The Devil is an Ass

INDEX

Absorption of a syllable, 174, 208.
Academy, 174-5, 188.
Actors, Jonson’s allusions to, 175.
Adders, 126.
Aesop, Fables of, 185.
Africa, 149.
After-game, 201.
Agrippa, Cornelius, lxiv.
Allegorical treatment of drama, xx f.
Allot, Robert, 124.
Allum Scagliola, 192.
Almaine-leap, 137.
Almanac-men, 156-7.
Almoiavana, 196.
America, 149.
Apperil, 205.
Aqua-vitÆ, 158.
Aristophanes, xli, lxvi, lxxvi, lxxix;
Clouds, 202; Plutus, 211.
Art, man of, 149.
Arthur’s show, 159.
Artillery-ground, 177.
Astrology, 199.

Bacon, lxiii.
Ballad literature, xxvii.
Banqueting-house, Lord Mayor’s, 201.
Bare head of usher and coachman, 164, 196, 198.
Baudissin, Count von, Ben Jonson und seine Schule, xxii.
Bawdy, talk, 197.
Beare, the, 124.
Beaumont and Fletcher, Elder Brother, lvi; King and No King, lvii.
Bedfellow, 174.
Belfagor, Novella of, xxx ff.
Belphegor, xxxii.
Benefit, make, 163.
Benjamin, 192.
Benson, John, 124.
Bermudas, 161, 182.
Bethlehem Royal Hospital, 203.
Billiard ball, 173.
Billingsgate, 134.
Bilson, boy of, 205.
Blackfriars, painters at, 156; theatre, xvii, 150.
Blank, 181.
Bless us! 197.
Blown roses, 179.
Blue coats, 183.
Boccaccio, Decameron, xlv ff., lxxv.
Bodin, lxiv.
Borachio, 159.
Braganza, 196.
Breasts exposed, 173.
Bretnor, 141.
Bristo-stone, 184.
Brokers, 140.
Brome, Antipodes, lxii; Court Beggar, lxi, lxxv.
Browne, Sir Thomas, lxiii.
Buckingham. See Villiers.
Buckram bag, 159.
Bullions, 185-6.
Burton, boy of, 203, 205.
Business (quarrel), 182.
Butler, Samuel, Characters, lxii.
By cause, 205.

Caract, 153.
Caroch, carroch, 155, 190.
Carranza, Jerome, Filosofia de las Armas, lv.
Cataputia, 193.
Cater, 146.
Cautelous, 154.
Centlivre, Mrs., Busie Body, lxxv.
Chains, gold, 183.
Chamberfellow, 174.
Character-drama, xliv.
Cheapside, 178; Standard in, 131.
Cheaters, 207.
Cheat on, 207.
Cheats, 156.
Cheese-trenchers, 126.
Chopines, see Cioppinos.
Chrysippus, de Divinitione, 145.
Cioppinos, liii, 186-7, 194.
Circles, magic, 145.
Cloak, long, of fool, xxxix.
Cloven foot, 146-7.
Clown, xxiii, xxv f.
Coaches, 156.
Coachman, 190, 198.
Coke, Sir Edward, xviii, lxvi ff., lxx ff.
Cokeley, 135.
Cokes, 164.
Commissioners, 190.
Compounds, Jonson’s use of, 181.
Compters, 177.
Conduits, 201.
Confute, 206.
Conjurers, 145.
Constable, 209.
Contrasted characters, xliv.
Cord as charm, 128.
Corncutter, 199.
Cornhill, 178.
Cornish counterfeit, 184.
Coryat, Crudities, liii, 194, 204.
Cosmetics, 192.
Courts of Love, 153.
Covetuousness (in morality plays), 130.
Coxcomb and Coverlet, 209.
Cranes, Three, 135.
Crisped groves, 173.
Crowland, 164; monastery at, lx.
Crystals, 144.
Cuckold and devil, joke on, 208.
Cushman, Dr. L. W., xxii, xxxiv, et passim.
Custard, 137.
Custom-house key, 134.
Cut-work, 140, 162.

Dagger, wooden, xxxix; ordinary, 134.
Darling, Thomas, 203.
Darrel, John, xxxii, xlix ff., 203.
Date of play, xvii.
Decimo sexto, 193.
Defeat, do, 168.
Dekker, If this be not a good Play, xxix ff., xxxi.
Demoniacal possession, xlix.
Dependencies, see Master of Dependencies.
Derbyshire Peak, 147.
Despenser, Hugh le, 165.
Devil, in pre-Shakespearian drama, xxii f.;
Jonson’s treatment of, xxiii f.;
costume of, xxiv;
stupid, xxvii;
carried in a ring, 126;
leaves an evil odor, 211;
divers names of, 145;
ill omen to pronounce the name of, 197;
dines on sinners, 211;
speaks languages, 211;
takes tobacco, 209;
travels swiftly, 145.
Devil-plot, xx ff.
Devil’s Cavern in Derbyshire, 147.
Devil’s dam, 188.
Digby miracle-plays, xxiii.
Dining, hour of, 188.
Dinner, inviting poet to, 189.
Dotage, 211.
Dottrel, 163, 175, 200.
Double cloak, 189.
Doublet bombasted, 131.
Dueling, liv ff. Dukes in England, 160.
Dutch in England, 133.
Dwindle, 193.

