Ben Jonson’s play The Devil is an Ass, written in 1616, serves as a sharp satire of London society during the early 17th century. The second act is where the intricacies of the plot truly start to take shape, highlighting Jonson’s witty commentary on greed, deception, and the foolishness of mankind. While the title might suggest that the devil is the main driver of evil and chaos, Jonson cleverly flips the script in the second act, illustrating how humans are often more corrupt than even the devil himself. Through the character interactions and unfolding schemes, Jonson uses this act to critique both individual folly and broader societal flaws, showcasing his mastery in blending humor with biting social commentary.

Setting the Stage: A Brief Recap

Before delving deeply into the second act, it’s important to understand the basic premise of The Devil is an Ass. The play begins with a minor demon named Pug, who wants to prove his abilities to his superior, Satan, by going to Earth to corrupt humans. Pug believes that this will be an easy task, given humanity’s natural inclination towards sin. However, as the play progresses, it becomes clear that humans are far more adept at deceiving and corrupting each other than Pug ever imagined. The devil is quickly outmatched by the very mortals he seeks to lead astray.

In Act 2, we see the unfolding of various schemes, particularly those of Fitzdottrel, a foolish country gentleman obsessed with wealth and status, and Meercraft, a conman who preys on Fitzdottrel’s greed. As these characters interact, Jonson’s satirical aim becomes evident: human folly, driven by greed and vanity, far outweighs the devil’s power. The second act is pivotal in illustrating this dynamic, and Jonson uses humor, irony, and social critique to expose the absurdity of human behavior.

Fitzdottrel: The Gullible Greedy Fool

One of the key characters in Act 2 is Fitzdottrel, whose name itself is a clue to his foolishness. Throughout the act, Jonson portrays Fitzdottrel as a man who is completely consumed by his desires for wealth and social elevation. Fitzdottrel’s gullibility is made clear through his interactions with Meercraft, a conman who spins elaborate, fraudulent schemes in order to dupe him out of money. Fitzdottrel’s desire to gain wealth through any means makes him a perfect target for such deception.

In this act, Fitzdottrel becomes convinced that he can gain great fortune through the exploitation of dubious business ventures proposed by Meercraft. He willingly buys into schemes that are clearly ridiculous to anyone with a modicum of common sense, but his overwhelming greed blinds him to the truth. Jonson paints Fitzdottrel as a cautionary figure, a man so obsessed with superficial success that he becomes a puppet for others to manipulate.

What makes Fitzdottrel’s character so compelling in this act is the way in which Jonson uses him to critique not only individual greed but also the broader societal obsession with wealth and status. Fitzdottrel’s folly is not just his personal failing; it reflects a society in which material success is valued above all else. His willingness to believe in impossible schemes mirrors the larger cultural tendency to chase after wealth, even at the cost of reason and integrity.

Pug: The Ineffectual Devil

Act 2 also continues to develop the character of Pug, the devil sent to Earth with the aim of corrupting mortals. However, instead of being a menacing or dangerous figure, Pug is portrayed as comically ineffectual. Despite his supernatural origins, Pug finds himself outmatched by the humans he encounters, particularly figures like Fitzdottrel, who are already so deeply entrenched in their own greed and deception that they hardly need the devil’s influence.

Pug’s frustration in this act is a central theme, as he repeatedly attempts to lead Fitzdottrel and others astray, only to find that they are perfectly capable of deceiving themselves and each other without any help. Jonson uses Pug’s character to explore the idea that human vice is so deeply ingrained that even a devil cannot make much of a difference. In fact, Pug ends up being more of a victim of human schemes than an instigator of evil.

This inversion of the traditional relationship between devils and mortals is one of the most humorous and insightful aspects of the play. By portraying Pug as a bumbling and powerless figure, Jonson suggests that the true source of corruption lies not in external forces like demons, but within humanity itself. The devil, who in many other literary works is a symbol of ultimate evil and temptation, is reduced to a bystander in a world where humans are the real “devils.”

