[29] The first extant edition dates from 1620, and has
been reprinted by W.
been reprinted by W.
Ben Jonson - The Devil's Association
Cant.
1, l.
1415.
[25] Cf. _Devil in Britain and America_, ch. 2.
[26] _Geschichte des Teufels_ 1. 316, 395.
[27] Hazlitt, _Tales_, pp. 39, 83.
4. _Friar Rush and Dekker_
It was the familiar legend of Friar Rush which furnished the groundwork
of Jonson's play. The story seems to be of Danish origin, and first
makes its appearance in England in the form of a prose history
during the latter half of the sixteenth century. It is entered in
the _Stationer's Register_ 1567-8, and mentioned by Reginald Scot in
1584. [28] As early as 1566, however, the figure of Friar Rush on a
'painted cloth' was a familiar one, and is so mentioned in _Gammer
Gurton's Needle_.
[29] The first extant edition dates from 1620, and has
been reprinted by W. J. Thoms. [30] The character had already become
partially identified with that of Robin Goodfellow,[31] and this
identification, as we have seen, Jonson was inclined to accept.
In spite of many variations of detail the kernel of the Rush story is
precisely that of Jonson's play, the visit of a devil to earth with
the purpose of corrupting men. Both Rush and Pug assume human bodies,
the former being 'put in rayment like an earthly creature', while the
latter is made subject 'to all impressions of the flesh'.
Rush, unlike his counterpart, is not otherwise bound to definite
conditions, but he too becomes a servant. The adventure is not of his
own seeking; he is chosen by agreement of the council, and no mention
is made of the emissary's willingness or unwillingness to perform
his part. Later, however, we read that he stood at the gate of the
religious house 'all alone and with a heavie countenance'. In the
beginning, therefore, he has little of Pug's thirst for adventure,
but his object is at bottom the same, 'to goe and dwell among these
religious men for to maintaine them the longer in their ungracious
living'. Like Pug, whose request for a Vice is denied him, he goes
unaccompanied, and presents himself at the priory in the guise of a
young man seeking service: 'Sir, I am a poore young man, and am out of
service, and faine would have a maister'. [32]
Most of the remaining incidents of the Rush story could not be used
in Jonson's play. Two incidents may be mentioned. Rush furthers the
amours of his master, as Pug attempts to do those of his mistress.
In the later history of Rush the motive of demoniacal possession is
worked into the plot. In a very important respect, however, the legend
differs from the play.
[25] Cf. _Devil in Britain and America_, ch. 2.
[26] _Geschichte des Teufels_ 1. 316, 395.
[27] Hazlitt, _Tales_, pp. 39, 83.
4. _Friar Rush and Dekker_
It was the familiar legend of Friar Rush which furnished the groundwork
of Jonson's play. The story seems to be of Danish origin, and first
makes its appearance in England in the form of a prose history
during the latter half of the sixteenth century. It is entered in
the _Stationer's Register_ 1567-8, and mentioned by Reginald Scot in
1584. [28] As early as 1566, however, the figure of Friar Rush on a
'painted cloth' was a familiar one, and is so mentioned in _Gammer
Gurton's Needle_.
[29] The first extant edition dates from 1620, and has
been reprinted by W. J. Thoms. [30] The character had already become
partially identified with that of Robin Goodfellow,[31] and this
identification, as we have seen, Jonson was inclined to accept.
In spite of many variations of detail the kernel of the Rush story is
precisely that of Jonson's play, the visit of a devil to earth with
the purpose of corrupting men. Both Rush and Pug assume human bodies,
the former being 'put in rayment like an earthly creature', while the
latter is made subject 'to all impressions of the flesh'.
Rush, unlike his counterpart, is not otherwise bound to definite
conditions, but he too becomes a servant. The adventure is not of his
own seeking; he is chosen by agreement of the council, and no mention
is made of the emissary's willingness or unwillingness to perform
his part. Later, however, we read that he stood at the gate of the
religious house 'all alone and with a heavie countenance'. In the
beginning, therefore, he has little of Pug's thirst for adventure,
but his object is at bottom the same, 'to goe and dwell among these
religious men for to maintaine them the longer in their ungracious
living'. Like Pug, whose request for a Vice is denied him, he goes
unaccompanied, and presents himself at the priory in the guise of a
young man seeking service: 'Sir, I am a poore young man, and am out of
service, and faine would have a maister'. [32]
Most of the remaining incidents of the Rush story could not be used
in Jonson's play. Two incidents may be mentioned. Rush furthers the
amours of his master, as Pug attempts to do those of his mistress.
In the later history of Rush the motive of demoniacal possession is
worked into the plot. In a very important respect, however, the legend
differs from the play.