Eckhardt, Dr. E., xxii, xxxiv, et passim.
Edition of 1631, xi ff.;
1641, xiv;
1692, xiv;
1716, xv;
1729, xi;
1756, xv;
1811, xi;
1816, xvi f.;
1838, xi;
1871, xi;
1875, xvii.
Eitherside identified as Coke, lxxi f.
E-la, 205.
Ellipsis before that, 174.
Engendering by the eyes, 163.
Equivokes, 184.
Escudero, 195.
Estifania, Lady, 193.
Ethical treatment of drama, xliv.
Exchange, Royal, 158.

Face-painting, 190-1.
Fair and foul, 163.
Favor, under, 146.
Fencing-schools, lv.
Fens of Lincolnshire, lix ff.
Fern ashes, 192.
Figgum, 210.
Finsbury, 178.
Fitzdottrel, xlii; identified as Coke, lxx f.;
Mrs., identified as Lady Hatton, lxvi ff.
Fleas, keep, within a circle, 202.
Fly-blown, 174.
Fool, union with Vice, xxxv, xxxviii;
domestic, xxxix;
tavern, xl;
city, xl;
in Jonson’s other works, xl.
Ford, Fancies Chaste and Noble, lvi.
Forked top, 163.
Forks, liii, 204.
Forman, Simon, 141-3, 175.
Foul and fowl, 163.
Francklin, xviii, 142-3.
Fraud (character in morality-play), 130.
French hood, 138;
masks, 161;
time, 188;
walking-stick, 199.
Friar Bacon, xxvii.
Friar Rush, xxvii ff., xxxiv, xlix.
Frolics, 175.
Fucus, 190.

Galley-pot, 193.
Garnish, 206.
Garters, 139-40, 168.
Geere, 154.
Gentleman usher, 125, 187, 195-6, 198.
Gentlemen of the Sword, lvii.
Gifford, his opinion of the 1631 Folio, xiii;
criticism of Devil is an Ass, lxxvi;
Ben Jonson’s Malignity, 166.
Gilchrist, O., Examination ... of Ben Jonson’s Enmity, etc., 166.
Globe theatre, 180.
Gloucester, 165-7.
Godfathers in law, 205.
Godwit, 179.
Gogs-nownes, 130.
Goldsmiths, 124-5.
Goldsmith’s Row, 187.
Good (sufficient), 176.
Good time! 148.
Grandees, 125.
Greek, devil talks in, li.
Greenland, 167.
Gresham, astrologer, 141; Sir Thomas, 158.
Grim, Collier of Croydon, xxvi, xxxii f.
Groen-land, see Greenland.
Guarda-duenna, 195.

Hall’s Chronicle, 166.
Hand-gout, 182.
Hanging for theft, 206-7.
Harlequin, 131.
Harrington, 160.
Harrison, Thomas, 205.
Harrowing of Hell, xxiii.
Harsnet, Samuel, xlix ff.
Hatton, Lady Elizabeth, lxvi ff., lxx f.
Have with ’em, 190.
Havings, 182.
Henry, Prince, lxiv.
Herford, Studies, xx, et passim; criticism of Devil is an Ass, lxxvi.
Heywood, John, farces of, xxxvi f.
Ho! Ho! xxiii, 127.
Hogsdon, 128.
Holland’s Leaguer, lxi.
Hoop, 195.
Horace, liii;
Carmina, 154;
de Art. Poet., 124;
Sat., 167.
Horestes, xxxvi.
Horns, 208.
Howard. Lady Frances, lxx.
Howes, Edmund, lxxiii.
Hum, 139.
Humor-comedy, xix, xliv.
Humphrey, Duke, 165.
Hutchinson, Francis, Historical Essay, l.
Hyde Park, 156.

I. B., see Benson.
Infanta, 191.
Iniquity, xxxvii ff., 130.
Inns of Court, 176.
Interludes, Vice in, xxxv.
Intire, 168, 207.
Italian sources, xlviii.

