That the practice above referred to was a regular or even a frequent feature of the morality-play has been disputed, but the evidence seems fairly conclusive that it was common in the later and more degenerate moralities. At any rate, like the cry of ‘Ho, ho!’ it had come to be looked upon as part of the regular stock in trade, and this was enough for Jonson’s purpose.[21] This motive of the Vice riding the devil had changed from a passive to an active comic part. Instead of the devil’s prey he had become in the eyes of the spectators the devil’s tormentor. Jonson may be looked upon as reverting, perhaps unconsciously, to the original and truer conception.
In other respects Pug exhibits only the characteristics of the inheritor of the devil’s comedy part, the butt or clown. As we have seen, one of the chief sources, as well as one of the constant modes of manifestation, of this figure was the servant or man of low social rank. Pug, too, on coming to earth immediately attaches himself to Fitzdottrel as a servant, and throughout his brief sojourn on earth he continues to exhibit the wonted stupidity and clumsy uncouthness of the clown. He appears, to be sure, in a fine suit of clothes, but he soon shows himself unfit for the position of gentleman-usher, and his stupidity appears at every turn. The important element in the clown’s comedy part, of a contrast between intention and accomplishment, is of course exactly the sort of fun inspired by Pug’s repeated discomfiture. With the clown it often takes the form of blunders in speech, and his desire to appear fine and say the correct thing frequently leads him into gross absurdities. This is brought out with broad humor in 4. 4. 219, where Pug, on being catechized as to what he should consider ‘the height of his employment’, stumbles upon the unfortunate suggestion: ‘To find out a good Corne-cutter’. His receiving blows at the hand of his master further distinguishes him as a clown. The investing of Pug with such attributes was, as we have seen, no startling innovation on Jonson’s part. Moreover, it fell into line with his purpose in this play, and was the more acceptable since it allowed him to make use of the methods of realism instead of forcing him to draw a purely conventional figure. Pug, of course, even in his character of clown, is not the unrelated stock-figure, introduced merely for the sake of inconsequent comic dialogue and rough horse-play. His part is important and definite, though not sufficiently developed.
3. The Influence of Robin Goodfellow and of Popular Legend
A constant element of the popular demonology was the belief in the kobold or elfish sprite. This figure appears in the mysteries in the shape of Titivillus, but is not found in the moralities. Robin Goodfellow, however, makes his appearance in at least three comedies, Midsummer Night’s Dream, 1593-4, Grim, the Collier of Croyden, c 1600, and Wily Beguiled, 1606. The last of these especially approaches Jonson’s conception. Here Robin Goodfellow is a malicious intriguer, whose nature, whether human or diabolical, is left somewhat in doubt. His plans are completely frustrated, he is treated with contempt, and is beaten by Fortunatus. The character was a favorite with Jonson. In the masque of The Satyr, 1603,[22] that character is addressed as Pug, which here seems evidently equivalent to Puck or Robin Goodfellow. Similarly Thomas Heywood makes Kobald, Hobgoblin, Robin Goodfellow, and Pug practically identical.[23] Butler, in the Hudibras,[24] gives him the combination-title of good ‘Pug-Robin’. Jonson’s character of Pug was certainly influenced in some degree both by the popular and the literary conception of this ‘lubber fiend’.
The theme of a stupid or outwitted devil occurred also both in ballad literature[25] and in popular legend. Roskoff[26] places the change in attitude toward the devil from a feeling of fear to one of superiority at about the end of the eleventh century. The idea of a baffled devil may have been partially due to the legends of the saints, where the devil is constantly defeated, though he is seldom made to appear stupid or ridiculous. The notion of a ‘stupid devil’ is not very common in English, but occasionally appears. In the Virgilius legend the fiend is cheated of his reward by stupidly putting himself into the physical power of the wizard. In the Friar Bacon legend the necromancer delivers an Oxford gentleman by a trick of sophistry.[27] In the story upon which the drama of The Merry Devil of Edmonton was founded, the devil is not only cleverly outwitted, but appears weak and docile in his indulgence of the wizard’s plea for a temporary respite. It may be said in passing, in spite of Herford’s assertion to the contrary, that the supernatural machinery in this play has considerably less connection with the plot than in The Devil is an Ass. Both show a survival of a past interest, of which the dramatist himself realizes the obsolete character.
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. Up to the time of discovery Rush is popular and successful. He is nowhere made ridiculous, and his mission of corruption is in large measure fulfilled. The two stories come together in their conclusion. The discovery that a real devil has been among them is the means of the friars’ conversion and future right living. A precisely similar effect takes place in the case of Fitzdottrel.