certainty that Jonson knew the novella at all.
On the other hand, he must have been acquainted with
the comedy of _Grim, the Collier of Croydon_ (c 1600).
Herford makes no allusion to this play, and, though it was
mentioned as a possible source by A. W. Ward,[38] the subject
has never been investigated. The author of _Grim_ uses the
Belfagor legend for the groundwork of his plot, but handles
his material freely. In many respects the play is a close
parallel to _The Devil is an Ass_. The same respect for the
vices of earth is felt as in Dekker's and Jonson's plays.
Belphegor sets out to
.
definite conditions. Belfagor must choose a wife, and live with her ten
years; Pug must return at midnight. Belfagor, like Pug, must be subject
to 'ogni infortunio nel quale gli uomini scorrono'.
In certain important respects Machiavelli's story differs essentially
from Jonson's. Both Dekker and Machiavelli place the opening scene in
the classical Hades instead of in the Christian hell. But Dekker's
treatment of the situation is far more like Jonson's than is the
novella's. Herford makes the distinction clear: 'Macchiavelli's Hades
is the council-chamber of an Italian Senate, Dekker's might pass for
some tavern haunt of Thames watermen. Dekker's fiends are the drudges
of Pluto, abused for their indolence, flogged at will, and peremptorily
sent where he chooses. Machiavelli's are fiends whose advice he
requests with the gravest courtesy and deference, and who give it
with dignity and independence'. Further, the whole object of the
visit, instead of being the corruption of men, is a mere sociological
investigation. Pug is eager to undertake his mission; Belfagor is
chosen by lot, and very loath to go. Pug becomes a servant, Belfagor a
nobleman.
But in one very important matter the stories coincide, that of the
general character and fate of the two devils. As Hollstein points out,
each comes with a firm resolve to do his best, each finds at once that
his opponents are too strong for him, each through his own docility
and stupidity meets repulse after repulse, ending in ruin, and each is
glad to return to hell. This, of course, involves the very essence of
Jonson's drama, and on its resemblance to the novella must be based any
theory that Jonson was familiar with the latter.
Of resemblance of specific details not much can be made. The two
stories have in common the feature of demoniacal possession, but
this, as we have seen, occurs also in the Rush legend. The fact that
the princess speaks Latin, while Fitzdottrel surprises his auditors
by his 'several languages', is of no more significance. This is one
of the stock indications of witchcraft. It is mentioned by Darrel,
and Jonson could not have overlooked a device so obvious. Certain
other resemblances pointed out by Dr. Hollstein are of only the most
superficial nature. On the whole we are not warranted in concluding
with any certainty that Jonson knew the novella at all.
On the other hand, he must have been acquainted with
the comedy of _Grim, the Collier of Croydon_ (c 1600).
Herford makes no allusion to this play, and, though it was
mentioned as a possible source by A. W. Ward,[38] the subject
has never been investigated. The author of _Grim_ uses the
Belfagor legend for the groundwork of his plot, but handles
his material freely. In many respects the play is a close
parallel to _The Devil is an Ass_. The same respect for the
vices of earth is felt as in Dekker's and Jonson's plays.
Belphegor sets out to
.
