Critical Analysis of Volpone

Ben Jonson’s Volpone, first performed in 1606, is a satirical comedy that explores themes of
greed, deception, and corruption in early modern society. Set in Venice, a city often
symbolizing wealth and moral decay, the play follows the cunning Volpone, a wealthy
Venetian nobleman who pretends to be on his deathbed to exploit the greed of his would-be
heirs. Through sharp wit, exaggerated characters, and ironic twists, Jonson delivers a strong
moral lesson while also entertaining the audience with farcical situations and clever
wordplay.

One of the most striking aspects of Volpone is its intense focus on greed. Almost every
character in the play is driven by the desire to gain wealth, regardless of the means. Volpone
himself is already rich but is not satisfied. Instead of enjoying his fortune, he finds pleasure
in manipulating others for his own amusement. His name, which means “fox” in Italian,
reflects his sly and predatory nature. Similarly, his servant Mosca (meaning “fly”) is just as
deceptive, feeding off Volpone’s schemes and eventually trying to outwit his master for his
own gain. The legacy hunters—Voltore, Corbaccio, and Corvino—are grotesque caricatures
of greed. Each of them is willing to betray morals and family just to be named Volpone’s heir.
Jonson uses animal symbolism in their names—Voltore (vulture), Corbaccio (raven), and
Corvino (crow)—to highlight their scavenging, corrupt nature.

Another important theme in Volpone is deception, which operates on multiple levels.

Volpone pretends to be dying, Mosca plays the part of a humble servant while actually
controlling the situation, and the legacy hunters flatter Volpone with fake affection. These
layers of lies eventually spiral out of control, leading to a chaotic unraveling of the
characters’ plans. Jonson seems to suggest that deception, no matter how clever, cannot
escape consequences forever. This is made clear by the play’s ending, where all the major
deceivers are punished. Volpone, who had once enjoyed tricking others, finds himself
exposed and sentenced. Jonson’s use of dramatic irony makes the audience aware of the
truth behind the lies, increasing the comedic effect while also emphasizing the moral
message.
Mosca’s role in the play deserves special attention. Although he is technically a servant, he
manipulates the events of the play as much as, if not more than, Volpone. His intelligence
and rhetorical skill make him a powerful figure, blurring the boundaries between master and
servant. For a while, he even controls Volpone and tries to become the sole heir to his
fortune. This role reversal creates tension and serves as a commentary on how wit and
manipulation can disrupt traditional hierarchies. However, Mosca’s downfall also reinforces
Jonson’s moral framework—those who manipulate others for selfish ends will ultimately
face justice.

The subplot involving Celia and Bonario introduces a different type of conflict into the play.
Celia, the virtuous wife of the jealous Corvino, becomes a victim of male control and
corruption. Corvino offers her to Volpone in hopes of gaining inheritance, treating her as a
commodity rather than a human being. Celia’s refusal to comply and her courage in standing
up to Volpone’s advances contrast sharply with the surrounding characters’ moral failures.
Likewise, Bonario, Corbaccio’s son, represents honesty and justice, although he is not
entirely successful in stopping the corruption. Through these two characters, Jonson
introduces a glimmer of virtue in an otherwise morally bankrupt world.

Stylistically, Jonson makes strong use of classical unities—unity of time, place, and action—
which reflect his preference for structure and order in drama. The play unfolds over the
course of a single day in one city and follows a clear central plot. This structure allows for
tight pacing and contributes to the building of tension. His use of blank verse and prose
allows for variations in tone and helps distinguish between characters of different social
ranks. The sharp, witty dialogue, especially in scenes involving Mosca and the legacy
hunters, is both entertaining and revealing of character motivations.

Importantly, Volpone is not just a comedy of manners but a moral satire. Jonson criticizes
the moral decay of society, especially the obsession with wealth and status. The characters’
exaggerated behaviors act as warnings rather than models. By exposing the ridiculousness of
their actions, Jonson invites the audience to reflect on their own values. Unlike
Shakespeare’s comedies, which often end in marriage and reconciliation, Volpone concludes
with public punishments and moral lessons. Justice is served not through personal
redemption but through legal authority, reinforcing the idea that wrongdoing must be dealt
with through societal mechanisms.
In conclusion, Volpone is a powerful satire that cleverly blends comedy with criticism. Jonson
uses exaggerated characters, classical structure, and rich symbolism to explore timeless
human flaws such as greed, deceit, and ambition. While the play is set in Renaissance
Venice, its themes remain relevant today, reminding audiences that unchecked desire for
wealth can corrupt even the most intelligent minds. Volpone stands as a sharp critique of
moral decay and a reminder of the consequences that await those who choose manipulation
over integrity.

Characterization in Volpone
Ben Jonson’s Volpone reflects his unique approach to character development based on the
idea of the "comedy of humours". This technique comes from classical influences like
Plautus and Terence, where characters are portrayed as ‘types’ defined by one dominant
trait in their personality. Jonson believed that when a single quality controls a person’s
behavior and thinking, that person can be said to be governed by a ‘humour’. This idea
comes from ancient medicine, where four bodily fluids—blood, phlegm, yellow bile, and
black bile—were believed to control temperament. An excess of one would result in
personality traits like being cheerful (sanguine), angry (choleric), depressed (melancholic), or
calm (phlegmatic).

In Volpone, almost every major character is shaped by a dominant humour, and their names
often reflect animal traits to symbolize their personalities. For example:

 Volpone (meaning “fox”) is cunning, sly, and clever. He enjoys tricking people for fun
and wealth. He hates honest work and loves luxury and pleasure. However, his deceit
eventually leads to his downfall, especially after he tries to sexually assault Celia and
then gets outsmarted by his own servant.

 Mosca (meaning “fly”) is parasitic, feeding off Volpone’s plans while pretending to be
a loyal servant. He is witty and a master manipulator. As the plot progresses, Mosca
tries to take control and ends up betraying Volpone, proving he is just as greedy and
selfish as the others.

The three legacy hunters also reflect their names:

  Voltore (vulture) is a lawyer who uses legal tricks to win Volpone’s inheritance but
ends up being publicly humiliated.

 Corbaccio (raven) is an old man whose physical weakness mirrors his moral decay. He
foolishly disinherits his own son, Bonario, hoping to inherit from Volpone.

 Corvino (crow) is a jealous husband who, despite being overly protective of his wife
Celia, is quick to offer her to Volpone in exchange for wealth.

All these characters are presented in a satirical and exaggerated manner to expose the
greed, ambition, and moral corruption in society. Jonson uses animal imagery to show that
their behavior is not only foolish but also morally repulsive—similar to the beast fables that
teach moral lessons.

Two characters—Bonario and Celia—stand apart from the rest. They are honest, virtuous,
and idealistic. Bonario refuses to abandon his father’s legacy for money, and Celia bravely
resists Volpone’s advances. They act as foils to the rest of the cast and represent moral
purity in a world full of corruption. Fittingly, they are the only ones who are not punished at
the end.

Other minor characters like Sir Politic Would-Be and Lady Would-Be are also shown
comically. Sir Politic thinks too highly of himself and is obsessed with meaningless plans,
while Lady Would-Be is talkative and irritating, trying too hard to impress Volpone.

In conclusion, Jonson uses sharp characterization to expose society’s obsession with wealth
and status. By giving each character a clear, dominant trait, he creates a vivid and humorous
picture of human folly that still feels relevant today.

Social Commentary in Volpone

Ben Jonson’s Volpone is more than just a funny and entertaining play—it is a sharp critique
of the society he lived in. Unlike Shakespeare, whose characters often express deep personal
emotions and complexities, Jonson used classical influences to build a structured kind of
comedy that also served as a form of social satire. In Volpone, he mocks the greed, vanity,
and moral decay of people in a way that both amuses and teaches a lesson.
Although the play is set in Venice, a city known in Jonson’s time as a place of luxury and sin,
its characters and situations clearly reflect 17th-century London. Jonson was responding to
the changes in English society, where wealth and status were no longer tied only to noble
birth. The growth of trade and commerce allowed people from lower social classes—like
lawyers, merchants, and businessmen—to rise in wealth and influence. This new reality
created a sense of cultural anxiety, and many playwrights, including Jonson, reflected this
tension in their work.

Jonson portrays this changing world through characters who are obsessed with wealth and
power. Volpone, the central character, pretends to be dying in order to trick others into
giving him expensive gifts in hopes of being named his heir. But Volpone is not simply playing
an innocent joke—his hedonistic lifestyle and attempt to rape Celia show how deeply
corrupt he has become in his pursuit of pleasure and riches.

The other characters are no better. The so-called "fortune hunters"—Voltore, Corbaccio, and
Corvino—represent the greedy, self-serving people who are willing to do anything to get
rich. They lie, betray, and even offer their own family members in exchange for wealth. But
what sets Volpone apart is that he is smarter and more cunning than his victims. There’s no
real moral difference between him and the others—they are all greedy, dishonest, and
selfish. The only difference is that Volpone enjoys outwitting them.

Mosca, Volpone’s servant, is also a key part of this social commentary. At first, he seems
loyal and helpful, but eventually he turns against his master. His betrayal shows that the
desire for status and money affects all levels of society, not just the rich. Mosca’s ambition
reflects how even lower-class individuals were beginning to dream of wealth and power in
Jonson’s time.

