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Kevin Cullen, Denise Fernandez, Julie Mashburn Lauren Robertson, Jennifer Stopper Kemesha Thomas

Hello Travelers, Please enjoy this video before you explore our Volpone wiki site. media type="youtube" key="ZrsKsTZCAzc" height="385" width="640" align="center"

=Volpone: A Summary =

= = **Argument/Prologue:** The argument and the prologue serve as an opening to the play Volpone by Ben Jonson. The argument is set up in the form of an acrostic, in which each sentence begins with a letter in the main character’s name, Volpone. The prologue informs the reader that Jonson wishes to both entertain the audience and teach them something.

The Argument reads: V olpone, childless, rich, feigns sick, despairs, O ffers his state to hopes of several heirs, L ies languishing; his parasite recieves P resents of all, assures, deludes, then weaves O ther cross plots, which ope themselves, are told. N ew tricks for safety are sought; they thrive-- when, bold E ach tempts th'other again, and all are sold

In scene one, Volpone explains how he manages to get richer without working—gifts. Because he has no heir, men visit trying to claim his fortunes and bring gifts to convince him. Volpone has three men: Voltore, Corbaccio, and Corvino convinced they will be his heir which is why they continue to bring him gifts. In scene two, Volpone is entertained by Nano, a dwarf, Androgyno, a hermaphrodite, and Castrone, an eunuch. The men perform a skit and sing for Volpone. In scene three, Voltore comes to visit Volpone and speaks first with Mosca. Mosca is instrumental in convincing each man that they are the sole heir and maintaining the influx of gifts. Voltore brings Volpone a plate. In scene four, Corbaccio visits Volpone and speaks with Mosca. Corbaccio delights in each of Volpone’s faked symptoms. Mosca convinces Corbaccio to disinherit his own son and name Volpone as his heir instead. Corbaccio believes that if he does this, Volpone will have no choice but to name him as heir. He brings Volpone money as a gift. In scene five, Corvino comes to visit Volpone. Mosca shows Corvino all of Volpone’s faked ails. Corvino brings Volpone a diamond and a pearl. After Corvino leaves, Mosca and Volpone begin scheming to get a hold of the beautiful Celia, Corvino’s wife.
 * Act I, Scene i:**
 * Act I, Scene ii:**
 * Act I, Scene iii:**
 * Act I, Scene iv:**
 * Act I, Scene v:**

This scene takes place outside Corvino's home, at the city’s public square. Two English men, Sir Politic Would-be and Peregrine, a young traveler newly arrived in Venice, are having a talk in the square. Sir Politic, a decidedly proud man, is asking Peregrine of news from England as Sir Politic has been living in Venice for some time and has been hearing strange stories about his home country. Peregrine takes Sir Politic to be incredibly gullible and proceeds to tell the older man absurd stories; Sir Politic pretends to know what Peregrine is talking about by adding ridiculous comments to the conversation. At the end of the act, Peregrine asks Sir Politic if he can identify the people entering the square. Enter Mosca and Nano into the square, who are disguised as merchants. They set themselves up beneath the window of Corvino's house. Volpone, also in disguise as Scoto Mantua, joins Mosca and Nano under the window and begins to tell the story about Scoto’s life; a crowd gathers to watch and Scoto/Volpone attempts to sell them “medicinal oil”. From the window above them, Corvino’s wife, Celia, watches the spectacle and then tosses down her handkerchief. Corvino enters the scene and is overcome by rage and jealously at seeing Celia’s interest in Scoto/Volpone. He quickly demands that Volpone and the gathered crowd clear out, which they do amidst Corvino’s shouting. Still in the square, Sir Politic is shocked by the events he has just witnessed, but the young Peregrine seems amused. The pair leave, and Peregrine comments that he will remain close to the gullible Politic because it brings him much amusement. Upon returning home, Volpone reveals that he is sick with love for the beautiful Celia and Mosca promises Volpone that he will find a way to make Celia Volpone’s lover. At Corvino’s house, Corvino condemns Celia for throwing her handkerchief at Scoto/Volpone and accuses her of harboring a desire to be unfaithful to him. Attempting to reason, Celia tells her husband not to be jealous as she hardly even leaves the house and has no such intentions. Not convinced and still enraged, Corvino decrees that Celia will never be allowed out of the house or near a window again. Furthermore, Celia will be forced to do everything backwards; he threatens to expose her publicly as a woman without virtue if she fails to obey his arbitrary regulations. Mosca goes to Corvino’s house to deliver some news. At first Corvino assumes that the manservant has come to inform him of Volpone’s death, but Mosca says that Volpone has apparently recovered thanks to the medicinal oil of Scoto Mantua and that he must sleep with a woman in order to speed his recovery. When Corvino suggests a prostitute, Mosca rejects the idea and instead says that he would prefer a woman of virtue. In order to trick Corvino into allowing Volpone to sleep with Celia, Mosca tells Corvino that one of Volpone’s doctors has offered Volpone his daughter. Not to be outdone, and to ensure being named heir, Corvino offers Celia to Volpone. Back inside Corvino's house, Celia is crying. Corvino consoles her by saying that he was never really jealous. Jealously, Corvino claims, is unprofitable.
 * Act II, Scene i** :
 * Act II, Scene ii:**
 * Act II, Scene iii:**
 * Act II, Scene iv:**
 * Act II, Scene v:**
 * Act II, Scene vi:**
 * Act II, Scene vii:**

