SEDUCTION SCENE

GEMINI
Ben Jonson's "Volpone" masterfully navigates the treacherous territory of human desire and avarice,
presenting its titular character as a figure simultaneously alluring and abhorrent. This duality is
nowhere more vividly displayed than in the seduction scene, where Volpone attempts to woo Celia.
Jonson's strategic deployment of contrasting images in this pivotal moment illuminates the complex
interplay between Volpone's seductive charm and his underlying moral corruption, rendering him a
paradoxical figure of attraction and repulsion.
Volpone's attractiveness stems from his theatricality, his command of language, and the sheer
audacity of his pursuit. He presents himself as a wealthy, powerful, and passionate lover, capable of
showering Celia with unimaginable riches and sensual pleasures.1 This facade is constructed through
a carefully crafted performance, replete with hyperbolic declarations of love and promises of
extravagant gifts.2 He paints a picture of a life overflowing with opulence and indulgence, a fantasy
designed to overwhelm Celia's senses and weaken her resolve.
The language employed by Volpone is deliberately seductive, filled with rich imagery and persuasive
rhetoric. He compares Celia to a goddess, elevating her to an almost divine status. He speaks of jewels,
silks, and perfumes, conjuring a world of luxury and sensual delight.3 He paints vivid pictures of
exotic travels, decadent feasts, and unrestrained pleasures. This torrent of enticing imagery is
designed to overwhelm Celia, to make her forget her moral scruples and succumb to his desires.
However, beneath this veneer of charm and eloquence lies a deeply repulsive core. Volpone's desire for
Celia is not motivated by genuine love or affection, but by a lust for possession and a perverse
pleasure in manipulating others. He views her as a prize to be won, a testament to his power and
cunning. His seductive overtures are ultimately a means to an end, a way to gratify his own selfish
desires.
Jonson's use of contrasting images in the seduction scene serves to highlight this duality, exposing the
hypocrisy and moral bankruptcy that lie beneath Volpone's seductive facade.
1. The Juxtaposition of Heavenly and Earthly Images:
Volpone frequently uses imagery that elevates Celia to a celestial realm, comparing her to a goddess
and promising her a life of divine bliss.4 He speaks of "celestial joys" and "immortal pleasures,"
attempting to portray their union as a sacred and transcendent experience.5 However, this heavenly
imagery is constantly undercut by his crude and materialistic descriptions of the sensual pleasures he
offers. He talks of "soft embraces," "kissing fruits," and "wanton dalliance," reducing their relationship
to a purely physical and carnal encounter. This juxtaposition reveals the hypocrisy of Volpone's
rhetoric, exposing the gap between his lofty pronouncements and his base desires.
For instance, he says:
"See, behold, what thou art queen of; not alone
Of jewels, but of whatsoever may
Concern a wealthy, happy prince, or can
The eyes of kings themselves behold and envy."
This paints her as a queen, but the following descriptions of the physical pleasures he desires bring
her down to the level of a mere object for his lust.
2. The Contrast Between Opulence and Decay:
Volpone's promises of wealth and luxury are a central element of his seductive strategy. He paints a
picture of a world overflowing with riches, where every desire is instantly gratified. However, this
opulent facade is constantly threatened by the underlying reality of Volpone's illness and decay. His
feigned sickness, a crucial element of his scheme, serves as a constant reminder of his mortality and
the ephemeral nature of worldly pleasures. The very act of seduction happens when he is pretending
to be on death's door.6 The physical descriptions of Volpone's decrepitude serve as a stark contrast to
his promises of sensual indulgence, highlighting the inherent contradiction between his outward
appearance and his inner desires.
The descriptions of his physical state, though feigned, are vivid and repulsive:
"My state is not of those that can endure
Protraction, and delay, but must be violent,
And sudden; therefore, if thou wilt consent,
I'll have thee crowned, and made my sovereign queen."
The urgency and violence of his desire, coupled with the imagery of his failing health, create a
disturbing contrast.
3. The Tension Between Performance and Reality:
Volpone's seduction is essentially a theatrical performance, a carefully orchestrated display of wealth,
power, and passion.7 He adopts a persona, a character designed to appeal to Celia's desires and
manipulate her emotions. However, this performance is constantly threatened by the underlying
reality of his true nature. His cunning, his greed, and his lust for power are always lurking beneath the
surface, threatening to expose the artifice of his seduction.