In the end, both Volpone and Mosca are punished, along with the other greedy characters.
Only Bonario and Celia, who act with honesty and virtue, are spared. They also receive
rewards, but not because they were chasing wealth—in fact, they were trying to do the right
thing. Jonson’s message is clear: in a corrupt society, only those who stay true to their
morals deserve to succeed.

Unlike the happy endings in Shakespeare’s romantic comedies, Volpone ends on a more
serious note. There’s no personal fulfillment—just a redistribution of wealth based on
morality. Through this, Jonson shows us a dark yet realistic picture of a world where good
and evil are constantly fighting for control.

Critical Overview of Volpone

Since its first performance in 1606, Ben Jonson’s Volpone has remained one of his most
significant and widely discussed plays. It showcases his trademark style known as the
comedy of humours, where characters are driven by one overpowering trait, or "humour,"
that shapes their thoughts and actions. This idea was especially influential during the
Restoration period, when playwrights like William Congreve, George Etherege, and William
Wycherley developed their own brand of comedy of manners. These plays, like Jonson’s,
focused on upper-class society and made fun of their shallow, foolish, and often immoral
behaviors.

However, not all critics admired Jonson's approach. William Congreve, for example, believed
that Jonson’s characters lacked emotional depth and the refined speech of Restoration
comedies. To Congreve, Jonson’s work was clever but not quite as stylish or passionate as
the plays written in his own time. This criticism highlights a key difference: where Jonson
aimed to teach moral lessons through satire, later playwrights often focused more on wit
and entertainment.

In the early 18th century, critics often compared Jonson and Shakespeare. Some, like
Nicholas Rowe, felt Jonson was more scholarly, but they praised Shakespeare’s natural
creativity and emotional power. John Dennis, however, admired Jonson’s ability to expose
human foolishness through carefully crafted characters. Meanwhile, Alexander Pope
acknowledged Jonson’s classical style and appreciated how he used learning to shape the
stage. Pope pointed out that Jonson guided his audience through devices like prologues and
speeches, making it clear what was being criticized. But he also warned against comparing
Jonson’s thoughtful structure too harshly with Shakespeare’s more imaginative storytelling.

During the Romantic era, Jonson’s classical and rule-based style fell out of favor, as Romantic
writers and critics preferred emotional depth and spontaneity. However, in the 20th century,
interest in Jonson’s work grew again, both among scholars and general audiences. Critics
began to study not only his literary techniques but also the social and historical context of
his writing.

Modern critics have explored Jonson’s goals and challenges in more depth. Rosalind Miles
argues that Jonson tried to shape his audience by encouraging them to accept his moral
judgments, almost like a teacher expecting his students to follow his values. On the other
hand, A.D. Cousins notes that Jonson had to rely on the same kinds of people he was
criticizing in his plays, which made his satire more complicated. Richard Dutton examines
the power dynamics between Volpone and Mosca, relating their relationship to the
patronage system in seventeenth-century England, where loyalty and self-interest were
always in conflict. James Loxley also comments on how Volpone reflects a society where
personal and public systems—like family, law, and morality—are falling apart under the
pressure of money and greed.

Through this wide range of responses, it’s clear that Volpone continues to be a rich and
complex play that speaks to different generations in different ways. Its sharp social insight,
crafted characters, and classical structure make it a lasting part of English theatrical history.

Related Literary Works:

Ben Jonson drew from a wide range of literary and dramatic traditions while writing
Volpone. One major influence was the medieval beast fable, especially the tales of Reynard
the Fox, where animals behave like humans to mock human follies. In Volpone, the
characters are named after animals—Volpone (the fox), Mosca (the fly), Corbaccio (the
raven), and so on—reflecting their base instincts like greed and cunning. Jonson also
borrows from Aesop’s fables, particularly a story where a fox pretends to be dead to trick a
crow into dropping its food, which mirrors Volpone’s fake illness to deceive his greedy
visitors.

Another important source is the work of Lucian, a Greek satirist, who wrote about a rich
man fooling people eager for his wealth. Jonson combines this idea with stock characters
from Roman comedy, like the crooked lawyer and the gullible old man. He also incorporates
elements of commedia dell’arte, an Italian theatrical tradition where actors wore masks and
exaggerated traits for comic effect. In many stage versions of Volpone, masks are used to
highlight the characters’ animal-like qualities. The play has inspired many modern
adaptations, with some altering the ending—such as giving Mosca all of Volpone’s fortune—
to explore different moral outcomes.

Volpone: Character Names and Underlying Symbolism

“Slow and steady wins the race”—a quote most of us grew up hearing—originates from one
of Aesop’s well-known beast fables. Beast fables have been part of our childhood storytelling
tradition, often teaching moral lessons through tales involving animals with human traits.
Ben Jonson’s Volpone, written during the Jacobean age, draws upon this same tradition.
Although it is a prose play rather than a simple children’s tale, Volpone functions similarly to
a beast fable, combining symbolic animal characters with a strong moral message. The play
also incorporates elements of city comedy, a popular genre in Jonson’s time that satirized
urban life, greed, and corruption. By naming characters after animals and aligning their traits
with those animals' stereotypical behaviors, Jonson creates a world where human vice is
reflected through symbolic, beast-like figures. This essay explores how Jonson uses character
names in Volpone to embody animal traits, reflecting on the moral degeneration of
individuals driven by greed.

The protagonist, Volpone, whose name means "fox" in Italian, is clever, cunning, and
deceitful—qualities traditionally associated with foxes in folklore. He pretends to be on his
deathbed to trick wealthy citizens into giving him lavish gifts in the hope of being named his
heir. Volpone thrives on manipulation, always a step ahead of his victims. Just as a fox feigns
weakness to trap prey, Volpone uses his fake illness to ensnare fortune-hunters, revealing
the moral decay not only in himself but also in those willing to exploit his “condition” for
personal gain.

Mosca, whose name means “fly,” is Volpone’s servant and partner in crime. Like a parasitic
fly, Mosca feeds off others, inserting himself into every opportunity to gain an advantage. At
first, he appears to be a loyal assistant, executing Volpone’s plans flawlessly and even coming
up with deceitful strategies of his own. However, as the play progresses, Mosca’s own
ambitions come to the surface. He begins to outwit Volpone and dreams of taking his place,
showing that even the servant is driven by the same greed and selfishness. His name not
only reflects his lowly, irritating presence but also his parasitic survival instincts.

Other characters also carry symbolic names that reflect their roles. Corbaccio, meaning
“raven,” is an old, miserly man obsessed with preserving and growing his wealth. Ravens are
often associated with death and decay, and Corbaccio’s willingness to disinherit his own son
for material gain marks his moral rot. Corvino, meaning “crow,” is another greedy character,
ready to sacrifice his wife's dignity to gain Volpone’s favor. Crows are known to scavenge and
feed off the dead, just as Corvino feeds off Volpone’s presumed dying state, hoping to inherit
his fortune.

These animalistic traits are not just surface-level satire but serve a deeper symbolic purpose.
Jonson exposes the bestial nature of human beings when consumed by desire and greed. In
contrast to the morally corrupt animal-figures, Bonario and Celia, whose names mean
“good-natured” and “heavenly,” act honorably and serve as rare symbols of virtue. However,
even their survival depends on luck rather than justice, highlighting the grim tone of
Jonson’s social commentary.

Moreover, Jonson's use of beast fable conventions allows the play to resonate across time.
Like Aesop’s fables, Volpone teaches its audience that unchecked greed leads to downfall.
The symbolic animal names, paired with the characters’ actions, make the satire more
powerful and easier to understand. The fact that the play has often been staged with actors
wearing masks emphasizes this fable-like structure, reinforcing the idea that these
characters are not unique individuals but exaggerated representations of common societal
flaws.

In conclusion, Jonson’s use of symbolic names in Volpone is central to his critique of

Jacobean society. Through animal allegory, he creates a mirror for human vice, where each
character’s name and behavior reflect a broader moral failing. This technique not only
enriches the play’s dramatic effect but also ensures its enduring relevance as a biting satire
on greed, deception, and the breakdown of social and moral order.
legeacy hunting as a way of life in volpone

Legacy Hunting as a Way of Life in Volpone

In Volpone, Ben Jonson presents legacy hunting not just as a plot device but as a disturbing
reflection of societal greed. The play revolves around the theme of legacy hunting—where
individuals flatter, bribe, and manipulate a wealthy person in the hopes of being named in
their will. Set in Venice, but clearly commenting on the corrupt society of Jacobean London,
the play uses legacy hunting to expose how deeply the desire for wealth has taken root in
people’s lives, shaping their values and relationships.

Volpone, a rich Venetian nobleman, pretends to be terminally ill to trick several fortune-
hunters into offering him extravagant gifts. Each of these characters—Corvino, Corbaccio,
and Voltore—hopes to be made Volpone’s heir and is willing to sacrifice anything for it,
including family, dignity, and morality. They represent a society where human relationships
are driven by selfish motives rather than genuine care. For them, legacy hunting becomes a
way of life, a profession even, where cunning and deception are key tools.

What makes legacy hunting especially significant in Volpone is how normalized and
widespread it is. Even respectable professions, like law (represented by Voltore) and
medicine, are shown to be complicit in this culture of greed. Jonson portrays a world where
people do not wait for wealth to come through hard work or inheritance but instead chase it
through lies and flattery. It’s a transactional society where personal gain outweighs moral
responsibility.

