The contemptible ‘lady of spirit and woman of fashion’ is one of Jonson’s favorite types. She first appears in the persons of Fallace and Saviolina in _Every Man out of his Humor_; then in _Cynthia’s Revels_, where Moria and her friends play the part; then as Cytheris in _Poetaster_, Lady Politick in _The Alchemist_, the collegiate ladies in _The Silent Woman_, and Fulvia and Sempronia in _Catiline_. The same affectations and vices are satirized repeatedly. An evident prototype of Justice Eitherside is found in the person of Adam Overdo in _Bartholomew Fair_. Both are justices of the peace, both are officious, puritanical, and obstinate. Justice Eitherside’s denunciation of the devotees of tobacco finds its counterpart in a speech in _Bartholomew Fair_, and his repeated ‘I do detest it’ reminds one of Overdo’s frequent expressions of horror at the enormities which he constantly discovers. 4. _Minor Sources_ _The Devil is an Ass_ is not deeply indebted to the classics. Jonson borrows twice from Horace, 1. 6. 131, and 2. 4. 27 f. The half dozen lines in which the former passage occurs (1. 6. 126-132) are written in evident imitation of the Horatian style. Two passages are also borrowed from Plautus, 2. 1. 168 f., already mentioned, and 3. 6. 38-9. A single passage (2. 6. 104 f.) shows the influence of Martial. These passages are all quoted in the notes. The source of Wittipol’s description of the ‘Cioppino’, and the mishap attendant upon its use, was probably taken from a contemporary book of travels. A passage in Coryat’s _Crudities_ furnishes the necessary information and a similar anecdote, and was doubtless used by Jonson (see note 4. 4. 69). Coryat was patronized by the poet. Similarly, another passage in the _Crudities_ seems to have suggested the project of the forks (see note 5. 4. 17). A curious resemblance is further to be noted between several passages in _The Devil is an Ass_ and _Underwoods 62_. The first draft of this poem may have been written not long before the present play (see Fleay, _Chron._ 1. 329-30) and so have been still fresh in the poet’s mind. The passage _DA._ 3. 2. 44-6 shows unmistakably that the play was the borrower, and not the poem. Gifford suggests that both passages were quoted from a contemporary posture-book, but the passage in the epigram gives no indication of being a quotation. The chief parallels are as follows: _U. 62._ 10-14 and _DA._ 3. 3. 165-6; _U. 62._ 21-2 and _DA._ 3. 3. 169-72; _U. 62._ 25-6 and _DA._ 3. 2. 44-6; _U. 62._ 45-8 and _DA._ 2. 8. 19-22. These passages are all quoted in the notes. In addition, there are a few striking words and phrases that occur in both productions, but the important likenesses are all noted above. In no other poem except _Charis_, _The Gipsies_, and _Underwoods 36_,[65] where the borrowings are unmistakably intentional, is there any thing like the same reworking of material as in this instance. III. SPECIFIC OBJECTS OF SATIRE