The scene’s theatricality is emphasized by Volpone’s constant shifting of roles and tones. He moves
from tender lover to commanding potentate, from humble supplicant to arrogant conqueror. This
constant role-playing creates a sense of unease, highlighting the artificiality of his emotions and the
manipulative nature of his seduction.
4. The Dichotomy of Light and Darkness:
Jonson uses light and darkness imagery to further emphasize the contrasting elements of Volpone's
character. The promises of dazzling jewels, shining silks, and radiant beauty create an illusion of light
and splendour. However, this light is constantly threatened by the darkness of Volpone's deceit and
corruption. The shadows of his illness, his greed, and his lust for power cast a pall over his seductive
overtures, revealing the darkness that lies beneath the surface.
The imagery of light and darkness is also reflected in the setting of the scene. Volpone's chamber,
though filled with treasures, is also a place of confinement and decay.8 The opulence of the room is
juxtaposed with the darkness of Volpone's intentions, creating a sense of claustrophobia and moral
unease.
In conclusion, Volpone's attractiveness and repulsiveness are inextricably linked, a duality that is
masterfully conveyed through Jonson's use of contrasting images in the seduction scene.9 His
seductive charm is a carefully constructed facade, designed to conceal his underlying moral
corruption. The juxtaposition of heavenly and earthly images, opulence and decay, performance and
reality, light and darkness, serves to expose the hypocrisy and moral bankruptcy that lie beneath his
alluring exterior. This complex interplay of contrasting images renders Volpone a truly paradoxical
figure, a character who is both captivating and repulsive, a testament to the enduring power of
Jonson's satirical genius.

CHAT-GPT
Volpone: An Attractive Yet Repulsive Figure in the Seduction Scene
Ben Jonson’s Volpone (1606) is a sharp satire of greed, hypocrisy, and corruption in Renaissance
society. The play’s protagonist, Volpone, is a wealthy Venetian conman whose name means ‘fox’ in
Italian, symbolizing his cunning and deceit. While he is charismatic and intelligent, he is also deeply
immoral, manipulating those around him for personal gain. This duality—his simultaneous
attractiveness and repulsiveness—is particularly evident in the Seduction Scene (Act III, Scene 7),
where Volpone attempts to seduce Celia, the virtuous wife of the foolish merchant Corvino. In this
scene, Jonson employs contrasting imagery to highlight Volpone’s paradoxical nature, making him at
once alluring and detestable.
Volpone’s Eloquence and Charismatic Appeal
One of the most striking aspects of Volpone’s character is his rhetorical brilliance. His persuasive
language demonstrates his intelligence and charm, making him an engaging figure despite his
villainous intentions. Throughout the Seduction Scene, he employs rich and sensual imagery,
drawing comparisons between Celia and divine or celestial beings:
“Bright as your silver planet, of a hue, As those that make the morning, and the evening”.
Here, Volpone elevates Celia to an ethereal status, associating her with heavenly bodies to flatter and
enchant her. His poetic diction and the musicality of his words enhance his appeal, momentarily
masking his true nature. Jonson’s use of celestial imagery aligns Volpone with the Renaissance trope
of the eloquent lover, one who woos with words rather than actions. This is a moment where Volpone
appears attractive, as he demonstrates intelligence, wit, and an appreciation of beauty.
Furthermore, Volpone’s seductive rhetoric mirrors the traditions of courtly love, in which a lover
idealizes and venerates the object of his desire. However, Jonson subverts this convention by making
Volpone’s intentions entirely selfish and predatory. His poetic flattery is not an expression of genuine
love but a manipulative tool designed to overpower Celia’s resistance. The audience may admire his
verbal dexterity but is simultaneously aware of the deceit underlying his words, reinforcing the
duality of his character.
Volpone as a Predatory and Grotesque Figure
Despite his eloquence, Volpone is also deeply repugnant, as his speech is laced with aggressive,
possessive, and grotesque imagery. His descriptions of love are not those of an idealistic or noble
passion but rather of uncontrolled lust. When he speaks of desire, he likens it to consumption and
devouring:
“Yield, or I’ll force thee” (III.7.242).