Jack Juggler, xxxvii.
James I., Demonology, lxiii.
Jesuits, 184-5.
Jonson, identified with Wittipol, lxvi, lxxi;
duel with Gabriel Spenser, 128;
and Shakespeare, 165;
as a soldier, 181;
Alchemist, xix, lvii, lxxv;
Case is Altered, xlix, lxv, lxxv, 162;
Celebration of Charis, lxvi ff., 169;
Challenge at Tilt, lxvi ff., lxxi, 171;
Christmas, his Masque, xviii;
Cynthia’s Revels, xix, xx, lxxviii;
Devil is an Ass, its presentation, xvii f.;
sources, xli, xlv ff.;
minor sources, liii;
construction, xlii, xlv;
diction, xliv f.;
as historical document, xliv;
influence, lxxiv ff.;
Every Man in, lvii, lxv;
Every Man out, xix, xx, lvii;
Expostulation with Inigo Jones, xxxix;
Fox, xx, xlix, lxv;
Gipsies Metamorphosed, lxvii ff., 171;
Golden Age Restored, xvii;
Love Restored, xxvi;
Magnetic Lady, xxi, lv, lxxvii;
Masque of Beauty, lxvii;
Masque of Queens, lxiv f.;
New Inn, xxi;
On the Town’s Honest Man, xl;
Poetaster, xix, xx, lxv f., lxxvii;
Sad Shepherd, xxvi, lxiv f.;
Satyr, xxvi;
Sejanus, xix;
Silent Woman, xlix, lxxvii;
Staple of News, xxi, xl, lxv;
Underwoods 32, 196;
Underwoods 36, lxvi ff., 170;
Underwoods 62, liii, 184;
Underwoods 64, lxx.
Justice Hall, 208.

Kentish Town, 128.
Kind, 161.
King’s Men, 123.
Kissing, 191.

Lac Virginis, 193.
Lade, 148.
Lading, 148, 155.
Lancashire, witches, lxiii, 129; the seven of, 203.
Languages, possessed person speaks, li, 211.
Latinisms, 189.
Law terms, 200.
Ledger, 207.
Lincoln, Earl of, lx.
Lincolnshire, draining fens of, lix ff., lxxiii.
Lincoln’s Inn, walks of, 153.
London Bridge, 134.
Longing wife, 145.
Looking glasses, 168.
Loo masks, 161-2.
Love philtres, 208.
Low Countries, 181.
Lucian, Lucius, sive Asinus, 155.
Lupton, Donald, London and the Countrey Carbonadoed, lv.
Lusty Juventus, 130.

Machiavelli, Belfagor, xxix, xxxiv, xlix, lxxiv.
Mad-dame, 191.
Major (mayor), 201.
Malone, 165.
Man and kind (human nature), 161.
Maria, Infanta of Spain, xviii, 191.
Marquesse Muja, 196.
Marston, Dutch Courtezan, lxix.
Martial, Epigrams, liii, 173.
Masks, 161.
Massinger, criticism of Jonson, 188-9;
Guardian, lvi;
Maid of Honor, lvi.
Master of Dependencies, xliii, lvi, 181.
Meath, 139.
Merecraft, identified as Mompesson, lxxii.
Mermaid tavern, 180.
Merry Devil of Edmonton, xxvii, 127.
Middlesex jury, 129.
Middleton, and witchcraft, lxiv.
Middling gossip, 156.
Migniard, 149.
Military enthusiasm in 1614, 177-8.
Milking he-goats, 202.
Mint, 182.
Mompesson, Sir Giles, lxxii f.
Monieman identified with Popham, lxxiii.
Monkey as pet, 164.
Monopolies, lviii ff.
Monsters, 149.
Moon, 199.
Morality-plays, xxii, xxxiv, etc.
Motion (puppet-show), 156.
Mouse in witchcraft, li.
Much good do you, 185.
Muscatell, 160.
Muscovy glass, 126.
Mystery-plays, xxii, xxxiv.

Nails of devil unpared, 207.
Nature, play of, xxii.
Newcastle, Earl of, xiii, 147.
Newgate, 125, 207.
New-nothing, 136-7.
Niaise, 150.
Noble House, lxxiv.
Norfolk, Coke a squire of, lxx.
Northumberland, witches in, 129.
Norwich, boy of, 205.
Nupson, 163.

Obarni, 139.
Order of words with negative, 150.
Overbury Case, xviii, lxx ff., 141-3, 208.
Overdo, Adam, liii.