Soliloquy in Volpone’s house by Mosca about what being an assistant in Volpone’s con and how his role as a “parasite” resembles an art. Bonario enters Volpone’s house and curses Mosca for being a parasite. Mosca pleads with him and tells him that his father is going to disinherit him. He then convinces Bonario to wait for him to prove it. Because Mosca is late returning Volpone becomes bored and is entertained by his fools. He hears a knock and learns that it is Lady Would-Be. Before entering Volpone’s room, Lady Would-Be analyzes her own appearance and then condescendingly criticizes the servants dress. When sitting with Volpone, she listens to him describe a dream about a “Fury” that entered his house and blew off his roof. She then goes on to have a very one-sided conversation with Volpone about poets, philosophy, and medicine to cure Volpone’s bad dream. Mosca arrives and come to Volpone’s rescue by getting rid of Lady Would-Be. He does this by telling her that he saw her husband, Sir Politic Would-Be, with a courtesan. She promptly leaves with the dwarf, Nano, to go find him. Volpone lies down to rest. Mosca enters Volpone’s room with Bonario and tells him where to hid while his father Corbaccio makes Volpone his heir. After Mosca leaves, Bonario hides in disbelief. Mosca ushers in Celia and Corvino to Volpone’s house and Celia begs Corvino to not make her sleep with Volpone. Corvino threatens her that if she doesn’t he will drag he through the streets calling her a whore. She is led into Volpone’s room and after they are left alone Volpone throws off his disguise and tries to seduce her. When Celia still refuses Volpone threatens to take her by force. Celia cries out and at that moment Bonario leaps from his hiding place and saves her. After he rushes her out, Volpone cries that his con has been revealed. Mosca goes into Volpone’s room, bleeding from a wound Bonario gave him, and blames himself for the failure of the plan. Volpone agrees and Corbaccio and Volture arrive at the door. ** Act III, Scene ix :** Voplone and Mosca lie about what happened between them and Celia and Bonarrio to get Corbaccio and Volture on their side. At Volture’s urging they take their problems to “the Scrutineo.” Both Corbaccio and Volture still think that they are going to be Volpone’s heir.
 * Act III, Scene i** :
 * Act III, Scene ii** :
 * Act III, Scene iii:**
 * Act III, Scene iv:**
 * Act III, Scene v:**
 * Act III, Scene vi:**
 * Act III, Scene vii:**
 * Act III, Scene viii:**

** Act IV, Scene i: ** Sir Politic and Peregrine are going on a walk when Politic decides to teach Peregrine about Venice. He brings up two points: one being that a person should never be truthful to strangers, and the second being that a person must always have polite and proper table manners. Politic then goes on to tell Peregrine about various scam-like jobs he has in the works that include selling cheeses, outlawing small tinderboxes, and testing for the plague. Politic then hands Peregrine his diary to read at his leisure.

Lady Politic, Nano, and a servant enter and are searching for Sir Politic. Lady Politic comments on her husband's unfaithfulness and how it is ruining her beautiful complexion. They finally find Sir Politic and Peregrine, who Lady Politic assumes is one of her husband's prostitutes dressed as a man. She accuses him of infidelity, much to his bewilderment. Peregrine, as confused as Sir Politic, asks for forgiveness for a crime he is unaware of. He then compliments the Lady on her beauty, to which she responds with even more rage.
 * Act IV, Scene ii: **

Mosca enters the scene and discovers a fuming Lady Politic. She tells him that she has located the prostitute he told her about and points to Peregrine. Mosca tells her that she is quite wrong and informs her that the prostitute she so angrily seeks is residing at the Scrutineo. The Lady apologizes to Peregrine, making sexually suggestive advances on him in the process. Now Peregrine's temper begins to grow in anger as he believes that Sir Politic is attempting to hook him up with his wife. He then vows revenge at this egregious affront to his honor!
 * Act IV Scene iii: **

Over at the Scrutineo (Venice's courts), Voltore, Mosco, Corvino, and Corbaccio enter. They have been summoned to appear before the Scrutineo to address the accusations of Celia and Bonario. Bonario, concerned about Voltore acquiring the title of Volpone's co-heir thanks to his service, mentions this to Mosca, who tells him not to worry. He then expresses his concerns regarding his reputation and its ruination before the court. Mosca again calms him, letting him know that he already created a story for him with Voltore that should save his reputation. Mosca mentions to Voltore that there is also another witness, should he need one.
 * Act IV, Scene iv: **

The four judges enter with Bonario, Celia, a notary, and a few guards. The judges (referred to as Avocatori) proclaim that they have never heard a story so monstrous as this one. They then relate the story, telling how Corvino attempted to “prostitute” his wife to Volpone in an attempt to win heir-ship. They go on to say how Volpone attempted to rape Celia and that Corbaccio had his son disinherited. The Avocatori summon Volpone, to which Mosca tells them that he is too sick to appear before the court. The judges don't care about his illness and send some of the guards to retrieve him. Voltore stands before the court and begins to tell a story vastly different than the one told to the judges. He makes the claim that Celia and Bonario are, in fact, lovers and that young Bonario, whose goal it was to kill Corbaccio because of the disinheritance, arrived at Volpone's house. However, when Corbaccio wasn't there, he decided to attack Volpone. Voltore then claims that Celia's cries were merely part of the elaborate plot developed by Bonario and Celia in an attempt to frame Volpone to keep him from acquiring his inheritance. Corbaccio, Corvino, and Mosca all stand to provide testament and proof of this story. The judges begin to doubt the story of Celia and Bonario. Mosca then unveils that his surprise witness is a woman who saw Celia in a gondola with Bonario. The judges are shocked as Mosca leaves the court to get her.
 * Act IV,Scene v**:

Mosca enters with Lady Politic, the surprise witness. She corroborates with the story as she curses at Celia. Volpone, who looks old and quite ill, then enters and Voltore address the court, asking if he looks like a rapist. After a bit more quarreling between Voltore and Bonario, the judges side with Voltore and order Bonario and Celia away. After congratulations are spread around, Corbaccio and Voltore leave. Mosca then tells Lady Politic that, because of her role in the case, she has become Volpone's principal heir.
 * Act IV, Scene vi:**
 * Act V, Scene i: **

Volpone arrives back, at his house. He wants to end the con because he's starting to actually feel sick.

