Introduction
The 1616 play The Devil is an Ass is a Jacobean comedy written by the English dramatist Ben Jonson and first performed at the Globe Theatre in 1616. In this article we will unpack the play’s historical background, dissect its plot and characters, illustrate its enduring relevance with concrete examples, explore the theoretical lenses through which scholars interpret it, correct common misunderstandings, and answer frequently asked questions. Here's the thing — though less frequently staged today than Jonson’s masterpieces such as Volpone or The Alchemist, the work offers a sharp, satirical glimpse into the anxieties of early‑modern London—particularly the rise of consumer culture, the pretensions of social climbers, and the uneasy relationship between piety and profit. By the end, readers should have a comprehensive grasp of why The Devil is an Ass remains a valuable text for understanding both Jacobean drama and the timeless mechanics of satire The details matter here..
Detailed Explanation
Historical Context and Authorship
Ben Jonson (1572‑1637) was a contemporary of Shakespeare and a leading figure in the Jacobean theatre scene. Here's the thing — by 1616 he had already secured his reputation with a string of successful comedies that employed his theory of the “humours”—the idea that characters are dominated by a single overriding trait that drives their behavior. On the flip side, The Devil is an Ass premiered during a year marked by plague outbreaks, political intrigue surrounding the reign of James I, and a burgeoning market economy that encouraged speculation and conspicuous consumption. Jonson, ever the moralist, used the stage to critique the way ordinary citizens were being lured into foolish ventures by charlatans promising quick wealth.
The play’s title itself is a paradoxical proclamation: the devil, traditionally the epitome of evil, is humorously reduced to an “ass”—a foolish, bumbling figure. Plus, this inversion signals Jonson’s intent to demystify supernatural temptation and instead spotlight human gullibility as the true source of mischief. The work was entered into the Stationers’ Register on 8 September 1616 and first printed in 1631, suggesting that while it enjoyed an initial run, it did not achieve the lasting popularity of some of Jonson’s other pieces Still holds up..
Plot Overview
The narrative centers on Pug, a gullible servant who aspires to rise above his station by aligning himself with Satan, who has taken human form under the alias “The Devil” (played as a comic trickster rather than a terrifying fiend). Think about it: he encounters a cast of characters—including the avaricious Sir Politic Would‑be, the pretentious Lady Tail‑bush, and the greedy Merecraft—each embodying a particular social vice. Satan, bored with Hell, ventures to London to see whether humanity truly deserves his attention. Through a series of mistaken identities, absurd schemes, and farcical misunderstandings, Satan discovers that humans are already proficient at damning themselves; his infernal influence is, therefore, superfluous. The play concludes with Satan’s disgusted retreat to Hell, leaving the Londoners to continue their self‑inflicted folly.
Step‑by‑Step or Concept Breakdown
Act‑by‑Act Structure
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Act I – The Invitation
- Satan, dissatisfied with Hell’s monotony, asks for a leave of absence to observe Earth.
- He meets Pug, who, eager for advancement, promises to introduce Satan to London’s “finest” citizens.
- This act establishes the central irony: a demon seeking amusement finds humans already adept at vice.
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Act II – The Market of Folly
- Satan is introduced to Sir Politic Would‑be, a knight obsessed with grandiose projects that never materialize.
- Lady Tail‑bush displays her obsession with fashion and superficial status.
- Through witty dialogue, Jonson highlights how each character’s dominant “humour” (ambition, vanity, greed) leads them into ludicrous enterprises.
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Act III – The Scheme Unfolds
- Pug convinces Satan to invest in a bogus alchemical venture led by Merecraft, who promises to turn base metals into gold.
- The scene satirizes the contemporary craze for alchemy and get‑rich‑quick schemes, mirroring real‑life pamphlets that flooded London markets.
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Act IV – The Reveal
- As the fraudulent venture collapses, the characters begin to accuse one another of deceit.
- Satan, observing the mutual recriminations, realizes that humans are capable of generating their own torment without his aid.
- The tone shifts from farce to a darker, almost philosophical reflection on human nature.
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Act V – The Departure
- Disillusioned, Satan declares humanity “an ass” and returns to Hell.
- The final scene leaves the Londoners oblivious to their own folly, reinforcing the play’s satirical punchline: the true devil is not a supernatural entity but the collective foolishness of society.
Core Conceptual Elements
- Satire of Social Aspiration: Each character’s attempt to climb the social ladder exposes the hollowness of meritocratic ideals in Jacobean England.
- The Humour Theory: Jonson’s characters are dominated by a single overriding trait (e.g., Sir Politic’s ambition, Lady Tail‑bush’s vanity), making their actions predictable and thus ripe for comic exaggeration.
- Metatheatre: The play frequently breaks the fourth wall, with Satan commenting directly on the audience’s own susceptibility to deception, thereby implicating spectators in the moral lesson.
Real Examples
Notable Scenes and Quotations
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Satan’s Soliloquy (Act I, Scene 2):
“I came to see if man’s mischief needed my aid; / I find his own wit doth more mischief make.”
This line encapsulates the play’s central thesis: human ingenuity in vice surpasses any demonic temptation It's one of those things that adds up.. -
The Alchemical Farce (Act III, Scene Act III, Scene 1):
Merecraft’s ludicrous demonstration—mixing “dragon’s blood” (actually red wine) with “philosopher’s stone” (a lump of chalk)—mirrors real
scientific quackery and the era's fascination with the occult. Through this comedic failure, Jonson mocks the intellectual gullibility of a society more interested in magical shortcuts than genuine study And that's really what it comes down to..
Literary Context and Influence
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The Comedy of Humours: The Alchemist stands as the definitive masterpiece of the "humours" genre. Unlike the romantic comedies of Shakespeare, which focus on character growth and emotional complexity, Jonson’s work focuses on the rigidity of personality. Once a character is assigned a "humour," they become a fixed point of obsession, driving the plot forward through their inability to act reasonably.
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Urbanization and the London Setting: The play is deeply rooted in the specific geography and social anxieties of Jacobean London. By setting the action in a bustling, crowded city, Jonson captures the frantic energy of a burgeoning mercantile class. The setting itself becomes a character—a labyrinth of narrow streets and hidden rooms where secrets can be traded as easily as coin.
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Moralism vs. Entertainment: While the play is undeniably funny, it is never purely escapist. Jonson uses the "low" comedy of scams and thieves to deliver a "high" moral sermon. He does not merely want to laugh at the characters; he wants the audience to recognize the same greed and vanity in their own social circles Not complicated — just consistent..
Conclusion
The Alchemist remains a profound exploration of human frailty, transcending its 17th-century origins to remain relevant in the modern age. By utilizing the figure of Satan as a detached observer, Ben Jonson provides a cosmic perspective on the triviality of human greed. The play suggests that the most effective way to corrupt a soul is not through grand, epic temptations, but through the subtle, everyday exploitation of vanity and the desire for unearned wealth. When all is said and done, Jonson’s masterpiece serves as a timeless warning: when society abandons reason in favor of the "quick fix," it creates a hell of its own making, requiring no devil to preside over the chaos Most people skip this — try not to..