Pace of gentleman usher, 198.
Paint (blush), 168.
Painters, see Blackfriars.
Pallafreno, xlvii.
Pan, 159.
Pancridge, Earl of, 159.
Paracelsus, lxiv.
Parchment, 144.
Parliament makes remonstrance, lix.
Patentee, lx.
Patterns, 134.
Peace, with my master’s, 163.
Pentacle, 144.
Penthouse, 130.
Perfumes, 194-5.
Periapt, 144.
Persius, Sat., 154.
Petticoat Lane, 132.
Phrenitis, 211.
Physic, ladies taking, 199.
Picardill, 164.
Piece, 147.
Pieced, 190.
Pimlico, 184, 196.
Pinnace, 152.
Pins, pricking with, li, 208.
Plautus, xlii, liii;
Aulularia, xlviii, lxxv, 162;
Captivi, 189;
Casina, xlix;
Epidicus, 187;
Miles Gloriosus, xlviii.
Playbill, 148.
Play-time, 188.
Plutarch, Lives, 177;
Moralia, 191.
Plutarchus, xliv; identified as Howes, lxxiii.
Pope, 150, 167.
Popham, Sir John, lx, lxxiii.
Popular legend, xxvi.
Posies on trenchers, 126.
Possibility, in, 200.
Posture book, 178.
Potentia, in, 204.
Poultry, see Compters.
Pounds, see Compters.
Projector, lii, lx, lxxii.
Provedor, 187.
Proverbs, 145, 202, 212.
Proverb title, 123.
Provincial, 207.
Publish suit, 150.
Pug, xxvi, etc.
Pumps, 194.
Punch and Judy, xxv.
Punning, 147.
Purbeck, Lady, lxvii, lxx.
Purchase, 187.
Puritans, 184-5, 210.
Purse, 158.

Quintilian, 149.

Raleigh, Sir Walter, lxiii; son of, lxxi.
Ramsey, monastery at, lx.
Randolph, Muse’s Looking Glass, lxi.
Rapier, lv.
Raven’s wings, 144.
Relative omitted, 147, 210.
Remigius, lxiv.
Rerum natura, 177.
Resolved, 174.
Respublica, xxxvi.
Ribibe, 128.
Richard III., 165.
Riche, Barnaby, Riche his Farewell to Militarie Profession, xxxi.
Richmond, Lodowick, Earl of, lxxiv.
Rings, spirits in, 126; as charms, 144.
Roaring Boys, lvi, 181.
Roaring manner, 181.
Robin Goodfellow, xxvi ff., xxxiii.
Robinson, Richard, 175.
Roses, ass eats, 155.
Roses in shoes, 146, 179.
Round Robbin, 129.
Rug, 201-2.
Rushes, 152.

St. George’s tide, 183.
St. Giles, Cripplesgate, 201.
St. Katherine’s, 133.
St. Paul’s Churchyard, 124;
steeple, 131;
walk, 150.
St. Pulchar’s, 211.
Saints’ legends, xxvii.
Salt, soul instead of, 153.
Sand, ropes of, 139, 202.
Saraband, 196-7.
Satire, specific objects of, liv;
personal, lxv.
Satirical plot, xli f.
Saviolo, lv.
Savory, 143.
Scarfe, 178.
Scarlet, 192.
Schlegel, 123.
Scot, Reginald, Discovery, xxviii, lxiii.
Servant, 191.
Servant’s wages, 147.
Sessions, quarter, 206.
Shakespeare and Jonson, 165;
and witchcraft, lxiv;
historical plays, 165 ff.;
Midsummer Night’s Dream, xxvi.
Sharks, 182.
Sheriff’s dinner, 136.
Ship, woman compared to a, 152, 164.
Shirt, into the, 148.
Shoot, the bridge, 134; eyes, 174.
Shoreditch, 132; Duke of, 200.
Sign of the zodiac, 154.
Sister-swelling breasts, 172.
Smock allies, 132.
Soda, 192.
Soldered friendship, 190.
Somers, William, l f.; 203.
Somerset, Earl of, lxx.
Soon at night, 141.
Souse, 200.
Sou’t, 200.
Sow bewitched, 127.
Spanish fashions, xviii;
leather, 194;
needle, 131;
terms, 191.
Spenser, see Despenser.
Spiced conscience, 163.
Spit, hot, as charm, 128.
Stage, displaying clothes on, 151; stools on, 125.
Standard in Cheap, 131.
Starch, yellow, 138; and the devil, 210.
State abuses, xliv.
Statutes merchant and staple, 176.
Steeple, 212.
Stockings, 140.
Stoter (?storer), 181.
Strand, 135.
Strange woman, 169.
Streets, narrow, 169.
Subjunctive, 148.
Subtill, 126.
Suburbs, 132.
Suckling, Sir John, lxxvi, 173.
Swinburne, criticism of Devil is an Ass, lxxviii.