He calls Mosca over and they talk about ending the con. They then talk about paying Voltore for his work as the lawyer. Volpone wants to play one more trick and tells Nano and Castrone to run through the streets proclaiming that he, Volpone, is dead. Then he tells Mosca to put on his clcothes and “pretend” that he was named the rightful heir.
 * Act V Scene ii **

Voltore arrives and sees Mosca taking inventory of Volpone's property. He assumes that the property is now his and thanks Mosca. Corvino enters and, soon after, so does Lady Politic. All of the characters then read the will and are shocked to find that Mosca is the heir. Mosca talks to each of them, telling them why they didn't garner heirship. The characters then leave after Mosca finishes talking to them. Volpone wants to laugh in the faces of the other characters, so he puts on a disguise and heads out to find them.
 * Act V Scene iii **

Peregrine enters in a disguise and is followed by three other men. They rehearse an act that Peregrine reminds them is only to scare Sir Politic, not to harm him in any way. Then Peregrine summons Sir Politic, who doesn't recognize him. Peregrine informs him that he has sold Venice to the Turks, and Sir Politic becomes terrified. When Peregrine's friends come knocking on the door, he tells Sir Politic that they are here to arrest him. Sir Politic runs and hides in a wine cask. Peregrine's friends enter and Peregrine tells them that he is here to buy a tortoise shell (the one that Sir Politic is hiding in). They express their disbelief that the tortoise is strong enough, so he tells them to jump on it. They do. Sir Politic then emerges from the shell and Peregrine tells him, amidst laughter, that they are even.
 * Act V Scene iv **

Back in Volpone's house, Mosca is dressed in beautiful clothes and Volpone is wearing a soldier's uniform. They talk about about Volpone's plan and then Volpone leaves. Mosca pays Nano, Castrone, and Androgyno, telling them to go find new work somewhere else. Then he leaves.
 * Act V Scene v **

Corbaccio and Corvino are walking down a streeet in Venice. They are talking about the ongoing court case. Corvino is in the middle of making sure that Corbaccio is going to stick to their story when Volpone, in disguise, interrupts them. He congratulates the men on their new fortune, all the while knowing that neither men were succesful in getting any part of the inheritance. The more the disguised Volpone speaks the madder Corbaccio and Corvino get. After two failed attempts at making Volpone leave the duo deecides that they better be the ones to leave. They exit and Volpone gets ready to taunt Voltore.
 * Act V, Scene vi:**

Voltore walks down the street muttering to himself about having lost to a parasite(Mosca). Still in disguise Volpone interrupts to ask Voltore about renting a former property of Volpone's from him. This angers the sour Voltore who doesn't own the house or anything that was Volpone's. Like Corbaccio and Corvino he too leaves.
 * Act V, Scene vii:**

Corbaccio and Corvino enter just in time to see Mosca passing in " clarissimo attire." Volpone approaches the now fuming men and asks them if it's true that Mosca, of all people outstripped them. He feigns disbelief at Mosca being able to trick men of Corrbaccio and Corrvino's standing.Corvino finally loses it after being subjected to Volpone's insults and threathens to hit him if he dares comes any closer.As usual Volpone finds a way to get out of an uncomfortable situation.
 * Act V, Scene viii:**

Voltore enters and sees Mosca. Almost immediately they start trading insults until Mosca decides to leave. Volpone then chooses that moment to offer to " beat the insolent slave" on Voltore's behalf. He then continuously teases Voltore who by this time has had time to think about everything that has been said.
 * Act V, Scene ix:**

Four judges are getting ready to hand down judgement. A distracted Voltore enters and confesses that Celia and Bonario have been telling the truth. He admits that he and Mosca made the whole story up and tells the judges that Volpone is dead.Corvino interrupts the confession claiming that Voltore is posessed. The confused judges send for Mosca with hopes that he can help them get to the truth.
 * Act V, Scene x:**

Volpone reprimands himself for pushing Voltore to confess. He figures that Mosca can help him devise a way to set their plan back on track but on his way to find Mosca he finds out that the servant has double crossed him and has decided to take advantage of the fact that everybody believes Voplone to be dead. Now his only hope is to get Voltore to recant his confession before the court. The concluding and most dramatic scene opens with the courtroom in confusion.Voltore is confessing, Celia and and Bonario are insisting that he's telling the truth, and Corvino is insisting that Voltore is posessed. Volpone, the commendatore, comes in to let the court know that Mosca is on his way. He then secretly whispers in Voltore's ear that Volpone isn't dead and that this whole ordeal has been a joke. He also advises him to go along with Corvino's statement that he is posessed by demons. Voltore drops to the floor and fakes a seizure. Volpone calls out to the court that he sees a spirit flying out of the seizing man. Voltore then recants his confession and tells the judges that Volpone is still alive. Finally, Mosca arrives but he denies that Volpone is alive and despite Volpone's secret pleading he refuses to give up his new found fortune. Feeling he has no other choice Volpone reveals himself. The court frees Celia and Bonario. Everybody else is punished for their part in the deception.
 * Act V, Scene xi:**
 * Act V, Scene xii:**

=Volpone: A Missing Passage =

Years after Volpone was written by Ben Jonson something that excited literary scholars across the world was found. A "missing passage" of the play was discovered in an attic. And now, for the first time ever, is being revealed to the eyes of the world.


 * disclaimer- the following passage was not actually written by Ben Jonson, just by some really cool kids in an english class. Enjoy!!!

**Scene 1. **
 VOLPONE: I fear tis time to confess my mind’s plight Boredom, the foul beast, hath strangled my rouse For though I attract men hungered with greed The ease makes this game a trifling deed

MOSCA: Far too easy my lord You find it to swindle these fools? Surely Volpone retains his life’s vigor! Alas my lord needs a new sport for his eye

VOLPONE: True true, my dear friend, wiser now than you know Such sport lacks the hurdles we crave as we grow My love and advances Celia did reject For ladies endure such a strange intellect No my Mosca I find now a far bigger game In pursuit of those blessed with a delicate frame So it seems that a rouse in my mind has been made But for us to succeed, I require your aide

**Scene 2.** //The scene continues//.

MOSCA [aside]:The buzzard comes anon. Only time keeps Volpone from his next prize.

[Enter] POIANA

MOSCA: Signora Poiana!

POIANA: How does Volpone today?

MOSCA: It pains me to say…

POIANA [quickly] : Dost he improve?

MOSCA: No, Signorina, he is worse, if thou canst imagine. So many maladies plague him! His flesh—hard to the touch and off-colored. His arms and legs are weighted, as if full of lead—he can walk no more.

POIANA [aside]: Can it be true? Death lies in wait for Signor Volpone? How long must I wait for this good fortune to be mine?

POIANA: Volpone's suffering saddens me. I have heard he has no trust in doctors, nor drugs.