The Schemes of Meercraft and Everill: The Human Face of Deception

While Pug struggles to make an impact, the human characters in Act 2 are busy weaving their own complex webs of deception. Meercraft, the conman, is the epitome of human cunning and greed. He represents the type of person who thrives in a society where wealth and status are prioritized above morality. Meercraft’s schemes are elaborate and absurd, yet he has no trouble convincing Fitzdottrel to invest in them because he knows how to exploit Fitzdottrel’s weaknesses.

Everill, another conman, joins Meercraft in deceiving Fitzdottrel, and together they concoct increasingly ridiculous plans to swindle him. The ease with which they manipulate Fitzdottrel serves as a reflection of how deeply embedded greed and dishonesty are in human society. Jonson uses these characters to critique the rise of opportunistic businessmen and swindlers in his own time, drawing attention to the ways in which they prey on the gullibility and ambition of others.

The interactions between Meercraft, Everill, and Fitzdottrel highlight Jonson’s broader social critique. In a society that is so focused on material gain, individuals like Meercraft and Everill are able to thrive because they understand how to manipulate the system. Jonson’s satire is directed not just at these characters but at the society that enables and rewards such behavior. Through this, Jonson questions the values of his time, suggesting that the relentless pursuit of wealth and status leads to moral and social decay.

Themes of Greed and Moral Corruption

The second act of The Devil is an Ass delves deeply into themes of greed and moral corruption, both on an individual and societal level. Fitzdottrel’s greed is the driving force behind much of the action in this act, as his desire for wealth blinds him to the absurdity of the schemes he buys into. Meercraft and Everill, meanwhile, represent the unscrupulous individuals who exploit others for their own gain, reflecting the broader societal greed that Jonson critiques throughout the play.

Jonson’s portrayal of greed is particularly biting because it is so closely tied to the moral failings of his characters. Fitzdottrel’s desire for wealth is not just a personal flaw; it is a symptom of a society that places too much value on material success. Jonson uses Fitzdottrel’s downfall to illustrate the dangers of unchecked ambition and the ways in which it can lead individuals to lose sight of what is truly important.

Moreover, the act also explores the idea that greed is a corrupting force not just for those who are deceived, but for those who do the deceiving. Meercraft and Everill, while successful in their schemes, are portrayed as morally bankrupt individuals whose lives are consumed by their pursuit of wealth. Jonson’s critique of greed extends to all levels of society, suggesting that the obsession with material gain leads to a loss of integrity and humanity.

Social Commentary and Satire

One of the most remarkable aspects of the second act of The Devil is an Ass is Jonson’s use of satire to comment on the social, economic, and moral issues of his time. The play is set against the backdrop of a rapidly changing London, where commercialism and the pursuit of wealth were becoming increasingly central to society. Through characters like Fitzdottrel, Meercraft, and Everill, Jonson critiques the rise of opportunism and the ways in which people were willing to sacrifice their morals for personal gain.

The satirical elements of the play are most evident in Jonson’s portrayal of the various schemes that unfold in Act 2. Meercraft’s business ventures are absurd and transparently fraudulent, yet Fitzdottrel is eager to invest in them because of his desire for quick and easy wealth. Jonson uses this to comment on the speculative ventures and financial bubbles that were common in early 17th-century London, drawing a parallel between the greed and gullibility of his characters and the economic instability of his time.

Additionally, Jonson’s satire extends to the legal and political systems of the time, which often enabled and even encouraged the kind of exploitation depicted in the play. Meercraft’s schemes are often couched in legal terms, and he uses loopholes and technicalities to justify his actions. Jonson’s critique here is subtle but pointed, as he suggests that the institutions that are supposed to uphold justice and fairness are complicit in the corruption and greed that pervades society.

Conclusion: The Devil’s Power is No Match for Human Folly

The second act of The Devil is an Ass offers a rich and detailed exploration of human folly, greed, and moral corruption. Jonson’s use of satire and humor highlights the absurdity of human behavior, particularly in a society that values wealth and status above all else. Through characters like Fitzdottrel, Pug, Meercraft, and Everill, Jonson critiques both individual weaknesses and the broader societal forces that encourage deception and exploitation.