Take forth, 134.
Take in, 184.
Tall (table) board, 199.
Taylor, John, lxii.
Teeth guard the tongue, 191.
Ten in the hundred, 183.
Theatre, leaving, 188; women frequent, 151.
Thorn, O’ Bet’lem, 203.
Thumb-ring, 126.
Time drunk and sleeping, 206.
Tissue, 139.
Title of play displayed, 125.
Tobacco, 139, 210;
devil takes, 209;
spelling of, 210.
Tooth-picks, 190, 201.
Too-too, 186.
Torned, 173.
Totnam, 127.
Train bands, 177.
Treasure, hidden, 149.
Turn (sour), 174.
Turner, Mrs. Anne, lxiii, 141.
Tyburn, 201; procession to, 207.

Umbrella, 195.
Unities, xlii f.
Upton, Rev. John, Critical Observations, xxi.

Vacation, long, 177.
Vanity (in morality-plays), 130.
Vapors, 182.
Velvet, 135, 181.
Venice, 194.
Vennor, 135.
Via, 158.
Vice, origin of, xxxiv;
rides the devil, xxiv, 207;
history of, xxxiv f.;
degeneration, xxxv;
chief rÔles, xxxv;
in interludes, xxxv;
term applied to evil character, xxxvi;
Jonson’s use of, xxxvii ff.;
costume, xxxviii;
identical with fool, xxxv, xxxvi, xxxix f.;
etymology of the word, 207.
Villiers, George, Duke of Buckingham, lxxii, lxxiv.
Vintry, 135.
Virgilius legend, xxvii.
Virgin’s milk, 193.

Waist and waste, 199.
Wanion, 208.
Wapull, The Tide tarrieth for No Man, xxxvi.
Ward, A. W., criticism of Devil is an Ass, lxxviii.
Ware, 212.
Webster, Devil’s Law Case, 167, 179, 187.
Wedlock, 150.
Westminster Hall, 135.
Whalley, xv.
Wharton, Marquis of, translation of Novella of Belfagor, xxxi.
While (until), 146.
Whitechapel, 133.
Whore, money a, 157.
Wicked, 198.
Wilson, John, Belphegor, lxxiv;
Cheats, lxxiv;
Projectors, lxii, lxxv, 162.
Wily Beguiled, xxvi.
Wisdom, keep warm your, 148.
Witchcraft, lxii f.;
symptoms of, xlix;
Acts against, lxiii, 145;
Jonson’s attitude towards, lxiii;
treatment in other plays, lxiv f.
Wittipol, xlii; identified as Jonson, lxxi.
Woodcock, 158.
Woodstock, Thomas of, 165.
Wood Street, see Compters.
Woolsack, 134.
Wusse, 151.

Yellow starch, see Starch.
Yoking foxes, 202.

YALE STUDIES IN ENGLISH.

Albert S. Cook, Editor.

I.	The Foreign Sources of Modern English Versification. Charlton M. Lewis, Ph.D.	$0.50.
II.	Ælfric: A New Study of his Life and Writings. Caroline Louisa White, Ph.D.	$1.50.
III.	The Life of St. Cecilia, from MS. Ashmole 43 and MS. Cotton Tiberius E. VII, with Introduction, Variants, and Glossary. Bertha Ellen Lovewell, Ph.D.	$1.00.
IV.	Dryden’s Dramatic Theory and Practice. Margaret Sherwood, Ph.D.	$0.50.
V.	Studies in Jonson’s Comedy. Elisabeth Woodbridge, Ph.D.	$0.50.
VI.	A Glossary of the West Saxon Gospels, Latin-West Saxon and West Saxon-Latin. Mattie Anstice Harris, Ph.D.	$1.50.
VII.	Andreas: The Legend of St. Andrew, translated from the Old English, with an Introduction. Robert Kilburn Root.	$0.50.
VIII.	The Classical Mythology of Milton’s English Poems. Charles Grosvenor Osgood, Ph.D.	$1.00.
IX.	A Guide to the Middle English Metrical Romances dealing with English and Germanic Legends, and with the Cycles of Charlemagne and of Arthur. Anna Hunt Billings, Ph.D.	$1.50.
X.	The Earliest Lives of Dante, translated from the Italian of Giovanni Boccaccio and Lionardo Bruni Aretino. James Robinson Smith.	$0.75.
XI.	A Study in Epic Development. Irene T. Myers, Ph.D.	$1.00.
XII.	The Short Story. Henry Seidel Canby.	$0.30.
XIII.	King Alfred’s Old English Version of St. Augustine’s Soliloquies, edited with Introduction, Notes, and Glossary. Henry Lee Hargrove, Ph.D.	$1.00.
XIV.	The Phonology of the Northumbrian Gloss of St. Matthew. Emily Howard Foley, Ph.D.	$0.75.
XV.	Essays on the Study and Use of Poetry by Plutarch and Basil the Great, translated from the Greek, with an Introduction. Frederick M. Padelford, Ph.D.	$0.75.
XVI.	The Translations of Beowulf: A Critical Bibliography. Chauncey B. Tinker, Ph.D.	$0.75.
XVII.	The Alchemist, by Ben Jonson, edited with Introduction, Notes, and Glossary. Charles M. Hathaway, Jr., Ph.D.	$2.50. Cloth, $3.00.
XVIII.	The Expression of Purpose in Old English Prose. Hubert Gibson Shearin, Ph.D.	$1.00.
XIX.	Classical Mythology in Shakespeare. Robert Kilburn Root, Ph.D.	$1.00.
XX.	The Controversy between the Puritans and the Stage. Elbert N. S. Thompson, Ph.D.	$2.00.
XXI.	The Elene of Cynewulf, translated into English Prose. Lucius Hudson Holt.	$0.30.
XXII.	King Alfred’s Old English Version of St. Augustine’s Soliloquies, turned into Modern English. Henry Lee Hargrove, Ph.D.	$0.75.
XXIII.	The Cross in the Life and Literature of the Anglo-Saxons. William O. Stevens, Ph.D.	$0.75.
XXIV.	An Index to the Old English Glosses of the Durham Hymnarium. Harvey W. Chapman.	$0.75.
XXV.	Bartholomew Fair, by Ben Jonson, edited with Introduction, Notes, and Glossary. Carroll Storrs Alden, Ph.D.	$2.00.
XXVI.	Select Translations from Scaliger’s Poetics. Frederick M. Padelford, Ph.D.	$0.75.
XXVII.	Poetaster, by Ben Jonson, edited with Introduction, Notes, and Glossary. Herbert S. Mallory, Ph.D.	$2.00. Cloth, $2.50.
XXVIII.	The Staple of News, by Ben Jonson, edited with Introduction, Notes, and Glossary. De Winter, Ph.D.	$2.00. Cloth, $2.50.
XXIX.	The Devil is an Ass, by Ben Jonson, edited with Introduction, Notes, and Glossary. William Savage Johnson, Ph.D.	$2.00. Cloth, $2.50.