MOSCA: No, no. [impatiently] I hath been named his heir.

POIANA [surprised, with a gasp]: Dear Mosca, heir to Volpone? What good fortune!

MOSCA: My years of service have impressed him, it seems.

POIANA: Why then was I summoned? [trying to leave, sensing no opportunities for herself] Myself will not disturb him, yes, he is very ill indeed, and I—

MOSCA: Come—He should like to speak with you. [aside] He should like very much to speak with you, my future wife. 
 * Scene 3 .** //The scene continues...//

VOLPONE: [in his room preparing for POIANA and MOSCA to enter] And now the time comes for fooling the lady. My heart grows eager to this new pursuit. Tis well my diguise is dawned, be they enter at last. I shall feign a fondness in my heart for this greedy and unworthy maid.

[enter POIANA and MOSCA]

VOLPONE: (Weakly) Mosca? Be thou at my door? I cannot make out thy face. My eyes, they falter so. And my body! It aches as though Atlas hath set the world upon it.

MOSCA: Yes my lord. I am here, and I have brought the fair lady, Signora Poiana.

VOLPONE: Oh, that I could see her beauty that you oft describe. But those are sights for younger eyes. Oh, Mosca that I could see you happily wed before my last day.

POIANA: You poor soul! It is such a pity that so grand a man should meet such an untimely end.

VOLPONE: my dear, you are far too kind, here lend me your hand that I may detail the reason you have been called. [Poiana finds his hand] My word! That such a soft, dainty hand bears such a weight. How is it so?

MOSCA: A most beautiful ring decorates her hand.

POIANA: It was my grandmother’s. A most treasured family heirloom.

VOLPONE: Ah, this talk of family brings my weathered mind back to the subject at hand. Signora Poiana, oh, if only my mind were clear, the room has begun to spin with the effort of ….. [Volpone begins to faint].

MOSCA: come lovely signora let us take leave for a moment, and let the man rest some and be entertained by his fools. Surely this shall revive him some.

[exit MOSCA and POIANA] ** Scene 4. ** // A Song // [Enter NANO, ANDROGYNO, and CASTRONE]

NANO: A wonderful greetings to you, dearest sire. We three gamesters do wish to entreat upon you A song newly devised for your never waning Attention and entertainment.

ANDROGYNO: Indeed, a song most dire.

CASTRONE: Following a young knave's training of the lyre.

ANDROGYNO: Ah, quick wit and tight rhyme, Castrone. Well done. There be hope for thou yet.

NANO: Gentlemen, compliments shall be handed round Once we've gifted our friend with our sound.

ANDROGYNO: And you Nano! Without even your knowledge Thine rhymes do flow!

NANO: A nature second of mine, dearest Androgyno. Now please, on with our song.

NANO, ANDROGYNO, and CASTRONE [sing]: What be this man whose horse doth lead Him o'er the hills whilst sun doth bleed. He seemeth to carry an auburn lyre As his voice doth seem to ne'er tire. But lo, such song is sure to call Bandits lying low in the fall! And as he pass the crashing rock Indeed they spring out and he's knock'd From his valiant steed's muscle'd back And onto his fat money sack. A sword does flash before his face! As a plea he gives to his race. On hands and knees he begs the thieve To spare his life and grant him leave. The sword does slide under his throat The bandit doth hold him to an oath 'Sing no more, you fat old bauble And to home I'll let you hobble.' The knave did rise and ran till tire Did remind him he left his lyre Back with the ruthless bandit troupe He knew he had no chance to dupe. So home he trudged, no lyre or song Accompanied him as day moved on. And now he tells this tale most dire To any youth holding a lyre. **Scene 5.**

VOLPONE: Bravo, bravo! [hears MOSCA and POIANA approaching] Quick, be gone with you three! Mosca comes anon with the fourth buzzard in tow! [gets into bed and rubs Scoto Mantua’s medicinal oil over himself as the trio exists]

MOSCA: Hail, Volpone! The fair Lady Poiana!

VOLPONE: Fair, indeed, my loyal companion. She is striking in every way, just as you describe her in your moments of lovesick agony. My heir, you have my blessing, for she will make a most beautiful bride!

POIANA: What is this I hear? Mosca, you yearn for my hand in marriage?

MOSCA [dramatically]: I pine for you as a bear for sweet honey. [takes POIANA’s hand in his]Sweet, sweet Poiana, fair Poiana, wilt thou join with me in marriage?

POIANA: Dear Mosca, it is a secret of mine that I have these many years sought your eye.

MOSCA[genuinely surprised]: In-indeed?

POIANA: Yes, I do accept your proposal. Let us be wed!

MOSCA[a little recovered from his surprise, dramatically]: Oh, but I am shamed!

POIANA: Why, good sir?

MOSCA: I am but a humble manservant, fair Poiana, and have no small fortune of my own with which to fund my endeavors. I am ashamed that I have not the resources to offer you a wedding band worthy of your exquisite and enthralling beauty.

VOLPONE: Woe! But there must be something, Mosca? Anything?

MOSCA: Nothing. I am a poor soul.

VOLPONE: If only your good lady Poiana could offer such something, but alas…  POIANA: Alas, there is something! [Removes an extravagant ring from her finger and places it in MOSCA’s hand]. Take it, dear Mosca, and keep it! I shall go announce our engagement!

[As Poiana exits master and servant exchange mischievous smiles.] Volpone: Well done my faithful student.
 * Scene 6.**

Mosca: It doth slightly pain me to know that she longeth for me even before we devised this plan. She did appear to be genuinely smitten with the idea of the union.

Volpone: Do not be foolish. How easily you are misled by a woman’s sweet voice. Have you already forgotten that my fortune is what brings her to my bedside? Please tell me that you have not fallen for such trickery, for that would mean that I have failed in attempting to bestow upon you my discerning ways.

Mosca: It is just that she looked upon me with such adulation in her eyes. It was as though her heart was reaching out to mine.

Volpone: I doubt not what you saw. I saw the same vision as you. Adulation indeed. But that was not all I saw. Adulation had company. In her gaze was also greed. Correct me if I falter but did her proclamation not come solely after you made her aware of the possibilty of you being named my heir ?