This moment marks a stark departure from the earlier seductive language, revealing Volpone’s
underlying brutality. His insistence on possessing Celia through force strips away any remaining
pretence of refinement or charm, exposing his raw, animalistic nature. The juxtaposition of celestial
imagery with crude, violent threats intensifies the horror of the scene, making Volpone both
fascinating and repulsive.
Additionally, Jonson employs grotesque bodily imagery to underscore Volpone’s corrupt and diseased
nature. Unlike the traditional romantic hero, who is often depicted as youthful and physically
attractive, Volpone is an aging man feigning sickness throughout the play. His excessive lust,
especially in contrast to Celia’s purity, makes him appear all the more degenerate. This is particularly
emphasized when Volpone expresses his desires in exaggerated, hyperbolic terms, such as when he
describes Celia’s beauty as something that inflames and consumes him:
“Thy breath is like perfume, that I should live By it: O, thou art heavenly”.
While on the surface this seems like a romantic sentiment, its underlying implication is disturbing—
Volpone is obsessed with Celia’s physical presence in a way that suggests both reverence and
predation. The reference to “perfume” evokes an image of indulgence and sensuality, but it also hints
at his desire to absorb and consume Celia, making her a mere object of pleasure rather than a person.
The Contrast Between Volpone and Celia
Jonson further amplifies Volpone’s dual nature by placing him in direct contrast with Celia. She
embodies purity, virtue, and innocence—qualities that make Volpone’s pursuit of her all the more
horrifying. Her desperate pleas for mercy and her steadfast resistance to Volpone’s advances highlight
his moral depravity. When she protests, saying:
“Sir, let me go. I never meant offence” (III.7.223),
her words serve as a stark contrast to Volpone’s increasingly aggressive and entitled language. Celia’s
vulnerability and virtue make Volpone’s actions even more disturbing, stripping away any lingering
admiration the audience may have had for his wit or charisma.
This contrast is reinforced by the imagery Jonson associates with each character. Celia is often linked
to light, divinity, and purity, while Volpone is associated with animalistic and grotesque imagery. His
name itself—‘fox’—implies deceit and predation, whereas Celia’s name, derived from ‘caelum’ (Latin
for ‘heaven’), suggests an elevated, celestial nature. This interplay of contrasting symbols underscores
the inherent conflict in Volpone’s character: he may possess intelligence and charm, but he ultimately
degrades himself through his own depravity.
Conclusion: The Coexistence of Attraction and Repulsion
In the Seduction Scene of Volpone, Ben Jonson masterfully presents the protagonist as both alluring
and repugnant through the use of contrasting imagery. Volpone’s eloquence and poetic flattery
initially make him seem charismatic and seductive, aligning him with the Renaissance tradition of the
courtly lover. However, as the scene progresses, his true nature emerges—he is not a noble suitor but a
predatory villain driven by unchecked desire. The shift from celestial and romantic imagery to
grotesque, violent, and animalistic descriptions reveals the tension between Volpone’s attractiveness
and repulsiveness.
By juxtaposing Volpone’s wit and charm with his moral corruption and predatory instincts, Jonson
forces the audience to grapple with the complexities of human nature. Volpone’s intelligence and
cunning make him an engaging character, but his actions ultimately render him detestable. This
duality is at the heart of the play’s satirical critique of greed and corruption, showing how even the
most captivating individuals can be undone by their own vices. The Seduction Scene thus serves as a
microcosm of Volpone as a whole, encapsulating the play’s exploration of the fine line between
brilliance and depravity.
CO-PILOT
Volpone, written by Ben Jonson, is a satirical comedy that dissects the greed and moral decay within
society. Volpone, the play's eponymous character, embodies both attractiveness and repulsiveness, a
duality that Jonson masterfully portrays through contrasting images, particularly in the seduction
scene.
Jonson's Volpone is an intricate character who oscillates between charm and repulsion. His allure lies
in his wit, intelligence, and charismatic manipulation, while his repulsiveness stems from his
unscrupulous behaviour and moral corruption. This dichotomy is vividly portrayed in the seduction
scene, where Jonson employs contrasting images to highlight Volpone's complex nature.