Volpone himself is not free from this greed. Though he is the one being hunted, he enjoys
the game and thrives on the power it gives him. His name, meaning “fox,” suits his clever
and manipulative personality. He outwits the legacy hunters at first but is eventually
outwitted by Mosca, his servant, showing how deeply the culture of greed affects every
social level.

Jonson uses legacy hunting as a satirical tool to criticize the moral collapse of society.
Through exaggerated behavior and symbolic character names, he warns against the
consequences of letting greed become a lifestyle. In the end, all the major characters who
engaged in legacy hunting are punished, reinforcing Jonson’s belief in poetic justice. The play
leaves readers with a powerful message: that a life driven solely by the desire for wealth
leads to ruin, both personal and societal.

The sub-plot

The sub-plot involving Sir Politic Would-be, Lady Would-be, and Peregrine in Volpone has
often been criticized as irrelevant or merely comic relief. However, a closer reading shows
that it is both thematically and structurally significant to the overall design of the play. While
the main plot of Volpone deals with the dark and grotesque greed of legacy hunters, the
sub-plot lightens the tone and enriches the satire by offering a parody of the same themes
through different characters and exaggerated comic situations.

Sir Politic is a pompous English knight with grand but foolish ambitions. His schemes—such
as detecting spies everywhere or protecting Venice from plague using onions—highlight the
absurdity of self-importance and blind imitation. Lady Would-be, equally ridiculous, tries to
fit into Venetian society by adopting its vices: excessive talk, false sophistication, and sexual
forwardness. These characters, while comical, mirror the behaviors of the main legacy
hunters. Their mimicry reflects the central theme of disguise and imitation—how people, in
trying to play roles or chase ideals, lose their real selves.

Peregrine, on the other hand, plays the role of a corrective force. He exposes Sir Politic’s
foolishness and punishes him by humiliating him publicly. In this way, Peregrine becomes a
figure of moral clarity—his actions reflect the justice that ultimately comes for Volpone and
the legacy hunters in the main plot.

Moreover, the subplot reinforces the idea of folly and monstrosity. Jonson draws parallels
between physical deformity, seen in the grotesque entertainers of Volpone, and moral
deformity, seen in the exaggerated ambitions and mimicry of Sir Politic and Lady Would-be.
Their actions caricature those of the main characters, offering a distorted reflection that
adds to the depth of the satire.
Importantly, Lady Would-be serves as a foil to Celia. While Lady Would-be chases vanity and
uses her beauty as a weapon, Celia wishes to disfigure herself to escape lustful attention.
This contrast deepens our understanding of moral purity versus corruption.

Ultimately, the sub-plot is not merely ornamental. It parallels, mocks, and contrasts the main
action, reinforcing the play’s central themes—mimicry, greed, and the downfall of the
morally blind. Without it, Volpone would indeed be tighter, but it would lose a layer of
meaning and comic richness that enhances the play’s satirical power.

comedy of humours

Ben Jonson’s Volpone is often considered a prime example of the comedy of humours, a
genre that Jonson frequently employed in his plays. However, while it fits many aspects of
this genre, Volpone also transcends the typical boundaries of a comedy of humours, offering
a more complex and multi-dimensional view of human nature. This analysis explores how
Jonson uses the comedy of humours framework in Volpone, yet also reveals its limitations
and how the play’s characters exhibit deeper psychological and moral layers.

Jonson’s theory of the comedy of humours is based on the ancient belief that the human
body is composed of four "humours"—choleric, melancholic, phlegmatic, and sanguine—
and that the predominance of one humour over the others shapes a person's character. In
his works, Jonson exaggerates certain traits, making them dominant to the extent that they
define a character entirely. In Every Man in His Humour and Every Man Out of His Humour,
Jonson introduces characters whose peculiarities, or “humours,” define their entire
personalities and actions. These characters are often static, driven by single obsessions or
eccentricities.

In Volpone, however, Jonson adapts the comedy of humours by focusing not on individual
quirks, but on a singular, all-encompassing passion: greed. The play’s main characters—
Volpone, Mosca, and the legacy-hunters—are all consumed by their insatiable desire for
wealth. This obsession with gold and material gain overrides all other human qualities,
making it the dominant "humour" that shapes their actions. From the opening hymn to gold,
which Volpone venerates as a deity, to the grotesque behavior of the characters in pursuit of
wealth, the play centers around this all-consuming obsession.

The most striking feature of Volpone as a comedy of humours is the way it portrays the
effects of greed not only on individual characters, but on an entire social group. Volpone,
Mosca, and the legacy-hunters are all united by their love of gold, and their greed dictates
their every action. The names of the characters themselves—Volpone (the fox), Mosca (the
fly), Voltore (the vulture), Corbaccio (the raven), and Corvino (the crow)—symbolize their
predatory nature, further emphasizing their shared obsession. These characters resemble
one another in their pursuit of wealth, yet Jonson also highlights their differences in
approach. While they are all driven by greed, they express it in varying ways, from Volpone’s
cunning schemes to Corvino’s jealousy and willingness to prostitute his wife.

Despite the clear presence of a single dominant humour—greed—Volpone differs from

Jonson’s earlier comedies in its complexity. The characters of Volpone and Mosca are not
simply defined by their obsession with wealth. Instead, Jonson allows their personalities to
evolve and become multifaceted. Volpone, for example, is not merely a miser; he is a
sensualist and an artist who delights in the game of deception. He exults in the process of
acquiring wealth, finding more pleasure in the schemes than in the actual possession of
gold. Mosca, similarly, is not just a servile parasite. He is a master of disguise and deception,
capable of playing many roles and manipulating those around him for his own gain. Both
characters reveal a complexity beyond the typical comic figures found in Jonson’s earlier
works.

While Volpone and Mosca are driven by their greed, they also display other passions and
qualities. Volpone, for example, demonstrates a deep appreciation for the pleasures of life,
seeing wealth as a means to live freely and indulge in his desires. Mosca, on the other hand,
is fascinated by the power and status that his manipulation of others affords him. These
qualities distinguish them from the more stereotypical characters in earlier comedies of
humours, who are often defined by a single, static trait.

Moreover, Volpone’s theatricality and ability to assume various disguises adds another layer
of complexity to his character. He is not simply a deceiver; he is a consummate actor who
takes joy in playing different roles and manipulating those around him. His ability to
convincingly pretend to be sick, a mountebank, or even a court official showcases his
mastery of disguise and adds a dimension of theatricality to his character that transcends
the traditional humour-based archetype. Mosca, too, demonstrates impressive acting skills,
shifting between various personas with ease. Their ability to deceive and manipulate is not
limited to their desire for wealth; it becomes a source of self-fulfillment and artistry.

In contrast, the supporting characters in Volpone—such as Sir Politic and Lady Would-be—
are more traditional examples of the comedy of humours. Sir Politic’s delusions of grandeur
and Lady Would-be’s obsession with fashion and legacy-hunting are exaggerated traits that
define their personalities. They represent more typical humours, driven by vanity and
pretension. Similarly, Bonario and Celia, though morally virtuous, are less developed
characters, serving primarily as representations of goodness in a corrupt society.

In conclusion, Volpone exemplifies Jonson’s skillful use of the comedy of humours, but it also
expands the scope of the genre. By focusing on a single, dominant passion—greed—and
exploring its effects on both individual characters and society as a whole, Jonson creates a
more complex and multifaceted work. The characters of Volpone and Mosca, in particular,
transcend the traditional confines of the comedy of humours through their complexity,
theatricality, and variety of interests. Volpone ultimately offers a darker, more satirical view
of human nature, where the obsession with wealth corrupts not only individuals but the
very fabric of society. While the play still retains the comedic elements of Jonson’s earlier
works, its deeper psychological and moral explorations place it in a category all its own.

Construction

The plot construction of Volpone is intricately designed, revolving around the theme of
avarice and greed. The play adheres to the classical unities of time, place, and action, with
Jonson effectively creating a tightly-knit narrative that unfolds within a single day in Venice.
The action moves progressively, building tension, while various threads of subplots are
skillfully woven together to enhance the overall narrative.
One of the key features of the plot is its structure, which adheres to the classical unities. The
unity of time is preserved as the entire play takes place in a single day, beginning at sunrise
and ending before nightfall. The unity of place is maintained as the action unfolds entirely
within the city of Venice, though different locations, such as Volpone's house, Corvino's
house, and the Senate House, serve as backdrops. While the unity of action is generally
respected, some critics argue that the subplot involving Sir Politic and Peregrine, though
entertaining, does not contribute directly to the main plot and could be seen as extraneous.

In terms of plot development, Jonson's skill is evident in the careful progression of the
action. The first act introduces the theme of greed through the visits of the three legacy-
hunters—Voltore, Corbaccio, and Corvino—who are all vying for Volpone's wealth. These
scenes are skillfully escalated, with each visit becoming more intense than the last,
heightening the suspense. The introduction of Lady Would-be and the growing interest in
Celia further complicate the plot, setting the stage for future developments.

Act II continues to build on the tension, especially with the comic relief provided by Sir
Politic and the increasingly desperate attempts of Volpone to maintain control over his
legacy-hunters. Volpone's impersonation of a mountebank provides both comic and
dramatic energy, showcasing his resourcefulness and cunning. The scene with Corvino and
Celia adds a layer of cruelty and manipulation, as Corvino, initially jealous, ultimately agrees
to sacrifice his wife to further his own greed.