Mosca: How did you know that I revealed my impending fortune to her? Were you listening…

Volpone: My dear Mosca it was written on her face. It was evident in the way she arched her brow, in the tightness of her lips and most of all in the twinkle of her eyes when you suggested the union.

[Mosca thinks about what Volpone has just said. He is beginning to feel quite foolish.]

Mosca: Perhaps you are correct Signor Volpone.

Volpone: There is no need to dwell on your shortcomings. Go be with your future bride. Her devotion will be to you, and therefore her property yours to have. [Exit Mosca]

The Authors: Scene i by Jen Stopper, Scene ii by Lauren Robertson, Scene iii by Julie Mashburn, Scene iv by Kevin Cullen, Scene v by Denise Fernandez, and Scene vi by Kemesha Thomas.


 * Volpone: A Contemporary Passage **


 * SCENE 1. (Volpone's Chambers)**

VOLPONE: Mosca, I need to talk to you about some stuff that’s been on my mind.

I’m not even happy anymore because I’m just so bored!

Even though all these guys dig me because they know I have lots of cash

Because it’s so easy to fool them, I can’t even enjoy this anymore.

MOSCA: You find it too easy?

Because these guys are all idiots?

C’mon man, you’ve still got so much to be excited about!

You just need something thrown into the mix to keep it interesting!

VOLPONE: Wow Mosca. You really hit the nail on the head.

You’re smarter than you look.

I guess I’m just too good at swindling men these days.

Hey- that Celia chick wasn’t really that into me!

Ladies’ minds are weird!

I think that’s what I can do now... It’ll be more challenging

Trying to trick a woman.

You know what, I have a plan

But dude, I’m gonna need your help!

**Scene 2. **  The Scene Continues  MOSCA: [aside] She’s coming! Miss Poiana! Hello!

POIANA: Hi, how are you? How is Volpone?

MOSCA: He’s just so sick. It hurts me to see him this way.

POIANA [quickly]: Has he improved at all?

MOSCA: No, he’s even worse. He has a really bad case of the flu. He’s being tested for swine flu, actually.

POIANA [aside]: I hope he gets better soon. I've had my eye on him for a while now. POIANA: You and Volpone are really close, aren’t you?

MOSCA: Yeah. We’ve known each other for years. You could call us best friends, I guess. We share //everything.//

POIANA: Then you must know—why did he want to see me? [trying to leave, not wanting to get sick herself] ‘Cause I don’t want to bother him if he’s sleeping or something…

MOSCA: Come on—He wants to talk to you. [aside] He really needs to talk to you right away, my future girlfriend.


 * Scene 3. //The scene continues....// **

VOLPONE: [waiting in his room] Yes! She’s here. I’ve been waiting for this new girl to come so that I could trick her too. I’m all set to go. I’ll pretend I like her. Muhaha.

[POIANA and MOSCA come in]

VOLPONE: Hello? Is anyone there? I’m so sick with the flu. My head hurts so badly, like my stomach, and my arms, and my legs, and my neck, and my tongue, and my toes, and my eyes. Everything hurts.

MOSCA: Yeah, I’m here and I’ve got Poiana with me.

VOLPONE: You said she was pretty right? Like super model status? Geez, I wish I felt better so that I could notice.

POIANA: Dude. You don’t look good at all. I wish I could help you out, you’re a cool guy.

VOLPONE: Well, thank you. I try. Here come closer. I want to tell you everything that’s going down. [Motions her closer] I’ll try not to cough on you. -Dang, that’s quite the rock you’ve got on your finger!

MOSCA: Yeah, that’s some serious hardware.

POIANA: Oh, thanks. I’ve had it FOREVER, it was my Grandma’s back in the day.

VOLPONE: Family! That reminds me…Wait a sec. Oh, my stomach! I really don’t feel so good. [Groans and grabs stomach]. Excuse me you two. [Runs to the bathroom].

MOSCA: Yikes. He’s really, REALLY sick. We should wait outside for a while until he…um…gets it out of his system. Some tunes might distract him from how sick he feels. Let’s get Shorty, Frank, and Sags in here.

[MOSCA and POIANA leave]

Scene 4.

[Enter Shorty, Frank, and Sags]

Shorty: Hey dude! The three of us wrote a new song! It's totally sweet. Check it out.

Frank: Yeah, it's like a song that takes place pretty far away.

Sags: It's about some idiot and his guitar, they say.

Frank: Oh nice! That rhymed...kinda...

Shorty: Hey guys lets sing the song! I really don't wanna be here long.

Frank: Damn, Shorty! You're like a poet and You didn't even know it!

Shorty: Hah! It's like a second nature to me, dude. Now let's do this!

Shorty, Frank, Sags [sing]: Who is this dude whose car does fly As the sunset lights up the sky. Is he playing a brown guitar? God, his voice reaches really far... Too bad his music's gonna anger The homies chillin' by the hanger. And there they go, and here he comes. They slice his tires and aim their guns Between his little beady eyes As he freaks out and tries to hide. The homie opens up the door And throws him out onto the floor. “Give me your cash you little prick And I'll let you go without a nick.” He got up quick and ran a while And remembered his guitar after the eighth mile. With no way to get his instrument back, He trudged on home, shoulders slack. And now he complains to all his friends About his guitar's final end.

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 12pt; font-weight: normal; line-height: normal; text-indent: 0in;"> VOLPONE: Wow, you weirdos, that was actually pretty good. Who would have thought you three could write songs? [hears MOSCA and POIANA approaching] Oh, that's them - Mosca and Poiana! Get the hell out of here, you three, I've got things to do and they don't involve social rejects. [Shorty, Frank, and Sags exit]
 * Scene 5.

MOSCA [enters]: Hey, Volpone. You remember the beautiful girl I was talking to you about? Well, this is Poiana.

VOLPONE: Whoa. You weren't kidding when you said she was pretty, dude. Like, even when you wouldn't shut up about her you weren't exaggerating. She's hot. I'm giving you the Volpone Stamp of Approval. [Offers MOSCA a thumbs-up]

POIANA: Hold on a second. Approval for what? [She pauses as it dawns on her] Mosca, you want to date me?

