1. The Devil in the pre-Shakespearian Drama
The sources for the conception of the devil in the mediæval 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]
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. This is the cry of ‘Ho, ho!’, with which Satan makes his entrance upon the stage in the first scene.[18] Other expressions of emotion were also used, but ‘Ho, ho!’ came in later days to be recognized as the conventional cry of the fiend upon making his entrance.[19]
How the character of Satan was to be represented is of course impossible to determine. The devil in the pre-Shakespearian drama was always a grotesque figure, often provided with the head of a beast and a cow’s tail.[20] In the presentation of Jonson’s play the ancient tradition was probably followed. Satan’s speeches, however, are not undignified, and too great grotesqueness of costume must have resulted in considerable incongruity.
In the figure of Pug few of the formal elements of the pre-Shakespearian devil are exhibited. He remains, of course, the ostensible champion of evil, but is far surpassed by his earthly associates, both in malice and in intellect. In personal appearance he is brought by the assumption of the body and dress of a human being into harmony with his environment. A single conventional episode, with a reversal of the customary proceeding, is retained from the morality-play. While Pug is languishing in prison, Iniquity appears, Pug mounts upon his back, and is carried off to hell. Iniquity comments upon it:
The Diuell was wont to carry away the euill; But, now, the Euill out-carries the Diuell.