Act III brings the first major crisis as Mosca manipulates the situation to discredit Bonario
and secure further advantages for himself and Volpone. The interlude with the grotesque
trio and the arrival of Lady Would-be serve to heighten the absurdity of the legacy-hunters,
reinforcing the theme of greed. The act ends with Volpone and Mosca facing mounting
pressure, yet they manage to maintain control of their schemes.

The court scene in Act IV is a technical masterpiece, bringing all the dupes together and
allowing Jonson to showcase the manipulation of truth and the distortion of facts by the
central characters. Volpone's dramatic entrance, feigned sickness, and the testimony of the
legacy-hunters add to the farcical nature of the proceedings, underscoring the extent to
which greed has corrupted each character. However, this triumph marks the beginning of the
villains' downfall.
Act V, which follows the climax of Act IV, sees the final unraveling of Volpone and Mosca's
schemes. While Mosca initially attempts to continue manipulating events, he
underestimates his master, leading to his own betrayal. The final scenes are marked by
dramatic reversals, with Volpone using his wit to extricate himself from danger, only to see
Mosca's treachery unravel the partnership between the two. The punishments meted out in
the court bring the play to a swift and satisfying conclusion, with the legacy-hunters and
villains receiving their just deserts.

The subplot, featuring Sir Politic and Peregrine, has often been considered a flaw in the play,
as its connection to the main plot seems tenuous. However, some critics view it as a parody
of the central theme of greed, with Sir Politic serving as a mirror image of the main
characters' folly and absurdity. His eventual humiliation in the tortoise-shell scene parallels
the downfall of Volpone and Mosca, reinforcing the play's central motifs of greed, deception,
and moral corruption.

Overall, the plot of Volpone is a masterclass in dramatic construction, blending farce,

tragedy, and satire. Jonson's control over the pacing, the escalation of tension, and the
interweaving of subplots creates a compelling narrative that critiques the greed and moral
decay of Venetian society. While the subplot may be considered extraneous by some, it
ultimately serves to amplify the play's thematic concerns and contribute to its overall
dramatic impact.

Beast fabel

In Volpone, Ben Jonson crafts a complex and satirical beast fable that explores the corrupting
influence of greed. A beast fable, traditionally a story where animals behave like humans to
impart moral lessons, often involves the use of anthropomorphized characters to highlight
the vices and virtues of human nature. In Volpone, the characters can be seen as embodying
various animalistic traits that emphasize their basest desires, particularly their insatiable
greed and moral corruption. Through these exaggerated, almost animalistic portrayals,
Jonson critiques the societal obsession with wealth and self-interest.
The central character, Volpone, is portrayed as a cunning, deceitful "magnifico" who feigns
illness to deceive a group of legacy-hunters eager to inherit his fortune. Volpone's name
itself hints at his animalistic nature, with "Volpone" meaning "fox" in Italian. Foxes are often
associated with cleverness and trickery, qualities that Volpone embodies in abundance. He is
not merely a man of wealth but an animal-like predator, hunting human prey who are
equally obsessed with material gain. His deviousness is reflected in his manipulative tactics,
as he uses his supposed ill health as bait to lure the legacy-hunters into his trap. As the play
progresses, Volpone’s actions become more vicious and selfish, illustrating the way in which
greed transforms individuals into morally compromised creatures.

The legacy-hunters, Voltore, Corbaccio, and Corvino, are similarly depicted as animalistic
figures, each representing a different aspect of greed. Voltore, the lawyer, is portrayed as a
ravenous scavenger, constantly seeking to devour Volpone’s wealth. His profession as a
lawyer makes him a natural "vulture," circling the prey of the rich and exploiting their
misfortunes. His name, Voltore, translates to "vulture" in Italian, reinforcing this image.
Throughout the play, Voltore is willing to sacrifice his morals and personal dignity in pursuit
of Volpone’s fortune. His actions reflect the mindless, voracious hunger that many people
have for wealth, regardless of the cost to others.

Similarly, Corbaccio, the elderly, miserly character, embodies the image of a hoarding
creature, obsessed with preserving his wealth and passing it on to an heir. His name, derived
from "corvo," the Italian word for "crow," reflects his hoarding, scavenging nature. He is so
fixated on the idea of inheriting Volpone’s wealth that he is willing to disinherit his son in
favor of the magnate’s fortune. Corbaccio’s behavior demonstrates how greed can turn a
person into a blind, selfish creature that cares little for family bonds or moral responsibility.
He is willing to sacrifice even his own flesh and blood to fulfill his desires.

Corvino, the third legacy-hunter, takes the animalistic qualities to an even more extreme
level. His name, "Corvino," meaning "raven," signifies his destructive, rapacious nature. He is
portrayed as a jealous, possessive husband who would go to any lengths to protect his own
wealth and status. Corvino’s willingness to sacrifice his wife, Celia, to Volpone is a striking
example of his base nature. Just as a raven might plunder the nests of others for its own
gain, Corvino’s actions reflect an almost predatory view of human relationships. His cruelty
and willingness to exploit Celia for financial gain make him a truly beastly figure, more
interested in his wealth than his wife’s well-being.

In addition to these main characters, Jonson introduces a range of minor characters who
further reinforce the beast fable aspect of the play. Sir Politic Would-be, for example, is a
foolish and pompous character who serves as a parody of the self-important, deluded man.
He is depicted as a kind of "cock," strutting about with exaggerated confidence, offering
unsolicited advice to anyone who will listen. His ridiculousness provides comic relief but also
underscores the play’s themes of vanity and folly. Sir Politic’s inability to see through
Volpone’s schemes and his eventual humiliation by Mosca show how self-interest and pride
can turn a person into a comical, powerless creature.

The relationship between Volpone and his parasite, Mosca, also plays a significant role in
reinforcing the beast fable structure. Mosca is a "fly," constantly buzzing around Volpone,
feeding off his wealth and power. His name, "Mosca," meaning "fly" in Italian, further
emphasizes his parasitic nature. Like an insect that feeds off a larger creature, Mosca is
entirely dependent on Volpone and is willing to manipulate and deceive others for his own
gain. Although Mosca is less openly animalistic than the legacy-hunters, his ability to exploit
others and his eventual betrayal of Volpone reveal the depth of his moral corruption.
Mosca’s final downfall, in which he is exposed as the true heir to Volpone’s wealth,
highlights the fragility of his parasitic existence.

In Volpone, Jonson uses animal imagery not only to portray the characters' baseness and
corruption but also to suggest the moral consequences of their greed. The animalistic
behaviors of the characters are not just for comedic effect but also serve as a moral
commentary on the consequences of unchecked self-interest. The play presents a society
where humans have become little more than beasts, driven by an insatiable hunger for
wealth and power. The fable-like structure of the play ultimately conveys a moral lesson
about the dangers of avarice, showing how it can reduce people to a state of moral and
spiritual degradation.

In conclusion, Volpone functions as a powerful beast fable, using animalistic imagery and
characterization to critique the moral corruption fostered by greed. Through the actions and
traits of Volpone, the legacy-hunters, and other characters, Jonson paints a vivid picture of a
society consumed by avarice. By employing the structure and conventions of a beast fable,
Jonson not only entertains but also delivers a cautionary tale about the dehumanizing
effects of unchecked desire. The play’s rich use of animal metaphors underscores the central
theme of moral decay, leaving the audience with a clear message about the dangers of
pursuing wealth at any cost.

early modern city comedy.

Yes, Volpone can certainly be considered an early modern city comedy, and there are several
key arguments supporting this classification. City comedies, particularly those emerging in
the early modern period, often depicted the lives of urban citizens, focusing on social
mobility, greed, vanity, and the complexities of city life. Jonson's Volpone fits neatly into this
genre due to its urban setting, its exploration of social dynamics, and its satirical portrayal of
characters driven by base desires in a competitive, materialistic society.

1. Urban Setting

One of the defining features of city comedy is its setting in a specific urban location, often a
bustling, commercial city. Volpone is set in Venice, a city renowned for its wealth, political
intrigue, and mercantile culture. The city itself becomes a character in the play, shaping the
behavior of the individuals who live within it. Just as in other city comedies, such as Thomas
Middleton’s A Chaste Maid in Cheapside or Ben Jonson’s The Alchemist, Venice in Volpone is
portrayed as a place of vice, corruption, and excess. The characters are products of this
environment, driven by their greed, ambition, and desire for social advancement, all of
which are prominent features of city comedy.

2. Social Critique and Satire

City comedies often engage in a sharp critique of social norms, particularly the emerging
bourgeoisie and the moral failings of urban life. In Volpone, Jonson critiques the growing
obsession with wealth, status, and material gain, which were becoming increasingly
important in early modern cities. The play focuses on characters like Volpone, who feigns
illness to con others out of their fortunes, and the legacy-hunters—Voltore, Corbaccio, and
Corvino—who represent the moral decay of society, willing to sacrifice personal integrity for
money. This mockery of greed, vanity, and the unscrupulous pursuit of wealth is
characteristic of the genre, as it reflects Jonson’s critique of the growing commercialism and
social ambitions of early modern society.

3. Stock Characters and Social Types

City comedies often feature stock characters that represent different social types. In
Volpone, Jonson uses exaggerated versions of common city types, such as the ambitious
parasite (Mosca), the corrupt lawyer (Voltore), the miserly old man (Corbaccio), and the
possessive husband (Corvino). These characters are types of human behavior often found in
city comedies, and they are portrayed with comic exaggeration to highlight their moral flaws.
The play’s focus on social climbing and the way characters use deceit and manipulation to
achieve personal gain is a common feature of city comedies, where social mobility and the
desire to outwit others are central themes.