MOSCA: Really, really baldy. [Takes POIANA’s hand in his] Poiana, I think you're the kindest, prettiest, most intelligent girl in the whole school. Would you - would you be my girlfriend?

POIANA: You know, Mosca, I've actually always had a little crush on you.

MOSCA [genuinely surprised]: S-seriously?

POIANA: Mm-hm. Of course I'll be your girlfriend!

MOSCA [a little recovered from his surprise]: Oh, this is a little embarrassing...

POIANA: What is?

MOSCA: Well, you're one of the most popular girls in school and I'm a nobody. If you date me, people will think you're uncool or something. I could ruin your reputation around here. ** <span style="font-family: Arial,Helvetica,sans-serif; font-size: 12pt; text-indent: 0in ! important;"> VOLPONE: There's gotta be something cool about you, man. No one's //that// lame.

MOSCA: Correction: no one but me.

VOLPONE: Wow, dude, that's harsh. If only there were a way to somehow make you cool...

= POIANA: That's it! Once we tell everyone we're dating, Mosca will be one of the coolest guys ever! I gotta go text some people! . = = Scene 6: = = = <span style="font-family: 'Arial','sans-serif'; font-size: 12pt; line-height: 200%;">[As Pioana leaves Mosca and Volpone hi-five each other] VOLPONE: That was smooth you can’t say I didn’t teach you anything.

MOSCA: I feel a little guilty since she liked me even before I started chillin’ with you.

VOLPONE: Are you seriously going to fall for that? Don’t forget that she came here to me and switched up when she thought that you were the one who could do something for her. Just when I thought you were picking up on some game you disappoint me.

MOSCA: She wanted me. I could see it in her eyes.

VOLPONE: Ha! Right! I saw it too. I also saw that she was already thinking about all the shopping sprees she //thinks// you’re going to take her on. I know that you told her about that money you’re coming up on.

MOSCA: How did you know I told her? Were you going through my phone?

VOLPONE: Dude. It was written in her eyes. All that girl sees when she sees you are dollar signs. Now that she thinks she knows what she knows she’s happy to date you.

[Mosca looks a little confused and starts to feel naïve]

MOSCA: I feel you

VOLPONE: Don’t trip. Go find your girl. Soon you’ll be Mr. Popular.

[Mosca leaves]

VOLPONE: [Muttering under his breath] Pioana is prettier than I remember her to be. Mosca is my boy and everything, but I’m feeling her. She looked straight at him and lied to his face, reminds me of myself. I’m gonna facebook her after school lets out.

The Authors: Scene i by Jen Stopper, Scene ii by Lauren Robertson, Scene iii by Julie Mashburn, Scene iv by Kevin Cullen, Scene v by Denise Fernandez, and Scene vi by Kemesha Thomas.

\

=<span style="background-color: #ffffff; color: #fa2805; display: block; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 170%; text-align: center;">Education =

= = <span style="display: block; font-family: Arial,Helvetica,sans-serif; font-size: 96%; text-align: center;">By: Lauren Robertson <span style="font-family: Arial,Helvetica,sans-serif; font-size: 96%;"> In the fifteenth and sixteenth centuries, education began to change, most obviously with the increase in the number of students attending school. More students began to attend grammar school for three interconnected reasons: the desire to become literate, the opportunity for social mobility, and lower costs. Schools in the Tudor Era became increasingly ine <span style="font-family: Arial,Helvetica,sans-serif; font-size: 96%;">xpensive with tuition often staggered according to each family’s particular wealth. Private schools offered scholarships and other opportunities to offset costs for a larger range of students; boarding schools were perfect for students in towns far removed from schools. Secular schools increased in number during this time. Literacy at this time was rising, with surprising numbers of people possessing the ability to read, if perhaps not write. Literacy levels are strongly connected with the opportunity for social mobility. With literacy came the chance to work a more skilled job and earn more money, which was attractive to poorer families.

In contrast, poorer families often had to focus on the farm, detracting attention from school. Many students left grammar school to help out with harvests. Others gained only the knowledge necessary for a particular apprenticeship and dropped out of school early in order to train for a career, which was practical for most poor families. But, as Ursula Potter notes, children continued to return to school, emphasizing the importance placed on schooling by the communities in Tudor England.

Overall, as Ursula Potter states, “Schools formed part of the state’s efforts at poor relief as institutions intended to control idle, unemployed English youth and prepare them for gainful employment, as well as acting as vehicles for religious and civil reform.” In accordance with this idea, secular schools began to increase in number, aimed mainly at preparing their students for secular life, unlike the religious focus of clerical schools. Secular schools equipped their students for the future by teaching them to read and also manners and other skills relevant to daily life. Schools, as they do today, served to socialize young people into society and to prepare them for their future occupations.

=<span style="background-color: #ffffff; color: #fa2805; display: block; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 170%; text-align: center;">Women, Maternity, and Identity = = =

By: Julie Mashburn In the Renaissance era women were typically confined to the “private sphere.” This was a concept that divides the lifestyle focused around the home and family from the lifestyle of men. Within this private sphere women were viewed as a commodity of lineage and in Barbara Diefendorf’s “Family Culture, Renaissance Culture,” the idea of marriage is stressed as more of an “alliance between families” than a personal preference. In some cases Diefendorf even refers to the pride in family lineage and continuity of such high standards of marriage as ancestor worship. Creating examples out of the monumental funeral memorials and chapels to honor family members. This aristocratic pride in family turns women into a commodity or an opportunity to create a tie with another wealthy family. However, this mentality does not extend all throughout society. Those with lower status seem to have had more freedom to choose who they wanted to marry and the marriages that took place occurred between women and men much closer in age that the marriages that took place in high society.

Once women entered into matrimony their roles in the households of this time period were as a mother and a subordinate to their husband. Women, though they traditionally brought a dowry, had little say in financial matters of the family. When women did have the power to direct some sort of wealth they frequently did so by investing in family businesses, loaning money and contributing to the dowries of kinswomen. Despite this in many opinions matters women were considered “inherently weak, frivolous, and light-headed,” jurists could even use such accusations against women in court. However, upon their death, many husbands trusted their wives with the responsibility of rearing the children and managing property. These are endeavors that the future of the family rests on. Diefendorf recognizes this contradiction and explains it by quoting Tiraqueau and his opinion that such an underestimate of women existed to ensure that the husband maintained authority over his wife. Women in the Renaissance were recorded as having great success as the head of a household especially in Parisian history. There are cases of widowers managing finances, educating the children, and securing contacts that would benefit the careers of her sons, all without the help of a husband. During this time women were gaining some power and standing in <span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;">society, but were still very limited to the private sphere and the life as a wife and a mother.