In the seduction scene (Act 3, Scene 7), Volpone, disguised as Scoto Mantua, attempts to seduce Celia
by extolling her beauty and virtues. Jonson's use of imagery here is pivotal in conveying Volpone's
duality. The scene opens with Volpone praising Celia in poetic and almost divine terms:
"See, behold,
What thou art queen of; not in expectation,
As I feed others: but possess’d and crown’d."
These lines exemplify Volpone's attractive qualities: his eloquence and ability to elevate Celia to a
pedestal. He uses grandiose imagery to cast himself as a benevolent admirer, seeking to adore and
worship her. This portrayal aligns with the Renaissance ideal of the courtly lover, a figure who
venerates and idealizes his beloved.
However, Jonson quickly contrasts this with darker, more predatory imagery. Volpone's true
intentions are unveiled as he becomes increasingly aggressive in his pursuit. His language shifts from
reverence to coercion:
"I have loved you so long, I would not be a minute without you."
This line strips away the veneer of courtly love, revealing Volpone's underlying lust and selfishness.
The transition from lofty admiration to base desire is abrupt, underscoring the repulsive aspect of
Volpone's character. His charm is a façade, masking his predatory nature.
Jonson further contrasts Volpone's attractiveness and repulsiveness through the imagery associated
with Celia. She is depicted as pure and virtuous, a stark contrast to Volpone's moral decay. Volpone's
descriptions of Celia are laden with religious and celestial imagery:
"Bright as your gold, and lovely as your gold."
Here, Volpone likens Celia to gold, a symbol of purity and value. This comparison elevates Celia to an
almost divine status, emphasizing her innocence and virtue. However, this imagery also serves to
highlight Volpone's corruption. His attempt to equate Celia's purity with material wealth underscores
his inability to appreciate her true worth, reducing her to a mere object of desire.
The juxtaposition of Volpone's seductive language with his aggressive actions further accentuates his
duality. Initially, his words are sweet and flattering, designed to allure and captivate Celia. However, as
the scene progresses, his language becomes increasingly forceful and menacing:
"If you but knew the pleasure of the paper,
She, she would think less, what a curious knight
Thou dost bestow upon her."
Volpone's attempt to coerce Celia into submission reveals the sinister side of his character. The shift
from seductive allure to aggressive dominance exposes the underlying repulsiveness of his actions.
Jonson's use of contrasting images in Volpone's language and behavior underscores the duality of his
character, making him simultaneously attractive and repulsive.
In addition to Volpone's language, Jonson employs contrasting images in the setting and atmosphere
of the seduction scene. The scene takes place in Volpone's luxurious chamber, a space that epitomizes
wealth and opulence. This setting enhances Volpone's attractiveness, portraying him as a man of
wealth and status. However, the opulence of the chamber also serves to highlight the moral decay and
corruption that pervades Volpone's character. The lavish surroundings contrast sharply with the
sinister nature of his intentions, reinforcing the repulsive aspect of his personality.
Jonson also contrasts Volpone's physical appearance with his inner corruption. Volpone's disguise as
Scoto Mantua adds a layer of irony to the scene. While he presents himself as a virtuous admirer, his
true nature is masked by his disguise. This contrast between appearance and reality highlights the
duplicity of Volpone's character. Jonson's use of the disguise motif underscores the theme of
deception, emphasizing Volpone's ability to manipulate and deceive those around him.
Moreover, Jonson's use of animal imagery in the seduction scene adds another layer of contrast to
Volpone's character. Throughout the play, Volpone is associated with the fox, an animal known for its
cunning and slyness. This animal imagery underscores Volpone's intelligence and resourcefulness,
qualities that contribute to his attractiveness. However, it also highlights his predatory nature and
moral corruption. The duality of the fox imagery mirrors the duality of Volpone's character, making
him both attractive and repulsive.
The character of Celia further amplifies the contrasting images in the seduction scene. As the
embodiment of purity and virtue, Celia serves as a foil to Volpone's corruption. Her resistance to
Volpone's advances underscores the moral chasm between them. Despite Volpone's seductive
language and promises, Celia remains steadfast in her virtue:
"O God, and his good angels! Whither, whither,
Is shame fled human breasts? Is that, which ever was a cause for virtue,
Love, now transform'd to sin and infamy?"