Footnotes

[1] The first volume of this folio appeared in 1616. A reprint of this volume in 1640 is sometimes called the Second Folio. It should not be confused with the 1631-41 Edition of the second volume.

[2]Note prefixed to Bartholomew Fair.

[3] Eng. Drama, p. 78.

[4] Eng. Drama 2. 296.

[5] N. & Q. 4th Ser. 5. 573.

[6] Bibliog. Col., 2d Ser. p. 320.

[7] Bibliog. Col., p. 320. For a more detailed description of this volume see Winter, pp. xii-xiii.

[8] For a collation of this edition, see Mallory, pp. xv-xvii.

[9] Collier, Annals 3. 275, 302; Fleay, Hist. 190.

[10] Roscius Anglicanus, p. 8.

[11] ‘A play of his, upon which he was accused, The Divell is ane Ass; according to Comedia Vetus, in England the Divell was brought in either with one Vice or other: the play done the Divel caried away the Vice, he brings in the Divel so overcome with the wickedness of this age that thought himself ane Ass. ?a?e????? [incidentally] is discoursed of the Duke of Drounland: the King desired him to conceal it.’—Conversations with William Drummond, Jonson’s Wks. 9. 400-1.

[12] Wks. 3. 158.

[13] Wks. 5. 105 f. Cf. also Shirley, Prologue to The Doubtful Heir.

[14] Count Baudissin translated two of Jonson’s comedies into German, The Alchemist and The Devil is an Ass (Der Dumme Teufel).

[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.

[18] In the Digby group of miracle-plays roaring by the devil is a prominent feature. Stage directions in Paul provide for ‘cryeing and rorying’ and Belial enters with the cry, ‘Ho, ho, behold me.’ Among the moralities The Disobedient Child may be mentioned.

[19] So in Gammer Gurton’s Needle, c 1562, we read: ‘But Diccon, Diccon, did not the devil cry ho, ho, ho?’ Cf. also the translation of Goulart’s Histories, 1607 (quoted by Sharp, p. 59): ‘The fellow—coming to the stove—sawe the Diuills in horrible formes, some sitting, some standing, others walking, some ramping against the walles, but al of them, assoone as they beheld him, crying Hoh, hoh, what makest thou here?’

[20] Cf. the words of Robin Goodfellow in Wily Beguiled (O. Pl., 4th ed., 9. 268): ‘I’ll put me on my great carnation-nose, and wrap me in a rowsing calf-skin suit and come like some hobgoblin, or some devil ascended from the grisly pit of hell.’