4. Deception and Trickery

Deception, trickery, and disguise are key elements of city comedy, and Jonson employs them
extensively in Volpone. The entire plot of Volpone revolves around deception—Volpone
pretends to be dying in order to trick the legacy-hunters into offering him gifts, and Mosca,
his parasite, manipulates everyone for his own benefit. The theme of trickery, which often
reflects the idea of urban life as a place where appearances can be deceiving, is a hallmark
of city comedy. This is evident in the way Volpone uses his supposed illness to create a false
reality, only for the legacy-hunters to fall victim to his deceptions, revealing the moral and
intellectual weaknesses of the city’s inhabitants.

5. Comedy of Errors and Farce

Another hallmark of city comedy is the use of farcical elements and a comedy of errors,
where mistaken identities and misunderstandings contribute to the humor and chaos of the
narrative. Volpone is full of farcical moments, particularly in the interactions between the
legacy-hunters and the deceptions they fall for. For instance, the scenes where Corvino’s
jealousy of Volpone’s fake mountebank persona reaches a comic frenzy, and the farcical trial
scene where everyone tries to manipulate the truth for their own advantage, are typical of
city comedy’s reliance on comedic situations born from social ambition and moral
corruption.

6. Moral Ambiguity and Comic Resolution

In city comedies, there is often a sense of moral ambiguity where the characters’ vices are
exposed, but the resolutions tend to restore order in a comic fashion. Volpone ends with the
downfall of the characters who have been morally corrupt—Volpone and Mosca are
punished, while the legacy-hunters, despite their faults, are also ultimately thwarted. While
the play’s resolution may be considered a "comedic" ending, the punishment of the
wrongdoers and the moral lessons learned—particularly the dangers of avarice and deceit—
are also key elements of early modern city comedy. These resolutions serve as a cautionary
tale, which is another common feature of the genre.

7. Influence of Classical Comedy

City comedy often draws from classical comedy, particularly the works of Plautus and
Terence, which Jonson was familiar with. Volpone contains many of the elements of ancient
comedy, such as the scheming servant (Mosca), the deceptive old man (Volpone), and the
young lovers (Bonario and Celia). These classical archetypes, coupled with Jonson’s urban
setting and satirical humor, firmly root Volpone in the tradition of early modern city comedy.

Conclusion

In conclusion, Volpone fits the characteristics of early modern city comedy through its urban
setting, satirical critique of social vices, the use of stock characters, the theme of deception
and trickery, the farcical elements, and its moral lessons. Jonson’s keen observation of urban
life and his ability to create a comic yet critical portrayal of its moral failings mark Volpone as
a quintessential example of early modern city comedy, illustrating the complexities of human
nature within the corrupting influences of the city.

Volpone as a Mountebank – A Short Note (400 Words)

In Volpone, Ben Jonson cleverly presents the main character, Volpone, as a mountebank—a
term used in Renaissance Europe for a quack doctor or showman who sells fake medicines
by putting on a grand performance. This disguise is not just a moment of comic
entertainment in the play but holds deeper symbolic meaning and helps to develop the
themes of deception, greed, and manipulation.

The scene in which Volpone appears as a mountebank (Act II, Scene II) is particularly
important. Disguised in flashy clothes, he sets up a stage in the public square and begins
performing for a crowd, selling a miraculous "elixir" that supposedly cures all illnesses and
prolongs life. He uses flowery language, false promises, and exaggerated gestures to
convince people of his knowledge and generosity. In reality, the elixir is fake, and the entire
performance is a trap to get close to Celia, the beautiful wife of Corvino.

This mountebank disguise is significant in several ways. First, it mirrors Volpone’s life—his
entire scheme throughout the play is a kind of performance. Just like a mountebank, he
pretends to be something he’s not (a dying man), tricks people into giving him money, and
enjoys playing roles to deceive others. The performance as a mountebank is an extension of
his character as a trickster who thrives on lies and appearances.

Secondly, Jonson uses the mountebank scene to criticize the greed and gullibility of society.
Just as people in the crowd believe Volpone’s fake medicine, the legacy hunters (Voltore,
Corbaccio, and Corvino) believe in his lies and are willing to sacrifice their morals for money.
It reflects how easily people are fooled by surface charm and grand promises.

Finally, the mountebank act connects to the play’s theme of theatricality. Almost every
character in Volpone is performing in some way, pretending to be someone they are not to
gain wealth or status. Volpone, as a mountebank, becomes a symbol of the larger deceitful
world Jonson is portraying.

In conclusion, Volpone’s role as a mountebank is more than a disguise—it reveals his

cunning nature, highlights the play’s satirical tone, and deepens the central theme of
appearance versus reality. Through this role, Jonson exposes the absurdity of greed and the
lengths people will go for personal gain.
Act 5 of Volpone: Description, Analysis, and Its Necessity (700 Words)

Act 5 of Ben Jonson’s Volpone serves as the climax and resolution of the play, bringing the
major themes—greed, deception, poetic justice, and moral corruption—to their final,
dramatic conclusion. It is packed with chaos, role reversals, and the exposure of all false
appearances, making it a necessary and satisfying end to the play’s satire on human folly.

In Scenes One and Two, Volpone is seen alone, reflecting on the effects of his long pretense
as a dying man. He amusingly complains that pretending to be sick for so long has started to
make him feel actually unwell. This moment highlights the idea of poetic justice—Volpone,
who has fooled others, is now himself affected by his performance. He drinks wine to shake
off the feeling, showing his desire to regain control and continue the game.

Mosca enters, excited about their successful scheme in court. They laugh about how easily
they fooled everyone. Volpone then takes the trick even further by announcing his own
death through his servants and naming Mosca as his heir. He hides behind a curtain to watch
the reactions of the greedy legacy hunters—Voltore, Corvino, Corbaccio, and Lady Would-be
—when they find out he is "dead" and Mosca has inherited everything.

In Scene Three, the reactions are exactly what Volpone expected. One by one, the legacy
hunters arrive at the house hoping to collect their reward, but are shocked and outraged
when Mosca gives them the will. Volpone secretly watches and takes great pleasure in their
humiliation. Mosca, who now holds all the power, mocks them for the immoral things they
did to gain the inheritance. This scene shows how the trickster (Mosca) is now rising above
the tricked (even Volpone), foreshadowing his ambition to take everything for himself.

Scene Four, though part of a comic subplot, reflects the themes of the main plot. Peregrine
tricks Sir Politic into believing he is about to be arrested. Sir Politic hides in a tortoise shell,
becoming a literal "politician in his shell." This ridiculous scene echoes the foolishness and
gullibility of the main characters in their pursuit of wealth and reputation.

In Scenes Five through Nine, Volpone and Mosca’s alliance begins to break. Volpone,
disguised as a court officer, enjoys taunting the legacy hunters in the street. Meanwhile,
Mosca locks the house and begins planning to keep all the inheritance for himself. It
becomes clear that Mosca is no longer Volpone’s servant, but his rival. Volpone’s greed and
arrogance have created a monster he can no longer control. This marks the beginning of
Volpone’s downfall.

Scenes Ten to Twelve bring the play to its climax and resolution. In court, Voltore confesses
to the Avocatori (judges) that he lied earlier. Corvino and Corbaccio try to stop him, but the
truth is already out. Volpone, now scared that things are going out of hand, tries to fix it by
unmasking himself and revealing that he is alive. However, it's too late. The Avocatori, seeing
through everyone's lies, deliver fitting punishments to all.

Volpone is sentenced to prison and shackles, fitting because he pretended to be ill and
helpless. Now he must suffer in reality. Mosca, despite being clever, is sentenced to a galley
as a slave because of his low birth and serious betrayal. Corvino must publicly wear donkey
ears and repay Celia’s dowry, Corbaccio loses his inheritance, and Voltore is disbarred. Each
punishment is poetic justice—they all suffer in the way they sinned.

The final scene has Volpone delivering an epilogue, directly addressing the audience. He asks
for forgiveness if the play has offended, and requests applause if the audience found it
pleasing. This reminds the viewer that the entire play, like Volpone’s schemes, was also a
kind of performance—one meant to expose the vices of society.

Why Act 5 is Necessary

Act 5 is essential to Volpone because it delivers the consequences of the characters' immoral
actions. Without it, the satire would feel incomplete. Jonson uses this act to restore moral
order and demonstrate that greed and deceit, no matter how clever, will eventually be
punished. It also adds depth to characters like Mosca, who shifts from a witty parasite to a
power-hungry traitor. The act’s chaos and resolution are not only dramatic but thematically
satisfying.

In conclusion, Act 5 ties all the loose ends of the plot and ensures that the audience
understands the dangers of unchecked ambition and greed. It delivers poetic justice while
keeping the comic tone, making it both effective and necessary for the play’s moral and
dramatic success.
volpone lacks a moral centre to offset the ubiquity of crime and folly

Yes, it is reasonable to argue that Volpone lacks a strong moral centre to offset the
widespread crime and folly in the play. Ben Jonson’s dark comedy is filled with deceitful,
greedy, and foolish characters, but it noticeably lacks a central moral figure who consistently
upholds truth, virtue, and justice. While characters like Bonario and Celia may seem like
possible moral voices, their impact is limited. The overall tone of the play is dominated by
trickery, manipulation, and selfish desires, making the absence of a strong ethical compass
even more noticeable.

