One of the earliest comic figures in the
religious
drama
is that of the clumsy or uncouth servant.
is that of the clumsy or uncouth servant.
Ben Jonson - The Devil's Association
_The Devil in the pre-Shakespearian Drama_
The sources for the conception of the devil in the mediaeval drama
are to be sought in a large body of non-dramatic literature. In this
literature the devil was conceived of as a fallen angel, the enemy of
God and his hierarchy, and the champion of evil. As such he makes his
appearance in the mystery-plays. The mysteries derived their subjects
from Bible history, showed comparatively little pliancy, and dealt
always with serious themes. In them the devil is with few exceptions a
serious figure. Occasionally, however, even at this early date, comedy
and satire find place. The most prominent example is the figure of
Titivillus in the Towneley cycle.
In the early moralities the devil is still of primary importance, and
is always serious. But as the Vice became a more and more prominent
figure, the devil became less and less so, and in the later drama his
part is always subordinate. The play of _Nature_ (c. 1500) is the first
morality without a devil. Out of fifteen moralities of later date
tabulated by Cushman, only four are provided with this character.
The degeneration of the devil as a dramatic figure was inevitable. His
grotesque appearance, at first calculated to inspire terror, by its
very exaggeration produced, when once familiar, a wholly comic effect.
When the active comic parts were assumed by the Vice, he became a mere
butt, and finally disappears.
One of the earliest comic figures in the religious drama
is that of the clumsy or uncouth servant. [15] Closely allied
to him is the under-devil, who appears as early as _The
Harrowing of Hell_, and this figure is constantly employed
as a comic personage in the later drama. [16] The figure of
the servant later developed into that of the clown, and in
this type the character of the devil finally merged. [17]
[15] Eckhardt, p. 42 f. ]
[16] _Ibid. _, p. 67 f. ]
[17] In general the devil is more closely related to the
clown, and the Vice to the fool. In some cases, however, the devil
is to be identified with the fool, and the Vice with the clown.
2. _Jonson's Treatment of the Devil_
In the present play the devil-type is represented by the arch-fiend
Satan and his stupid subordinate, Pug. Of these two Satan received
more of the formal conventional elements of the older drama, while Pug
for the most part represents the later or clownish figure. As in the
morality-play Satan's chief function is the instruction of his emissary
of evil. In no scene does he come into contact with human beings, and
he is always jealously careful for the best interests of his state. In
addition Jonson employs one purely conventional attribute belonging to
the tradition of the church- and morality-plays.
The sources for the conception of the devil in the mediaeval drama
are to be sought in a large body of non-dramatic literature. In this
literature the devil was conceived of as a fallen angel, the enemy of
God and his hierarchy, and the champion of evil. As such he makes his
appearance in the mystery-plays. The mysteries derived their subjects
from Bible history, showed comparatively little pliancy, and dealt
always with serious themes. In them the devil is with few exceptions a
serious figure. Occasionally, however, even at this early date, comedy
and satire find place. The most prominent example is the figure of
Titivillus in the Towneley cycle.
In the early moralities the devil is still of primary importance, and
is always serious. But as the Vice became a more and more prominent
figure, the devil became less and less so, and in the later drama his
part is always subordinate. The play of _Nature_ (c. 1500) is the first
morality without a devil. Out of fifteen moralities of later date
tabulated by Cushman, only four are provided with this character.
The degeneration of the devil as a dramatic figure was inevitable. His
grotesque appearance, at first calculated to inspire terror, by its
very exaggeration produced, when once familiar, a wholly comic effect.
When the active comic parts were assumed by the Vice, he became a mere
butt, and finally disappears.
One of the earliest comic figures in the religious drama
is that of the clumsy or uncouth servant. [15] Closely allied
to him is the under-devil, who appears as early as _The
Harrowing of Hell_, and this figure is constantly employed
as a comic personage in the later drama. [16] The figure of
the servant later developed into that of the clown, and in
this type the character of the devil finally merged. [17]
[15] Eckhardt, p. 42 f. ]
[16] _Ibid. _, p. 67 f. ]
[17] In general the devil is more closely related to the
clown, and the Vice to the fool. In some cases, however, the devil
is to be identified with the fool, and the Vice with the clown.
2. _Jonson's Treatment of the Devil_
In the present play the devil-type is represented by the arch-fiend
Satan and his stupid subordinate, Pug. Of these two Satan received
more of the formal conventional elements of the older drama, while Pug
for the most part represents the later or clownish figure. As in the
morality-play Satan's chief function is the instruction of his emissary
of evil. In no scene does he come into contact with human beings, and
he is always jealously careful for the best interests of his state. In
addition Jonson employs one purely conventional attribute belonging to
the tradition of the church- and morality-plays.