Celia's unwavering virtue contrasts sharply with Volpone's moral depravity. Her purity and resistance
serve to highlight the repulsiveness of Volpone's actions, while also emphasizing the attractiveness of
her character. Jonson's use of contrasting images between Volpone and Celia accentuates the duality
of Volpone's nature, making him both a captivating and repelling figure.
In conclusion, Ben Jonson masterfully employs contrasting images in the seduction scene of Volpone
to depict the duality of the play's protagonist. Volpone's attractiveness lies in his wit, intelligence, and
charismatic manipulation, while his repulsiveness stems from his moral corruption and predatory
behaviour. Through the use of poetic and predatory imagery, religious and material symbolism, and
the juxtaposition of purity and corruption, Jonson highlights the complexity of Volpone's character.
This intricate portrayal underscores the central theme of the play: the moral decay and greed that
pervade society. By presenting Volpone as both attractive and repulsive, Jonson invites the audience
to reflect on the nature of human vice and virtue, making Volpone a timeless and thought-provoking
work of literature.
META-AI
Volpone, the eponymous protagonist of Ben Jonson's play, is a complex and multifaceted character,
embodying both attractive and repulsive qualities. This paradoxical nature of Volpone is skilfully
conveyed through Jonson's deliberate use of contrasting images in the Seduction Scene, highlighting
the tension between Volpone's charismatic persona and his inherent corruption.
The Attractive Volpone: Charisma and Deception
In the Seduction Scene, Volpone's attractive qualities are on full display. He employs his wit, charm,
and eloquence to seduce Celia, the virtuous wife of Corvino. Volpone's language is adorned with
poetic metaphors and allusions, showcasing his intelligence and cultural sophistication. For instance,
he compares Celia to a "bright star" and himself to a "lowly vassal" (Jonson 3.7.137-138), demonstrating
his ability to craft a captivating narrative.
Volpone's charisma is further underscored by his use of persuasive rhetoric, as he expertly
manipulates Celia's emotions and perceptions. He presents himself as a romantic, passionate, and
devoted lover, exploiting Celia's vulnerabilities and naivety. Through his silver-tongued oratory,
Volpone constructs an alluring persona, making it difficult for Celia (and the audience) to resist his
charms.
The Repulsive Volpone: Corruption and Depravity
However, beneath Volpone's attractive façade lies a repulsive and corrupt individual. As the Seduction
Scene progresses, Jonson subtly reveals Volpone's true nature, exposing his inherent depravity.
Volpone's language, while poetic and charming, also contains hints of lasciviousness and exploitation.
He objectifies Celia, reducing her to a mere commodity to be possessed and enjoyed.
Moreover, Volpone's actions are motivated by a desire for power, control, and self-gratification. He
manipulates Celia, using his wealth and influence to coerce her into submission. This exploitation is
underscored by Volpone's willingness to bribe Celia's husband, Corvino, to facilitate his seduction
(Jonson 3.7.141-142). Such actions reveal Volpone's profound lack of empathy and his disregard for
moral principles.
Contrasting Images: The Tension between Attraction and Repulsion
Jonson's use of contrasting images in the Seduction Scene serves to highlight the tension between
Volpone's attractive and repulsive qualities. On one hand, Volpone's charisma and eloquence create a
sense of allure and fascination. On the other hand, his corruption and depravity evoke feelings of
revulsion and disgust.
This tension is exemplified in the imagery surrounding Volpone's "mountebank" persona (Jonson
2.2.1-2). As a mountebank, Volpone is a charlatan, peddling false remedies and deceiving the gullible.
This image underscores Volpone's duplicitous nature, highlighting the disparity between his
attractive exterior and his repulsive interior.
Conclusion
In conclusion, Volpone's paradoxical nature, embodying both attractive and repulsive qualities, is
masterfully conveyed through Jonson's use of contrasting images in the Seduction Scene. Volpone's
charisma and eloquence create a sense of allure, while his corruption and depravity evoke feelings of
revulsion. The tension between these opposing qualities serves to underscore the complexity of
Volpone's character, highlighting the multifaceted nature of human morality.
Through this nuanced portrayal, Jonson invites the audience to engage with the moral ambiguities of
Volpone's character, encouraging a deeper exploration of the human condition. Ultimately, the
Seduction Scene serves as a masterful exemplar of Jonson's skilful use of contrasting images,
illuminating the intricate and often contradictory nature of human morality.