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