[21] Cushman points out that it occurs in only one drama, that of Like will to Like. He attributes the currency of the notion that this mode of exit was the regular one to the famous passage in Harsnet’s Declaration of Popish Impostures (p. 114, 1603): ‘It was a pretty part in the old church-playes, when the nimble Vice would skip up nimbly like a jackanapes into the devil’s necke, and ride the devil a course, and belabour him with his wooden dagger, till he made him roare, whereat the people would laugh to see the devil so vice-haunted.’ The moralities and tragedies give no indication of hostility between Vice and devil. Cushman believes therefore that Harsnet refers either to some lost morality or to ‘Punch and Judy.’ It is significant, however, that in ‘Punch and Judy,’ which gives indications of being a debased descendant of the morality, the devil enters with the evident intention of carrying the hero off to hell. The joke consists as in the present play in a reversal of the usual proceeding. Eckhardt (p. 85 n.) points out that the Vice’s cudgeling of the devil was probably a mere mirth-provoking device, and indicated no enmity between the two. Moreover the motive of the devil as an animal for riding is not infrequent. In the Castle of Perseverance the devil carries away the hero, Humanum Genus. The motive appears also in Greene’s Friar Bacon and Friar Bungay and Lodge and Greene’s Looking Glass for London and England, and especially in Histriomastix, where the Vice rides a roaring devil (Eckhardt, pp. 86 f.). We have also another bit of evidence from Jonson himself. In The Staple of News Mirth relates her reminiscences of the old comedy. In speaking of the devil she says: ‘He would carry away the Vice on his back quick to hell in every play.’

[22] Cf. also Love Restored, 1610-11, and the character of Puck Hairy in The Sad Shepherd.

[23] Hierarchie of the Blessed Angels 9. 574.

[24] Part 3. 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.

[28] Discovery, p. 522.

[29] O. Pl., 4th ed., 3. 213.

[30] Early Eng. Prose Romances, London 1858.

[31] See Herford’s discussion, Studies, p. 305; also Quarterly Rev. 22. 358. The frequently quoted passage from Harsnet’s Declaration (ch. 20, p. 134), is as follows: ‘And if that the bowle of curds and cream were not duly set out for Robin Goodfellow, the Friar, and Sisse the dairy-maide, why then either the pottage was burnt the next day, or the cheese would not curdle,’ etc. Cf. also Scot, Discovery, p. 67: ‘Robin could both eate and drinke, as being a cousening idle frier, or some such roge, that wanted nothing either belonging to lecherie or knaverie, &c.’

[32] Cf. Pug’s words, 1. 3. 1 f.

[33] See Herford, p. 308.

[34] A similar passage is found in Dekker, Whore of Babylon, Wks. 2. 355. The sentiment is not original with Dekker. Cf. Middleton, Black Book, 1604:

... And were it number’d well, There are more devils on earth than are in hell.

[35] Dekker makes a similar pun on Helicon in News from Hell, Non-dram Wks. 2. 95.

[36] A paraphrase of Belfagor occurs in the Conclusion of Barnaby Riche’s Riche his Farewell to Militarie Profession, 1581, published for the Shakespeare Society by J. P. Collier, 1846. The name is changed to Balthasar, but the main incidents are the same.

[37] Jonson refers to Machiavelli’s political writings in Timber (ed. Schelling, p. 38).

[38] Eng. Dram. Lit. 2. 606.

[39] Eckhardt, p. 195.

[40] In W. Wager’s The longer thou livest, the more fool thou art.

[41] In Wapull’s The Tide tarrieth for No Man.

[42] Subtle Shift in The History of Sir Clyomon and Sir Clamydes.

[43] In Wilson’s The Three Ladies of London.

[44] He is so identified in Chapman’s Alphonsus, Emperor of Germany c 1590 (Wks., ed. 1873, 3. 216), and in Stubbes’ Anat., 1583. Nash speaks of the Vice as an antiquated figure as early as 1592 (Wks. 2. 203).

[45] Med. Stage, pp. 203-5.

[46] Eckhardt, p. 145.

[47] Sometimes he is even a virtuous character. See Eckhardt’s remarks on Archipropheta, p. 170. Merry Report in Heywood’s Weather constantly moralizes, and speaks of himself as the servant of God in contrast with the devil.

[48] This designation for the Vice first appears in Nice Wanton, 1547-53, then in King Darius, 1565, and Histriomastix, 1599 (printed 1610).

[49]Wright, Hist. of Caricature, p. 106.

[50] Doran, p. 182.

[51] Ibid., p. 210.

[52] See Herford, p. 318.

[53] Woodbridge, Studies, p. 33.

[54] Contrasted companion-characters are a favorite device with Jonson. Compare Corvino, Corbaccio, and Voltore in The Fox, Ananias and Tribulation Wholesome in The Alchemist, etc.

[55] It should be noticed that in the case of Merecraft the method employed is the caricature of a profession, as well as the exposition of personality.

