Brome, Jonson’s old servant and friend, also handled the subject of monopolies (see page lxi). Jonson’s influence is especially marked in _The Court Beggar_. The project of perukes (_Wks._ 1. 192) should be compared with Merecraft’s project of toothpicks. Mrs. Susanna Centlivre’s _Busie Body_ uses the motives borrowed from Boccaccio (see pp. xlv ff.). The scenes in which these appear must have been suggested by Jonson’s play (Genest 2. 419), though the author seems to have been acquainted with the _Decameron_ also. In Act. 1. Sc. 1 Sir George Airy makes a bargain with Sir Francis Gripe similar to Wittipol’s bargain with Fitzdottrel. In exchange for the sum of a hundred guineas he is admitted into the house for the purpose of moving his suit to Miranda. ‘for the space of ten minutes, without lett or molestation’, provided Sir Francis remain in the same room, though out of ear shot (2d ed., p. 8). In Act 2. Sc. 1 the bargain is carried out in much the same way as in Boccaccio and in Jonson. Miranda remaining dumb and Sir George answering for her. In Act 3. Sc. 4 (2d ed., p. 38) Miranda in the presence of her guardian sends a message by Marplot not to saunter at the garden gate about eight o’clock as he has been accustomed to do, thus making an assignation with him (compare _DA._ 2. 2. 52). Other motives which seem to show some influence of _The Devil is an Ass_ are Miranda’s trick to have the estate settled upon her, Charles’ disguise as a Spaniard, and Traffick’s jealous care of Isabinda. The character of Marplot as comic butt resembles that of Pug. The song in _The Devil is an Ass_ 2. 6. 94 (see note) was imitated by Sir John Suckling. APPENDIX EXTRACTS FROM THE CRITICS GIFFORD: There is much good writing in this comedy. All the speeches of Satan are replete with the most biting satire, delivered with an appropriate degree of spirit. Fitzdottrel is one of those characters which Jonson delighted to draw, and in which he stood unrivalled, a _gull_, i. e., a confident coxcomb, selfish, cunning, and conceited. Mrs. Fitzdottrel possesses somewhat more interest than the generality of our author’s females, and is indeed a well sustained character. In action the principal amusement of the scene (exclusive of the admirable burlesque of witchery in the conclusion) was probably derived from the mortification of poor Pug, whose stupid stare of amazement at finding himself made an _ass_ of on every possible occasion must, if portrayed as some then on the stage were well able to portray it, have been exquisitely comic. This play is strictly moral in its conception and conduct. Knavery and folly are shamed and corrected, virtue is strengthened and rewarded, and the ends of dramatic justice are sufficiently answered by the simple exposure of those whose errors are merely subservient to the minor interests of the piece.