To begin with, the central characters in Volpone are all driven by vice. Volpone himself, the
protagonist, is a conman who pretends to be dying to trick others into giving him gifts in
hopes of inheriting his fortune. He does not repent or feel guilty about his lies. On the
contrary, he delights in the suffering of those he deceives. He even takes the deceit a step
further by disguising himself and watching others fall into his trap for amusement. His close
servant Mosca is just as corrupt, if not more. Mosca manipulates people with ease and is
motivated purely by ambition and greed. He even turns against Volpone when he sees a
chance to keep the fortune for himself. Together, these two characters lead the action of the
play, and their schemes form its heart. There is no moral guidance in their behavior—only
wit, cleverness, and a desire for personal gain.

The three legacy hunters—Corvino, Corbaccio, and Voltore—are no better. Corvino is willing
to prostitute his wife Celia to gain Volpone’s favor. Corbaccio tries to disinherit his own son
Bonario. Voltore, a lawyer, abuses his profession by defending obvious lies in court. These
characters represent the greed, selfishness, and moral decay of society. Their actions are
exaggerated but effective in showing how far people will go to chase wealth. Lady Would-be,
although less dangerous, also adds to the chaos with her absurd attempts to seduce Volpone
and involve herself in matters beyond her understanding.

With all these immoral characters, the audience naturally looks for a moral voice. Celia and
Bonario are the most likely candidates. Celia resists Volpone’s advances and remains faithful
to her husband despite his cruelty. She shows strength and dignity in her rejection of
corruption. Bonario defends Celia and tries to stop the injustice. However, both characters
have limited presence and little power. They are victims rather than active agents of change.
Celia, in particular, is silenced after her courtroom appearance and does not return to the
stage in a meaningful way. Bonario also disappears after his rescue of Celia, and neither of
them directly contributes to the final resolution. They may represent moral values, but their
voices are not strong enough to stand against the dominant wickedness of the other
characters.

Jonson may have intentionally limited the role of these characters to show that goodness
alone cannot survive in a deeply corrupt society. The Avocatori, who are the court officials
responsible for justice, also fall for lies and allow manipulation to happen right under their
noses. They are meant to represent the law, but their gullibility and delayed judgment only
add to the problem. Though they finally deliver appropriate punishments at the end, their
earlier failures weaken their authority and suggest that justice is slow, uncertain, and flawed.

Another way to consider this question is to ask whether Jonson intended the audience to act
as the moral centre. Since the play exposes the folly and vice of nearly every character, it
invites viewers to reflect on their behavior and judge them. In this sense, Jonson may not
provide a moral centre within the play because he expects the audience to be that centre
themselves. However, this approach relies on the viewer's critical thinking and moral
awareness, which cannot be guaranteed. Most traditional plays have at least one character
who represents truth or virtue; Volpone chooses not to follow that structure, and the result
is a play that feels deeply cynical.

Moreover, Jonson does try to restore some order at the end. In the final scene, Volpone
confesses, Mosca is punished, and justice is delivered. This ending suggests a return to moral
balance, but it feels sudden and almost artificial. The punishment comes not from inner
transformation or repentance but from fear of exposure and self-interest. Volpone only
reveals himself because Mosca tries to take everything from him. There is no real moral
awakening, only a desperate attempt to save himself from complete ruin. This ending
reinforces the idea that the play operates mostly without a strong moral base.

In conclusion, it is fair to say that Volpone lacks a clear moral centre. The play is full of sharp
wit and clever deception, but these are used for selfish ends. The few honest characters are
too weak to make a real difference, and justice arrives too late to undo the damage. While
this may reflect Jonson’s critical view of society, it also leaves the play without a steady
moral voice. The world of Volpone is one where crime and folly rule, and goodness struggles
to be heard.

human desire and manifestation play out in volpone

In Ben Jonson’s Volpone, human desire plays a central role in driving the plot and shaping
the characters. Desire is portrayed as excessive, corrupting, and ultimately self-destructive.
The play explores different forms of desire—chiefly greed, lust, and ambition—and shows
how these desires are manifested through deceitful actions and immoral behavior. Almost
every character is led astray by their cravings, and Jonson uses satire to expose the dangers
of unchecked desires. Through sharp dialogues and exaggerated scenes, the play becomes a
critique of a society consumed by materialism and appetite.

The most dominant form of desire in Volpone is greed. Volpone, the protagonist, pretends to
be on his deathbed to lure legacy hunters who hope to be named his heir. This false illness
becomes a stage on which others perform their greed. Volpone enjoys watching them give
expensive gifts in exchange for future rewards. He says early in the play:

“Good morning to the day; and next, my gold:

Open the shrine, that I may see my saint.” (Act 1, Scene 1)

Here, Volpone worships gold as if it were a deity, showing how desire for wealth has taken
over his life. He does not need the gifts—he is already rich—but he takes pleasure in seeing
others fall into his trap. His desire is not only for material possessions, but also for power
and control over others.

Mosca, Volpone’s parasite and servant, is another character driven by ambition and greed.
He skillfully manipulates the legacy hunters and later turns on Volpone in hopes of keeping
the entire fortune for himself. He proudly says:

“I fear no man but your disfavour.” (Act 3, Scene 1)

Mosca’s desire is to rise above his social position. He uses his intelligence not for good but
for trickery, proving how ambition without ethics can become dangerous. By the end of the
play, Mosca overreaches and is caught, showing how desire can lead to one’s downfall.

The legacy hunters—Voltore, Corbaccio, and Corvino—each represent different aspects of

greed. Corbaccio is so desperate for Volpone’s wealth that he disinherits his own son,
Bonario. He is advised by Mosca:

“Would you have him (Volpone) take you

For a donative? Or a true friend?” (Act 1, Scene 4)

Mosca plays on Corbaccio’s desire to be Volpone’s heir, convincing him to act against his own
blood. Similarly, Voltore, a lawyer, is willing to lie in court and manipulate justice to secure
his claim to Volpone’s riches. He says:

“I will speak out for you more than ever I spoke for myself.” (Act 3, Scene 6)

His desire for wealth overrules his duty to truth. Even the legal profession, which should
uphold justice, is shown to be corrupt under the influence of greed.

Another form of desire explored in Volpone is sexual lust. Volpone’s lust for Celia, the wife of
Corvino, shows how desire can lead to moral decay. He tries to possess her using trickery
and force. When he sees her from his window, he says:

“O, she is fairer far than fame can report her.” (Act 2, Scene 2)

Volpone’s desire quickly turns into obsession, and he even agrees to pretend he is cured just
to get closer to her. Corvino, on the other hand, driven by his desire for Volpone’s wealth,
offers his own wife to the supposedly dying man. He says:

“If this device do chance to hit, I am blest.” (Act 2, Scene 6)

This action is a shocking example of how greed can overpower not only morals but basic
human decency. Celia resists Volpone’s advances, showing strength and virtue, but she is
treated as a pawn in the game of male desire.

Jonson also explores how desire leads to self-destruction. Each character who is driven by
greed or lust ends up being punished. Volpone, who had everything, loses it all because he
goes too far. When he pretends to be dead to watch others suffer, his plan backfires. He
finally reveals himself out of pride, saying:

“I am Volpone, and this is my knavery.” (Act 5, Scene 12)

Instead of gaining more control, his desire to boast costs him his wealth and freedom. Mosca
too is punished for overreaching. The legacy hunters are exposed, disgraced, and legally
sentenced. The court delivers justice, but not before showing how completely desire has
corrupted the world of the play.

In the end, Volpone is a play about the consequences of uncontrolled human desire.
Through satire and exaggeration, Jonson criticizes a society that values wealth and pleasure
above integrity. The characters are not just individuals—they represent wider human
tendencies toward greed, ambition, and lust. There are few moments of virtue, and those
that exist—mainly through Celia and Bonario—are weak against the overwhelming tide of
corruption. Jonson’s message is clear: when desire becomes the ruling force in society, it
leads not to happiness or success, but to ruin

Celia

Celia, the wife of Corvino in Ben Jonson’s Volpone, is one of the few characters in the play
who stands as a symbol of virtue, innocence, and moral integrity. Surrounded by a world
filled with greed, deceit, and corruption, Celia’s character provides a sharp contrast to the
rest of the cast. Though her role in the play is limited in terms of stage time, her presence is
vital in exposing the extremes of lust and power that Volpone and others attempt to
exercise.

Celia is introduced as a beautiful and obedient wife, but her beauty becomes a curse rather
than a blessing. Volpone becomes obsessed with her after seeing her at a window, and his
lust drives him to plot her seduction. However, it is her husband, Corvino, who truly betrays
her. Blinded by greed and ambition, he offers Celia to Volpone in hopes of being named heir
to his fortune. Celia’s refusal to obey this shocking command reveals her strength of
character. She asserts her moral dignity and courage when she resists Volpone’s advances,
even when threatened. She says:
“Sir, let me go. O God! I am abused!”

Her firm rejection of Volpone’s lust shows that she values her honor and self-respect more
than life or comfort. Celia’s character also highlights the position of women in the patriarchal
society of the time—used as pawns by the men around them, with little agency or voice. Yet,
in the face of oppression, Celia shows quiet resistance.