[56] Langbaine, Eng. Dram. Poets, p. 289.

[57] Quellen Studien, p. 15.

[58] 2. 2. 69.

[59] Mentioned by Koeppel, p. 15.

[60] So spelled in 1573 ed. In earlier editions ‘palafreno.’

[61] Studien, p. 232.

[62] See note 2. 1. 168 f.

[63] Gifford points out the general resemblance. He uses Hutchinson’s book for comparison.

[64] This book, so far as I know, is not to be found in any American library. My knowledge of its contents is derived wholly from Darrel’s answer, A Detection of that sinnful, shamful, lying and ridiculous Discours, of Samuel Harshnet, entituled: A Discoverie, etc.... Imprinted 1600, which apparently cites all of Harsnet’s more important points for refutation. It has been lent me through the kindness of Professor George L. Burr from the Cornell Library. The quotations from Harsnet in the following pages are accordingly taken from the excerpts in the Detection.

[65] See Introduction, Section C. IV.

[66] Swinburne, p. 65.

[67] Cf. also Gosson, School of Abuse, 1579; Dekker, A Knight’s Conjuring, 1607; Overbury, Characters, ed. Morley, p. 66.

[68] See New Inn 2. 2; Every Man in 1. 5; B. & Fl., Love’s Pilgrimage, Wks. 11. 317, 320.

[69] Cf. Albumazar, O. Pl. 7. 185-6; Rom. and Jul. 2. 4. 26; Twelfth Night 3. 4. 335; L. L. L. 1. 2. 183; Massinger, Guardian, Wks., p. 346. Mercutio evidently refers to Saviolo’s book and the use of the rapier in Rom. and Jul. 3. 1. 93. Here the expression, ‘fight by the book’, first occurs, used again by B. & Fl., Elder Brother, Wks. 10. 284; Dekker, Guls Horne-booke, ch. 4; As You Like it 5. 4. Dekker speaks of Saviolo, Non-dram. Wks. 1. 120.

[70] Overbury, ed. Morley, p. 72.

[71] Ibid., p. 66.

[72] Every Man in, Wks. 1. 35.

[73] Letters to John Kempe, 1331, Rymer’s Foedera; Hulme, Law Quarterly Rev., vol. 12.

[74] Cunningham, Eng. Industry, Part I, p. 75.

[75] D’Ewes, Complete Journal of the Houses of Lords and Commons, p. 646.

[76] Cunningham, p. 21.

[77] Craik 2. 24. Rushworth, Collection 1. 24.

[78] For a more detailed account of the drainage of the Lincolnshire fens see Cunningham, pp. 112-119.

[79] Cf. Dekker, Non-dram. Wks. 3. 367.

[80] Muse’s Looking Glass, O. Pl. 9. 180 (cited by Gifford).

[81] Works, 1641, reprinted by the Spenser Society.

[82] Character Writings, ed. Morley, p. 350.

[83] See p. xix.

[84] See Trials for Witchcraft 1596-7, vol. 1, Miscellany of the Spalding Club, Aberdeen, 1841.

[85] First appeared in 1597. Workes, fol. ed., appeared 1616, the year of this play.

[86] See Dedication to The Fox, Second Prologue to The Silent Woman, Induction to Bartholomew Fair, Staple of News (Second Intermean), Magnetic Lady (Second Intermean).

[87] See the note prefixed to Staple of News, Act 3, and the second Prologue for The Silent Woman.

[88] Ev. Man in.

[89] Case is Altered.

[90] Staple of News.

[91] Dedication to The Fox.

[92] The passage from the Gipsies especially finds a close parallel in the fragment of a song in Marston’s Dutch Courtezan, 1605, Wks. 2. 46:

Purest lips, soft banks of blisses, Self alone deserving kisses.

Are not these lines from Jonson’s hand? This was the year of his collaboration with Marston in Eastward Ho.

Transcriber Notes:

In the text of the actual play, lowercase “s” has been replaced by the “long s”, “f”. The capital letter “W” is often replaced with “VV”, the letter “v” and the letter “u” are used interchangeably, and the letters "i" and "j" are also used interchangeably.

Many of the characters names in the play have various spellings,
e.g., MERE-CRAFT and MERECRAFT, EVER-ILL and EVERILL, FITZ-DOTTEREL and FITZDOTTEREL, PIT_FAL and PITFALL, DIVEL and DIVELL.

The footnotes in the actual play were added by the author as part of his thesis. The references for these footnotes are the line numbers. Since each scene begins the line numbers over at 1, these footnotes have been collected at the end of each scene, and refer to the appropriate line in the preceding scene.

Antiquated spellings and ancient words in the text of the play were preserved.

Clyx.com