Volpone by Ben Jonson
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| Assignment Type | Term Paper |
|---|---|
| Subject | N/A |
| Academic Level | Undergraduate |
| Citation Style | MLA |
| Length | 2 pages |
| Word Count | 626 |
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September 9, 2011
Conman, Not Slaver
In the opening scene of Ben Jonson's "Volpone," the fox and his parasite have a discussion about the current confidence game that Volpone is running and about the character of the fox. Specifically preceding the passage chosen for analysis, the fox argues that he didn't earn his gold through hard work (I.i, 30-39) but through his cunning. The passage to be discussed here is the answer from his servant, sometimes referred to as his parasite. To understand the deeper meaning of the passage is to understand Europe in the 17th century and the poet's admonition that it is better to be a conman than a slaver.
The passage begins with Mosca agreeing with his master that he does not prey on the weak, (I.e., 40-41). But more than just asserting that Volpone does not devour the "soft prodigals", Mosca asserts that the chosen marks, the victim in his forthcoming con, will accept the bait, hook, line and sinker as it were, saying they will swallow it as "glibly as your Dutch, Will pills of butter..." (I.i, 41-42). The choice of the Dutch as the bogeyman may seem odd until one remembers that this was during the African slave trade, which the Dutch are credited with taking to the New World. " The Dutch were the first, apparently, to import black slaves into North America, but black slaves had already been employed all over the world, including South and Central America," (Scaruffi, 1). The reference to slavery as vile occupation, worse than hard work or being a conman, continues in line 44-45 where Mosca says they "Tear forth the fathers of poor families, Out of their beds, and coffin them, alive. (Jonson). This may refer directly to the slave trade or to those who would make their fortune using indentured servants, the more accepted form of slavery within Europe itself. Both are, as Mosca describes them, a "clasping prison" (I.i, 47) and a state that he describes as death while living, "coffin them, alive" (I.i, 45).
Perhaps playing to his master's vanity, or Mosca ascribes virtue to Volpone, saying that he hates both of these options; he refuses to take advantage of immigrants and poor who sell themselves into virtual slavery (I.i, 48). But Mosca is clever and the seeming praise is followed by the mocking description of why Volpone avoids these things: he doesn't want widows and orphans crying on his doorstep (I.i. 49-50). Mosca's praise seems focused on the practicality of Volpone's decisions including his desire to avoid the lamentations and demand for vengence from those whom he has wronged.
This passage is interesting in setting the tone for Jonson's play because it portrays Mosca as both the sycophant, trying to please his master and the cunning, snide creature he is as well, reveling in his own intelligence. What seems most interesting is the political commentary that Jonson is able to thread into the play while purporting to write a comedy. It would appear from the play that no one was safe from the playwright's biting wit, not even the title character. This passage provides us with an interesting look at the character of both Volpone and Mosca, as we can guess that Volpone is prideful and vain, hearing only those praiseworthy things that Mosca is saying. We can determine that Mosca is both admiring and resentful of his master and perhaps even note the foreshadowing of Mosca's eventual betrayal of Volpone. Ultimately though, this particular passage concentrates on the virtues of being a conman as opposed to a slaver.
Works Cited
Jonson, Ben. "Volpone"
Scaruffi, Piero (n.d.) The Origins of the Afircan Slave Trade. Web.
http://www.scaruffi.com/politics/slavetra.html
Professor's Name
Class
September 9, 2011
Conman, Not Slaver
In the opening scene of Ben Jonson's "Volpone," the fox and his parasite have a discussion about the current confidence game that Volpone is running and about the character of the fox. Specifically preceding the passage chosen for analysis, the fox argues that he didn't earn his gold through hard work (I.i, 30-39) but through his cunning. The passage to be discussed here is the answer from his servant, sometimes referred to as his parasite. To understand the deeper meaning of the passage is to understand Europe in the 17th century and the poet's admonition that it is better to be a conman than a slaver.
The passage begins with Mosca agreeing with his master that he does not prey on the weak, (I.e., 40-41). But more than just asserting that Volpone does not devour the "soft prodigals", Mosca asserts that the chosen marks, the victim in his forthcoming con, will accept the bait, hook, line and sinker as it were, saying they will swallow it as "glibly as your Dutch, Will pills of butter..." (I.i, 41-42). The choice of the Dutch as the bogeyman may seem odd until one remembers that this was during the African slave trade, which the Dutch are credited with taking to the New World. " The Dutch were the first, apparently, to import black slaves into North America, but black slaves had already been employed all over the world, including South and Central America," (Scaruffi, 1). The reference to slavery as vile occupation, worse than hard work or being a conman, continues in line 44-45 where Mosca says they "Tear forth the fathers of poor families, Out of their beds, and coffin them, alive. (Jonson). This may refer directly to the slave trade or to those who would make their fortune using indentured servants, the more accepted form of slavery within Europe itself. Both are, as Mosca describes them, a "clasping prison" (I.i, 47) and a state that he describes as death while living, "coffin them, alive" (I.i, 45).
Perhaps playing to his master's vanity, or Mosca ascribes virtue to Volpone, saying that he hates both of these options; he refuses to take advantage of immigrants and poor who sell themselves into virtual slavery (I.i, 48). But Mosca is clever and the seeming praise is followed by the mocking description of why Volpone avoids these things: he doesn't want widows and orphans crying on his doorstep (I.i. 49-50). Mosca's praise seems focused on the practicality of Volpone's decisions including his desire to avoid the lamentations and demand for vengence from those whom he has wronged.
This passage is interesting in setting the tone for Jonson's play because it portrays Mosca as both the sycophant, trying to please his master and the cunning, snide creature he is as well, reveling in his own intelligence. What seems most interesting is the political commentary that Jonson is able to thread into the play while purporting to write a comedy. It would appear from the play that no one was safe from the playwright's biting wit, not even the title character. This passage provides us with an interesting look at the character of both Volpone and Mosca, as we can guess that Volpone is prideful and vain, hearing only those praiseworthy things that Mosca is saying. We can determine that Mosca is both admiring and resentful of his master and perhaps even note the foreshadowing of Mosca's eventual betrayal of Volpone. Ultimately though, this particular passage concentrates on the virtues of being a conman as opposed to a slaver.
Works Cited
Jonson, Ben. "Volpone"
Scaruffi, Piero (n.d.) The Origins of the Afircan Slave Trade. Web.
http://www.scaruffi.com/politics/slavetra.html