Despite being wrongfully accused and publicly shamed during the courtroom scene, Celia
remains composed and truthful. It is ultimately her honesty and virtue, along with Bonario’s
intervention, that help bring justice to the play’s ending. While she is not given a fully
developed personality beyond her virtue and beauty, Celia’s importance lies in how she
reflects the rare qualities of morality and decency in a corrupt world.

In conclusion, Celia is a tragic yet powerful character whose integrity highlights the greed
and immorality of those around her. Though victimized by both her husband and Volpone,
she stands out as a symbol of virtue and resistance, reminding the audience that goodness
can still exist even in the most corrupt societies.

BONARIO

Bonario, the son of Corbaccio in Ben Jonson’s Volpone, serves as a key figure of virtue and
justice in a world dominated by greed, deception, and corruption. Though his role is
relatively brief, Bonario represents moral clarity and youthful integrity, contrasting sharply
with the other characters who are driven by selfish desires.

Introduced as an honest and dutiful son, Bonario is initially hurt by his father’s decision to
disinherit him in favor of Volpone. This betrayal does not lead him to revenge or bitterness;
instead, he maintains his dignity and sense of right. His name itself—Bonario—suggests
"good air" or "good nature," which reflects his moral standing in the play. While most
characters use manipulation and lies to serve their greed, Bonario remains loyal to truth and
justice.

His most significant moment in the play comes when he rescues Celia from Volpone’s
attempted seduction. This act reveals his bravery, honor, and respect for women—qualities
that make him stand out in a corrupt society. While others, like Corvino and Corbaccio, treat
women and family as tools for personal gain, Bonario protects Celia without expecting a
reward. His actions are guided by conscience rather than profit.

However, Bonario is not without flaws. His character is somewhat idealistic and lacks the
cleverness required to navigate the deceptive world he inhabits. He falls victim to the tricks
of Mosca and Volpone and ends up falsely accused of adultery and dishonor. Even in the
courtroom scene, his honest and straightforward nature is no match for the elaborate lies
told by the others.

Yet, despite these setbacks, Bonario’s steadfastness is ultimately rewarded. When Volpone
confesses and the truth is revealed, Bonario’s innocence is acknowledged, and he is freed.
His character serves as a contrast to the moral decay of Venice’s elite and reminds the
audience of the importance of virtue in a world gone astray.

In conclusion, Bonario is a symbol of youthful virtue and justice. Although he lacks the wit to
fight corruption with strategy, his honest heart and noble intentions make him one of the
few truly admirable characters in Volpone. Through Bonario, Jonson offers hope that
morality can still survive amid widespread folly and vice.

Sir Politic Would-be

Sir Politic Would-be is a comic figure in Ben Jonson’s Volpone, serving as a satirical
representation of the foolish, overcautious English traveler abroad. His name itself is a pun
—“Politic” suggests he imagines himself as a wise statesman, while “Would-be” implies that
his ambitions are never fully realized. Jonson uses him to mock the pretensions and paranoia
of those who meddle in foreign politics without any real knowledge or importance.

Sir Politic is obsessed with schemes and grand ideas. He constantly speaks of elaborate plans
such as using onions to detect traitors or creating mechanical devices for spying. These
ideas, though presented with great confidence, are ridiculous and impractical. Through this,
Jonson criticizes not only Sir Politic’s lack of substance but also the larger trend of
Englishmen adopting foreign habits and conspiracies while abroad, without understanding
them.
His conversations with Peregrine, a young English traveler, highlight his foolishness even
more. Peregrine acts as a foil to Sir Politic—he is sharp and quick-witted, whereas Sir Politic
is slow and self-important. Peregrine mocks his ideas and eventually tricks him into believing
that he is under arrest for plotting against the Venetian state. In a panic, Sir Politic hides
inside a giant tortoise shell, providing one of the play’s most farcical moments. His ridiculous
disguise and fear of being exposed reflect his lack of true political wisdom and his hollow
self-image.

Though he is not part of the main inheritance plot, Sir Politic contributes to the play’s
broader themes of deception, folly, and pretension. His subplot, while seemingly minor,
reinforces Jonson’s critique of people who talk too much and act too little, and those who
attempt to appear more intelligent or powerful than they really are.

In conclusion, Sir Politic Would-be is a satirical caricature of the self-deluded Englishman

abroad. Through his absurd plans, endless talking, and paranoid behavior, Jonson presents
him as a figure of comic ridicule. He lacks real insight or influence, and his role is to expose
the vanity and foolishness of those who attempt to seem politically important without
substance. His character adds depth to the play’s comic tone and supports its moral criticism
of pretentiousness and empty ambition.

MOSCA

Mosca, the cunning and manipulative "parasite" in Ben Jonson's Volpone, is one of the most
complex and morally ambiguous characters in the play. His name, derived from the Italian
word for "fly," reflects his role as a sycophant who attaches himself to Volpone, feeding off
his wealth and success. Throughout the play, Mosca displays both intelligence and moral
bankruptcy, making him a significant figure in Jonson's critique of greed and corruption.

At first glance, Mosca seems to be merely a servant, albeit one who has risen to a position of
power through his sharp wit and cunning. He assists Volpone in carrying out his deceptions,
manipulating the greedy suitors (Corbaccio, Corvino, and Voltore) to offer more and more in
exchange for Volpone’s supposed inheritance. Mosca's ability to control and deceive is
evident from the very beginning of the play, where he cleverly exploits the desires of the
other characters for his own gain. His manipulative nature is not only self-serving but also
reveals the way in which ambition can lead individuals to abandon any sense of morality.

Mosca’s greatest strength is his intelligence. He is able to deceive those around him with
ease, playing each of the suitors off one another and ensuring that Volpone continues to live
in luxury without actually giving away his fortune. His wit is sharp, and he uses language to
manipulate others into believing that they can inherit Volpone’s wealth, even though he
knows that they are only pawns in his game. His ability to control these characters reveals
his strategic mind, as he remains calm and in control, even when the situation becomes
tense or unpredictable.

However, Mosca's intelligence is marred by his lack of moral values. He is completely amoral,
driven solely by his desire for power and wealth. His manipulation of Volpone, whom he
eventually betrays, reveals his true nature. Mosca’s disloyalty to Volpone is a crucial turning
point in the play, as it demonstrates that Mosca is willing to abandon anyone for personal
gain. He proves to be a ruthless opportunist, ultimately trying to claim Volpone’s fortune for
himself.

In conclusion, Mosca is a central character who embodies the themes of greed,

manipulation, and betrayal in Volpone. While he is a figure of wit and intelligence, his moral
corruption and lack of loyalty make him one of the play’s most significant critiques of human
nature. Through Mosca, Jonson explores the dangers of ambition without conscience,
showing how a character who is initially seen as clever and resourceful can ultimately be
undone by his own moral flaws.

Corbaccio, one of the key suitors in Ben Jonson's Volpone, represents the blind greed and
ambition that drive many characters in the play. He is an elderly and wealthy Venetian
nobleman, who, in his desperate desire to inherit Volpone's fortune, offers his own wealth
and even disinherits his son. As a character, Corbaccio embodies the theme of self-interest
and the moral decay that results from a relentless pursuit of personal gain.

From the outset, Corbaccio is portrayed as both gullible and self-centered. He has little
regard for the welfare of his son, whom he disinherits in favor of Volpone, demonstrating
the extent of his greed. Corbaccio’s decision to offer his fortune to Volpone is driven not by
affection or loyalty, but by his belief that this act will secure him a place as Volpone’s heir. His
disinheritance of his son is a testament to his prioritization of wealth over familial bonds.
This action reveals his complete disregard for moral values, as he is willing to sacrifice his
own flesh and blood for the prospect of riches.

In his dealings with Volpone and Mosca, Corbaccio is easily manipulated. He is entirely
consumed by his desire for wealth, and he blindly follows Mosca's advice, believing that
every gesture of submission will bring him closer to his goal. His behavior is an example of
how human desire can cloud judgment, making him a victim of his own greed. His
desperation is further highlighted when he offers to sacrifice everything he has to gain
Volpone's fortune, showcasing the lengths to which he will go for wealth, regardless of the
consequences.

Corbaccio’s character also demonstrates his lack of self-awareness. He is unaware of the true
nature of Volpone’s deception, and his blind ambition makes him vulnerable to manipulation
by Mosca. Even though he is old and physically frail, Corbaccio’s obsession with wealth
makes him willing to play along with the farce, thinking that it will lead to his ultimate
success.

In conclusion, Corbaccio is a symbol of blind greed in Volpone. His willingness to disinherit

his son and his uncritical devotion to Volpone illustrate his moral emptiness. As a character,
Corbaccio is defined by his selfishness and lack of foresight, embodying the destructive
power of unchecked desire. His role in the play highlights Jonson’s critique of human avarice
and the consequences of putting wealth above all else.

Would you agree with the view that "parasitism is the controlling metaphor of Volpone"?

Yes, I would agree with the view that "parasitism is the controlling metaphor of Volpone."
The play is heavily structured around the idea of parasitism, with characters exploiting one
another for personal gain. Volpone, Mosca, and their victims embody various forms of
parasitism, and the metaphor is not only central to the plot but also serves as a commentary
on human nature, particularly the corrupting effects of greed and ambition.
First and foremost, Volpone himself can be seen as a parasite. Although he is extremely
wealthy, he chooses to pretend to be a sick, elderly man in order to manipulate his victims.
His actions are parasitic because he feeds off the desires and actions of others. He uses his
supposed condition to lure in Corbaccio, Corvino, Voltore, and Lady Would-be, all of whom
are eager to gain his fortune. Volpone is physically healthy, but he has fabricated a persona
of illness in order to extract gifts and favors from these hopeful suitors. By doing so, he
creates a situation in which others are left vulnerable, while he remains in control and reaps
the rewards.