In Ben Jonson’s Volpone women follow the same social guidelines of what roles they might have experienced in the 1600s. The two women that appear in the play are Corvino’s wife, Celia, and Sir Politic Would-Be’s wife, Lady Would-Be. Both illustrate varieties of women stereotypes during this time. Lady Would-Be demonstrates qualities of a woman who thinks highly of herself, but in reality she is so consumed with talking about how well read she is and how accomplished she is, it causes her to be self-centered and ignorant of what is going on around her. She deeply irritates Volpone and is unaware of his attempts to drop hints that he wants her to leave. Celia is one of Ben Jonson’s more famous female characters. She is the wife of the very jealous and possessive Corvino who keeps her locked away and under surveillance for fear that she will cheat on him with another man. During the play he ends up using her as a pawn in a business transaction that he hopes will end up winning him the title of Volpone’s heir. This demonstrates how women of that time were viewed as objects that could be bargained with or prized as trophies. Celia refuses to have sex with Volpone despite her husband’s demands. What Celia may be most famous for is her denial of Volpone after he tried to seduce her. She takes on the role of a good, chaste woman.

<span style="background-color: #ffffff; color: #fa2805; display: block; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 220%; text-align: center;">Author's Identity

By: Kemesha K. Thomas ​​ George Mandelbaum’s “On Ben Jonson’s Comedies” delves into the author behind //Volpone or the Fox//. Mandelbaum uses Freudian theories to prove how Jonson’s unwillingness to confront his reality was reflected in his work. Scholars believe that looking at Jonson's plays from a psychoanlytical point of view is a good way of gettting better acquainted with the psyche of this author who let his past control his future. Ben Johnson’s father died when he was very young. His mom went on to remarry; a decision that Jonson could not get pass. His plays, including //Volpone or the Fox//, reflect the part of himself that never forgave his mother or his stepfather for that matter. Scholars believe that looking at Jonson’s plays from a psychoanalytical point of view is a good way of getting better acquainted with the psyche of this author who let his past control his future. He suffered from low self-esteem, was violent ,and even spent time in jail for a murder he committed during the heat of an argument.Jonson’s character, Volpone ,embodies, Jonson. Like Jonson, this character suffers from a romantic sense of self. Jonson’s emphasis on characters based on his mother and stepfather caused him to career to fail as his audience began to demand deeper characters that he was unable to produce.

=<span style="background-color: #ffffff; color: #fa2805; display: block; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 170%; text-align: center;">Sickness and Health =

By: Kevin Cullen

Sickness during the sixteenth and seventeenth centuries was rampant and highly dangerous. Experimental surgeries, untested medicines, and other such medical uncertainties often failed to help the situation that many people found themselves in at one point or another. Below is a list of illnesses that were known to plague large populations of European citizens according to The First Footguards' website:

Indeed, coming down with any type of moderately serious illness was life-threatening during this time. Hygienic problems relating to raw sewage as well as other types of dangerous bacterial pollution strengthened these illnesses by harassing the immune systems of citizenry, eventually wearing them down to the point of utter exhaustion and ultimately, without any kind of treatment, death.
 * ~ Old Terms ||~ New Terms ||
 * = Ague ||= Malaria ||
 * = Cramp Colic ||= Appendicitis ||
 * = Falling SIckness ||= Epilepsy ||
 * = Gangrene ||= Gangrene ||
 * = Horseshoehead ||= Water in the brain ||
 * = Lung Fever ||= Pneumonia ||
 * = Lunatick ||= Mentally Ill ||
 * = Looseness ||= Dysentery ||
 * = Miscarriage ||= Miscarriage ||
 * = Rickets ||= Vitamin D Deficiency ||
 * = Quinsy ||= Throat Inflammation ||
 * = Scurvy ||= Vitamin C Deficiency ||
 * = Thrush ||= Oral/Throat Infection ||

Treatment during this time oftentimes included the fabled and feared “leeching,” where doctors would place live leeches at certain points on the body and allow them to feed upon the patient's blood. In theory, the leeches would suck up the “bad blood,” allowing white blood cells to flourish in the bloodstream as the body created new antibodies without the threat of being destroyed by the toxicities that had previously been floating throughout the person's veins.

Related to leeching was the practice of bloodletting, where the objectives of releasing “bad blood” remained the same, only instead of placing leeches on the person, incisions were made along the skin and the blood was allowed to flow freely. Originally seen as a way to relieve tension in the skin from the swollen tissues, bloodletting might have been, at first, beneficial for the patient, especially if he or she suffered from hypertension - a constant state of high blood pressure. However, infection would sometimes occur from the incisions made by the "doctor," resulting in far more serious illnesses than bruised limbs. Also, the possibility of too much blood being drawn remained a distinct possibility; a serious problem for people who were malnourished and had trouble creating new blood cells. This form of treatment was used until the nineteenth century, drawing a close to its two thousand year history as a medical practice and procedure.

Anselment’s document focuses on author Elizabeth Freke’s narrative of her life, titled “The Wantt of Health.” Freke brings to light the seventeenth and eighteenth century horrors of life-threatening diseases and prolonged infirmity patients often suffered. She also delves into the psychological aspects of such horrific circumstances, at one point explaining that pain is “not just a biological fact but an experience in search of an interpretation.” Freke also relates to the reader the cultural forces surrounding her involvement in the medical field. Through the use of her modern thinking with regards to medicine and illness, Freke became a sort of pioneer of the modern medicinal attitude. She focused her attention on practical and physical representations of illness – sensibilities rarely seen pre-seventeenth and eighteenth century – which, in turn, gives us a frightening and ultra-realistic recounting of the realities of suffering and death.

