Дипломная работа: Ben Jonson and his Comedies

3. What means does Volpone use in his attempt to seduce Celia in 3.7.139-154? In 154-164 of the same scene? In the "Song" that follows? And in 185-239? All of these attempts at seduction fail because of Celia's unassailable virtue. At what, if anything, do they succeed? Do they have an effect on you as a reader?

4. How do Volpone's addresses to Celia in 3.7 compare with his address to gold in 1.1?

5. Is there any shift in the degree to which the audience (or reader) identifies with Volpone and/or Mosca at various points in the play?

6. What does Peregrine's trick on Sir Pol add to the play's plot and theme?

7. With whom, if anyone, do the audience's (or reader's) sympathies lie in the play's final scenes?

8. Courtroom scenes are versions of the play-within-a-play technique, for lawyers and witnesses are performers very conscious of the audience that will judge them. How good are the performances in the courtroom scene of Act 5, scene 12? How does the courtroom "play" compare to the earlier plays-within-a-play (such as Volpone's deathbed act or his performance as Scoto)? How does the courtroom play-within-a-play relate to the play Volpone itself? That is, how do the performances in the courtroom (directed toward the judges) comment on that of the play Volpone (directed toward the theater audience)?

5. How do the various punishments meted out to Volpone, Mosca, and the others compare? Why are they so inequitable?

6. In Act 3, attempting to defend against the foul plans of her husband, Mosca, and Volpone, Celia declares her dedication to the preservation of honor (her own and her husband's). Corvino's response dismisses her scruples. Is Celia's view of honor vindicated by the end of the play?

7. The Norton introduction to the play speculates "that what Venice is in the play, England is about to become, in the city of London, the year of our Lord 1606"; and that Jonson, given his "vigorous social morality, would not have rejected" such an interpretation. Do you agree that Jonson's play is a warning for Englishmen about their own society?

Ben Jonson : Volpone

In his earlier plays, Jonson had made characters speak bitterly, expressing direct and dangerous attacks on the social manners of the higher classes. In Volpone that never happens. The Prologue boasts that it was written in five weeks (Jonson was usually a slow writer), all by Jonson himself. Then the play is compared with the more vulgar kind of play where there is horseplay and clowning:

And so presents quick comedy refined,

As best critics have designed;

The laws of time, place, persons he observeth,

From no needful rule he swerveth.

All gall and copperas from his ink he draineth,

Only a little salt remaineth. . .

The setting is Venice. Act One begins, as Volpone (the 'fox') and his close servant Mosca (the 'fly') celebrate Volpone's morning 'worship' of his gold:

VOLPONE. Good morning to the day; and next, my gold!

Open the shrine, that I may see my saint.

(Mosca opens the curtain that hides much treasure)

Hail the world's soul, and mine! more glad than is the teeming earth to see the longed-for sun peep through the horns of the celestial ram, am I, to view thy splendour darkening his;

That lying here, amongst my other hoardes, show'st like a flame by night, or like the day Struck out by chaos, when all darkness fled unto the centre. O thou son of Sol, but brighter than thy father, let me kiss, with adoration, thee, and every relic of sacred treasure in this blessed room. Well did wise poets by thy glorious name title that age which they would have the best;

Thou being the best of things, and far transcending all style of joy, in children, parents, friends, or any other waking dream on earth. Thy looks when they to Venus did ascribe, they should have given her twenty thousand Cupids, such are thy beauties and our loves! Dear saint, Riches, the dumb god, that givest all men tongues, that canst do nought, and yet mak'st men do all things;

The price of soul; even hell, with thee to boot, is made worth heaven. Thou art virtue, fame, honour and all things else. Who can get thee, he shall be noble, valiant, honest, wise - After this blasphemous adoration, Mosca flatters Volpone, stressing that his fortune was was not made by oppressing the poor. Then in a soliloquy, Volpone exposes his method:

I have no wife, no parent, child, ally, to give my substance to, but whom I make must be my heir; and this makes men observe me.

This draws new clients daily to my house, women and men of every sex and age, that bring me presents, send me plate, coin, jewels, with hope that when I die (which they expect each greedy minute) it shall then return Tenfold upon them.

Shakespeare, in Richard III and other plays, had already exploited the fact that, in theatre, 'all the world loves a villain.' Volpone is a shameless villain, quite open about his deceptions, inviting the audience (through Mosca) to admire his skills at manipulating human greed. The play then has an 'interlude' in which Volpone's 'creatures' -- a dwarf, an eunuch and a fool -- entertain him in grotesque imitation of court entertainments.

The action begins with the arrival, one by one, of Volpone's 'clients,' whom he despises. To receive them he pretends to be terribly sick. The first is Signor Voltore (the 'vulture') who is a lawyer. Mosca assures him that he is Volpone's only heir. Then comes Corbaccio (the 'raven'), who is old and deaf and impatient. He offers some medecine that Mosca recognizes as a poison, then produces a bag of gold. Mosca says he will use it to excite Volpone to make a will in Corbaccio's favour, then suggests that Corbaccio should make a will naming Volpone his sole heir, in place of his son, as proof of his love. When the next client comes, Corvino the merchant (the 'crow'), Volpone seems to be at death's door, though he still has the strength to grasp a pearl and diamond Corvino has brought. Mosca invites his to shout insults at him, saying that he is quite unconscious, then suggests that they should suffocate Volpone with a pillow; this frightens Corvino, though he does not condemn Mosca for the idea. Finally, after mentioning the English visitor Lady Would-be, Mosca tells Volpone of the beauty of Corvino's young wife, who is jealously guarded. This makes Volpone long to see her.

Act Two begins with the play's sub-plot, that is often omitted in modern productions; the English traveller Sir Politic Would-be holds a conversation with another English traveller, Peregrine, showing himself to be vain and foolish. Volpone arrives disguised as a mountebank and begins a long speech boasting of the qualities of his special medicine. Corvino's wife, Celia, throws down some money from a window and Volpone tosses back his potion. Corvino suddenly appears and chases him away.