Mosca, Volpone’s servant, is another key figure who embodies parasitism. He plays an even
more direct role in exploiting others than Volpone does. While Volpone feigns illness, Mosca
acts as the puppet master, manipulating the suitors to give Volpone gifts. Mosca’s role is
particularly parasitic because he depends entirely on Volpone for his status and wealth. He is
the perfect sycophant, willing to betray and deceive anyone for his own gain. In fact, Mosca’s
very name is a reference to a fly (mosca in Italian), further reinforcing the image of a
parasitic creature. Throughout the play, Mosca’s manipulation becomes more apparent, as
he is able to exploit both Volpone and the would-be heirs. His parasitism is evident when he
suggests that Voltore deserves to be deceived, showing a complete lack of empathy and an
insatiable desire for his own advancement.

The suitors—Corbaccio, Corvino, Voltore, and Lady Would-be—are also portrayed as

parasites, but in a different way. Each of them seeks to exploit Volpone in the hopes of
gaining his wealth. They are so blinded by their own greed that they do not see the farce
they are part of. Corbaccio, for instance, disinherits his own son and offers his fortune to
Volpone, believing that this will guarantee him the inheritance. His parasitic nature is
evident in the way he sacrifices everything, including his family, for the chance of wealth.
Similarly, Corvino is willing to offer his wife, Celia, to Volpone to gain favor, demonstrating
his utter disregard for her well-being in favor of his own desires. Lady Would-be, on the
other hand, offers herself to Mosca in exchange for a share of Volpone’s fortune, further
reflecting the parasitic nature of the characters in the play.

The metaphor of parasitism is also underscored by Jonson’s use of animals in the play.
Volpone’s name itself means "the fox," an animal known for being cunning and
opportunistic. He embodies the parasitic nature of the fox, preying on the weaknesses of
others for personal gain. Similarly, Mosca’s name, as mentioned earlier, evokes the image of
a fly, a creature that feeds off the detritus of other organisms. The use of these animal
names enhances the idea that these characters are like pests, feeding off the desires and
ambitions of others. In a way, the play suggests that parasitism is ingrained in human nature
and that people will often behave like animals in their pursuit of wealth and power.

One of the most significant moments in the play that reinforces the parasitic metaphor
occurs in Act 5, Scene 2, when Mosca gives a speech personifying gold. He speaks of gold as
a mistress, a lover that all men desire. The way Mosca describes gold as a seductive, all-
consuming force highlights the parasitic relationship that exists between humans and their
desires. He himself is a parasite to gold, as he uses it to control and manipulate Volpone and
the suitors. This metaphor further extends the theme of parasitism, showing how greed and
the desire for wealth can consume individuals, turning them into mere parasites feeding off
one another.

Finally, the downfall of Volpone and Mosca at the end of the play underscores the
consequences of parasitism. In a world where everyone is trying to exploit everyone else, no
one ultimately benefits. Volpone’s attempt to deceive Mosca and his betrayal of the suitors
leads to his capture and punishment. Similarly, Mosca, having outlived his usefulness to
Volpone, is punished for his deception and banished to the galleys. The play ends with a
sense of poetic justice, as the parasitic characters are themselves consumed by the very
forces they sought to exploit.

In conclusion, parasitism is indeed the controlling metaphor of Volpone. The characters’

interactions are all driven by selfish desires and a willingness to exploit others for personal
gain. Volpone and Mosca, in particular, embody the parasitic nature of the play, with their
manipulation of the suitors and their mutual exploitation. The use of animal imagery,
particularly the fox and the fly, further emphasizes the parasitic behavior of these
characters. Ultimately, the play presents a critique of human greed and the consequences of
a society in which individuals prey on one another for wealth and power. Through the
metaphor of parasitism, Jonson explores the moral and social decay that comes with
unchecked ambition and desire.
Critically examine Act III, Scene 7 of Volpone, where Volpone tempts Celia with imaginary
pleasures.

Act III, Scene 7 of Volpone stands out as one of the most significant and troubling moments
in the play, where the title character, Volpone, directly confronts and attempts to tempt
Celia, the wife of Corvino, with the promise of "imaginary pleasures." This scene is crucial
not only for its sexual and moral implications but also for the way it develops Volpone’s
character, highlights the themes of greed and corruption, and reinforces the play’s satirical
critique of Venetian society.

In this scene, Volpone, having already manipulated Corvino into believing that he is on the
verge of inheriting his fortune, begins to openly entertain the idea of taking Celia as his
prize. Volpone’s actions here are driven by his desire for control and dominance, as well as
his obsession with wealth and pleasure. This scene is important because it marks a turning
point in Volpone's treatment of Celia; until this moment, he has mostly concealed his
intentions, using Mosca as an intermediary in his manipulations. However, in Act III, Scene 7,
Volpone shifts from merely deceiving to directly exploiting the situation. This change in
approach reveals both his predatory nature and his belief that he can get away with
anything, given his wealth and influence.

The first thing to note in this scene is how Volpone uses language to lure Celia into his web.
He speaks in flattering, seductive terms, focusing on her physical beauty and presenting
himself as a lover who can offer her a life of pleasure, free from the constraints of her
current life with Corvino. He manipulates her desires by appealing to her fantasies,
promising her a life of "endless delight" and "pleasure" that she cannot find in her current
marriage. The contrast between Celia’s reality and Volpone’s imaginary pleasures is striking:
while she lives in a loveless and oppressive marriage to Corvino, Volpone presents an
idealized, seductive world of luxury and freedom.

Volpone’s promises are, of course, completely hollow and self-serving. He does not care for
Celia as a person, nor does he intend to fulfill any of the promises he makes. Instead, he uses
her as a means to further his own agenda. His offer of "pleasures" is nothing more than a
manipulation of Celia’s vulnerability. By appealing to her unmet desires, he seeks to break
her resolve and turn her into another pawn in his game. The moment is a sharp commentary
on the commodification of women in society, as Celia’s worth is reduced to her physical
beauty and her ability to satisfy a man's desires.

Volpone’s actions in this scene also expose the broader themes of greed and exploitation
that run throughout the play. His lust for Celia is not driven by genuine attraction but by a
desire to conquer and possess. Just as Volpone exploits the other characters for their wealth,
he now seeks to exploit Celia for his own sexual and emotional gratification. His behavior is
parasitic, as he feeds off the weaknesses and desires of others without any regard for their
well-being. This manipulation of Celia is a direct reflection of the way Volpone uses other
characters throughout the play, particularly the suitors who court him in the hope of
inheriting his wealth. In both cases, Volpone uses the weaknesses of others—greed, lust,
and vanity—as tools to assert his dominance and control.

Celia, in contrast to Volpone, represents innocence and purity. She is a victim of her
circumstances, trapped in a marriage to a jealous and cruel husband. Her reluctance to give
in to Volpone’s advances highlights her moral integrity. She does not respond to his
temptations, not out of indifference, but because she is aware of the consequences and the
damage that would be caused by such an act. Her resistance in this scene underscores her
inner strength and sets her apart from the other characters, who are driven by their own
greed and desires. However, Celia is not completely immune to Volpone’s manipulations.
Her vulnerability is shown in her initial hesitance to resist his advances, suggesting that even
the most virtuous characters in the play are not entirely free from the influence of greed and
temptation.

One of the key elements of this scene is Volpone’s role as a tempter. His approach is
calculated and manipulative, using flattery and false promises to try and break Celia’s
resolve. He likens her to a "chaste and virtuous" woman but subtly undermines this ideal by
presenting her with the possibility of a life filled with "imaginary pleasures." In doing so,
Volpone not only challenges her virtue but also forces her into a position where her
innocence is in direct conflict with the corrupt world around her. This tension between
virtue and vice is central to the play’s broader moral concerns, as Volpone represents the
moral decay of society, where everything, including human relationships, is up for sale.
Volpone’s treatment of Celia in this scene also highlights the theme of illusion versus reality
that runs throughout the play. Volpone offers Celia a world of "imaginary pleasures," but this
world is based on lies, fantasies, and deceit. Just as Volpone has built a false persona of
illness to manipulate others, he now creates an illusion of pleasure to manipulate Celia. The
idea of "imaginary pleasures" speaks to the larger theme of appearance versus reality in the
play. Volpone himself is a master of disguise, and throughout the play, characters are often
caught in webs of deception and falsehoods. This scene with Celia further reinforces the idea
that in Volpone’s world, nothing is as it seems, and everyone is prey to the illusions of power
and pleasure.

In conclusion, Act III, Scene 7 of Volpone is a pivotal moment in the play that deepens the
character of Volpone and exposes the ways in which he manipulates and exploits others for
his own gain. Through his promises of "imaginary pleasures," Volpone seeks to tempt Celia
into becoming another victim of his deceit. The scene highlights the themes of greed,
exploitation, and the commodification of women, while also emphasizing the tension
between virtue and vice. Volpone’s manipulation of Celia serves as a commentary on the
corrupting influence of wealth and power, and the play as a whole illustrates how individuals
in a society driven by greed and ambition will resort to any means to achieve their desires.