= = = = = = = = = = = = = = = = = = = =

=<span style="background-color: #ffffff; color: #fa2805; display: block; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 170%; text-align: center;">Law and Government =

By: Denise Fernandez Following the death of Elizabeth I in 1603, government in England became a tug-of-war between Parliament and the new Stuart monarchy.

Instead of working together as one cohesive ruling body, both sides constantly attempted to outdo each other as they each had different views and opinions about what was best for England. At this time, the Stuart Kings were focusing on financial issues, as well as busy repressing the desire for political participation from the growing middle class, and Parliament was focusing its efforts on building a militia. James believed that as King, he had a God-given right to govern as he very well pleased, while considering Parliament a ruling body second to him and subject to his will. Members of Parliament, however, had been under the impression that the relationship between themselves and the monarch was more of a partnership, with both ruling bodies sharing an equal amount of power between them.

Perhaps a notable campaign of James' monarchy was his fervent pursuit of the union of England and Scotland into one permanent kingdom under a sole ruler and parliament. This, which he called "The Union of Crowns", was met with opposition from both countries and a stout denial from Parliament; nevertheless, James proclaimed himself "King of Britain" in 1604. His problems with governance continued when James proved to be something of an incompetent fool when it came to the royal finances. Already facing the decline of their money's international buying power and inflation, James' apparent disregard for state finances helped England steadily amass national debt until the Lord Treasurer enacted economic reforms in 1608. By the time James died in 1624, England was on the verge of war.

<span style="color: #fa2805; display: block; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 200%; text-align: center;">** Religion, Idolatry, and Bargaining **

By: Jennifer Stopper

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 120%;">Volpone was written during a time of great religious conflict and reformation. Having briefly subscribed to the Catholic faith himself, it is undoubtable that Johnson’s work was framed by the church at that time. As is stated within Maus’s Article “Idol and Gift in Volpone” the work itself is marked by a vast array of religious language, despite being a cautionary tale of a life of greed and deceit. Volpone’s worship of money and material goods above all other values serves as a direct violation of the Catholic belief that one must worship no false gods.

In an era the Catholic church enjoyed not only an excess of power, but extravagance as well (often criticized as hypocrisy such as in the practice of indulgences), Johnson’s work serves not only as a commentary on the followers, but the church itself. Volpone’s shrine and worship for money is a form of idolatry in the eyes of a faith defined by its exclusion of pagan ritual.

Volpone has long since been regarded as a political piece as well, which, considering at this point that the church and the monarchy were almost inseparable, supports the thesis of it as a religious commentary as well. Johnson converted to Catholicism during his time in prison to avoid execution, which it can fairly be assumed was simply an act of self preservation due to his later bold display of reverting back to the Church of England. Given this circumstance, it is not very hard to imagine that Volpone is a subtle subversion of the Catholic church and what Johnson may have likely viewed as sinful behavior, not only from a moral viewpoint, but from a political mindset as well. Volpone’s idolatry and focus on monetary gain at the cost of morality and through malicious deceit parallels the Catholic’s church gluttonous expansion and perversion of the word of God.

= =
 * <span style="background-color: #ffffff; color: #fa2805; display: block; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 210%; text-align: center;">Volpone: A Production **

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<span style="display: block; font-family: Georgia,serif; font-size: 22px; text-align: center;">** Works Cited **

Andrew, Martin. "'Cut So Like [Her] Character': Preconstructing Celia in Volpone." //Medieval and Renaissance Drama in England: An Annual Gathering of Research, Criticism and Reviews// 8.(1996): 94-118. //MLA International Bibliography//. EBSCO. Web. 28 Apr. 2010.

Anselment, Raymond. ""The Wantt of health": An Early Eighteenth-Century Self-Portrait of Sickness." //Literature and Medicine// (1996): 225-243. Web. 30 Mar 2010. <[]>.

Diefendorf, Barbara B. "Family Culture, Renaissance Culture." //Renaissance Quarterly// 40.4 (1987): 661-681. //MLA International Bibliography//. EBSCO. Web. 28 Apr. 2010.

Dutton, Richard "Jonson's Metempsychosis Revisited: Patronage and Religious Controversy" pp. 134-161 IN: Cousins, A. D. (ed. and introd.); Scott, Alison V. (ed. and introd.); Ben Jonson and the Politics of Genre. Cambridge, England; Cambridge UP; 2009. (xi, 218 pp.)

Glenn Gould performed by the Colombia Symphony Orchestra. . "Alegro.".

Jackson, Peter. //The Wonderful Story of Britain at School in Tudor Times//. Web. 12 Feb. 2010. <[]>.

Jonson, Ben. "Volpone." Vol. B. //The Norton Anthology of English Literature//. Ed. Julia Reidhead. New York: W. W. Norton & Company, 2006. 3 vols. 1336. Print.

Mandelbaum,George." American Imago". John's Hopkins : Summer 2008. Vol.65, Iss.2; pg.165-178

Maus, Katharine. "Idol and Gift in Volpone." //English Literary Renaissance// //Vol. 35 Issue 3, pg 429-453//

Potter, Ursula. "To School or Not to School: Tudor Views on Education in Drama and Literature." //Parergon// 25.1 (2008): 103-21. //MLA International Bibliography//. Web. 31 Jan. 2010. <[]>. <span style="color: #000000; font-family: Arial,Helvetica,sans-serif; font-size: 11pt;"> The First Foot Guards. "Sickness and Treatment in the 18th Century". The First Foot Guards. 27 Apr 2010 <http://footguards.tripod.com/01ABOUT/01_sickness.htm>. <span style="color: #000000; font-family: Arial,Helvetica,sans-serif; font-size: 11pt;"> Mubig, Ulrike. //Constitutional Conflicts in Seventeenth-Century England.// N.p.: Martinus Nijhoff Publishers, 2008. N. pag. Rpt. in //Constitutional Conflicts in Seventeenth-Century England//. Print.

"Sparknotes". Sparknotes. 27 April 2010. < http://www.sparknotes.com/drama/volpone/>

"James I." <span style="font-family: arial,helvetica,sans-serif; font-size: 14px; line-height: 21px;">// The British Monarchy //. N.p., 2009. Web. 28 Apr. 2010 <http://www.royal.gov.uk

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