PREFACE

In The Devil is an Ass Jonson may be studied, first, as a student; secondly, as an observer. Separated by only two years from the preceding play, Bartholomew Fair, and by nine from the following, The Staple of News, the present play marks the close of an epoch in the poet’s life, the period of his vigorous maturity. Its relations with the plays of his earlier periods are therefore of especial interest.

The results of the present editor’s study of these and other literary connections are presented, partly in the Notes, and partly in the Introduction to this book. After the discussion of the purely technical problems in Sections A and B, the larger features are taken up in Section C, I and II. These involve a study of the author’s indebtedness to English, Italian, and classical sources, and especially to the early English drama; as well as of his own dramatic methods in previous plays. The more minute relations to contemporary dramatists and to his own former work, especially in regard to current words and phrases, are dealt with in the Notes.

As an observer, Jonson appears as a student of London, and a satirist of its manners and vices; and, in a broader way, as a critic of contemporary England. The life and aspect of London are treated, for the most part, in the Notes; the issues of state involved in Jonson’s satire are presented in historical discussions in Section C, III. Personal satire is treated in the division following.

I desire to express my sincere thanks to Professor Albert S. Cook for advice in matters of form and for inspiration in the work; to Professor Henry A. Beers for painstaking discussion of difficult questions; to Dr. De Winter for help and criticism; to Dr. John M. Berdan for the privilege of consulting his copy of the Folio; to Mr. Andrew Keogh and to Mr. Henry A. Gruener, for aid in bibliographical matters; and to Professor George L. Burr for the loan of books from the Cornell Library.

A portion of the expense of printing this book has been borne by the Modern Language Club of Yale University from funds placed at its disposal by the generosity of Mr. George E. Dimock of Elizabeth, New Jersey, a graduate of Yale in the Class of 1874.

W. S. J.

Yale University, August 30, 1905.

CONTENTS

Introduction

PAGE

A. Editions of the Text xi

B. Date and Presentation xvii

C. The Devil is an Ass xix

I. The Devil Plot xx

1. The Devil in the pre-Shakespearian Drama xxii

2. Jonson’s Treatment of the Devil xxiii

3. The Influence of Robin Goodfellow and of Popular Legend xxvi

4. Friar Rush and Dekker xxvii

5. The Novella of Belfagor and the Comedy of Grim xxx

6. Summary xxxiv

7. The Figure of the Vice xxxiv

8. Jonson’s Use of the Vice xxxvii

II. The Satirical Drama xli

1. General Treatment of the Plot xli

2. Chief Sources of the Plot xlv

3. Prototypes of the leading Characters lii

4. Minor Sources liii

III. Specific Objects of Satire liv

1. The Duello liv

2. The Monopoly System lviii

3. Witchcraft lxii

IV. Personal Satire lxv

Mrs. Fitzdottrel lxvi

Fitzdottrel lxx

Wittipol lxxi

Justice Eitherside lxxi

Merecraft lxxii

Plutarchus Guilthead lxxiii

The Noble House lxxiv

D. After-Influence of the Devil is an Ass lxxiv

Appendix—Extracts from the Critics lxxvi

Text 1

Notes 123

Glossary 213

Bibiliography 237

Index 243