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Volpone, a rich Venetian nobleman, pretends to be dying in bed. His servant, Mosca, helps him plan a trick to convince three prominent citizens—Voltore, Corbaccio, and Corvino—that they are his only heirs. Each man brings increasingly valuable gifts, hoping to secure their inheritance. Voltore, a lawyer, offers a gold plate. Corbaccio, an old moneylender, promises a strong medicine. Corvino, a merchant, brings a pearl and a diamond. Volpone enjoys their greed, mocking them privately with Mosca, while keeping up his act of extreme weakness.
The tricks grow more complex. Corbaccio, sure he will inherit Volpone's money, disinherits his son, Bonario, in favor of Volpone. Mosca suggests this to Corbaccio, saying it will earn more favor with Volpone. Meanwhile, Corvino, desperate to outdo his rivals, offers his beautiful wife, Celia, to Volpone, believing a night with her will guarantee his inheritance. Volpone, lustful and confident, looks forward to this new conquest, showing how far the suitors' greed will drive them.
Lady Would-be, a talkative English lady, visits Volpone, hoping to be in his will. She arrives with her servant, Nano, and a dwarf, Castrone. Her constant talk about poetry, fashion, and her own supposed achievements quickly annoys Volpone. He tries various ways to get rid of her, pretending to get sicker or even to fall asleep, but she ignores his discomfort and continues her monologue. Her presence highlights society's self-absorption and superficiality.
Corvino brings Celia to Volpone's bedroom, leaving her alone with the 'dying' man. Volpone, suddenly energetic, reveals he is healthy and tries to seduce Celia, promising her wealth if she gives in. When she resists, he threatens her. At this moment, Bonario, Corbaccio's disinherited son, who Mosca had hidden to witness his father's disinheritance, bursts out. He rescues Celia, preventing the assault and exposing Volpone's deception, though others initially misunderstand his actions.
The scene moves to a Venetian courtroom, where Volpone, Mosca, and the three dupes—Voltore, Corbaccio, and Corvino—conspire to discredit Bonario and Celia. Voltore, their lawyer, twists the facts, portraying Bonario as a rebellious son trying to murder his father and Celia as an unchaste woman trying to extort Volpone. Mosca, with his quick wit, supports these lies, even involving Lady Would-be in the fabricated story. The judges, influenced by the powerful speeches and the accusers' perceived reputations, begin to believe the false story, putting Bonario and Celia in danger.
Throughout the play, a subplot involves the English travelers, Sir Politic Would-be and his wife, Lady Would-be. Sir Politic is a foolish, self-important knight obsessed with impractical schemes and political conspiracies. He believes he has found a plot to poison the Venetian Senate and plans to escape in a tortoise shell. His interactions with Peregrine, a more sensible English gentleman, provide comic relief and comment on foreign travelers and their often-absurd ideas. Sir Politic's foolishness contrasts with Volpone and Mosca's more sinister deceptions, showing different kinds of human folly.
As the court proceedings continue, Mosca's ambition grows. He realizes his power over Volpone and the dupes. He subtly begins to assert himself, even acting important. He sees that he is the true designer of the schemes and that Volpone depends on him. This change in power hints at the eventual conflict between master and servant, as Mosca, no longer content as a mere parasite, begins to imagine a future where he controls Volpone's wealth and position, setting up his betrayal.
To further torment his victims and enjoy their reactions, Volpone stages a second 'death.' He arranges for a will to be read publicly, naming Mosca as his sole heir. He then disguises himself as a commendatore (a law officer) to watch Voltore, Corbaccio, and Corvino's reactions. Their rage and despair at being disinherited are immense, giving Volpone great satisfaction. This act of cruelty shows Volpone's deep sadism and his desire to control and humiliate others.
Mosca, now officially the heir, fully accepts his new role. When Volpone, still disguised, tries to reveal himself and reclaim his estate, Mosca denies knowing him. He publicly claims Volpone's identity and property, leaving Volpone in shock and panic. Volpone, stripped of his disguise and identity, realizes the extent of Mosca's betrayal. He is trapped by his own deception, unable to expose Mosca without exposing himself and admitting to years of fraud. The situation has reversed, and the hunter is now the hunted.
Cornered and facing the loss of everything, Volpone desperately decides to reveal his true identity and expose the entire scheme in court. He confesses his deceptions, hoping to reclaim his wealth by discrediting Mosca. This confession, however, also implicates Voltore, Corbaccio, and Corvino in their complicity and greed. The judges, finally seeing through the lies, deliver severe punishments. Volpone is sent to prison and his wealth taken. Mosca is condemned to the galleys. The dupes also receive fitting penalties, bringing a form of justice to the play's conclusion.
The Protagonist
Volpone begins as the successful orchestrator of elaborate deceptions but ultimately falls victim to his own hubris and the betrayal of his servant, losing all his wealth and freedom.
The Antagonist/Supporting
Mosca evolves from a subservient schemer to an ambitious betrayer, ultimately attempting to usurp Volpone's identity and wealth, leading to his own downfall alongside his master.
The Supporting
Voltore consistently uses his legal skills for corrupt purposes, driven by greed, and ultimately suffers public humiliation and disbarment as a result of his complicity.
The Supporting
Corbaccio's extreme miserliness and desire for Volpone's wealth lead him to disinherit his son, only to be publicly shamed and confined to a monastery.
The Supporting
Corvino's extreme jealousy and greed lead him to sacrifice his wife's honor, resulting in public disgrace and being forced to wear a cap with ass's ears.
The Supporting
Celia endures extreme pressure and threats to her honor but maintains her virtue, ultimately being vindicated and released from her marriage to Corvino.
The Supporting
Bonario is disinherited and falsely accused but bravely intervenes to save Celia, leading to the exposure of the conspirators and his own restoration.
The Supporting
Lady Would-be remains largely unchanged in her pretentious and talkative nature, serving primarily as a source of comic relief and a minor pawn in Mosca's schemes.
The Supporting
Sir Politic remains a deluded and foolish schemer, ultimately being disgraced and ridiculed, but without the severe consequences faced by Volpone and his dupes.
Greed is the central force in 'Volpone,' motivating nearly every character. Volpone's love for gold is almost spiritual, and his schemes are fueled by a desire not just for more wealth, but for the power and satisfaction of manipulating others through their own avarice. The dupes—Voltore, Corbaccio, and Corvino—are so consumed by the idea of inheritance that they sacrifice their honor, family bonds, and even their wives' virtue. The play shows how greed corrupts individuals and breaks down societal values, turning relationships into business opportunities.
“Good morning to the day; and next, my gold! Open the shrine, that I may see my saint.”
The entire plot of 'Volpone' relies on layers of deception. Volpone's fake illness is the main lie, but it creates many others, expertly woven by Mosca. Characters constantly use disguises, both literal and figurative, to get what they want. The play explores how easily people can be swayed by false appearances and promises of gain. It highlights how fragile truth is in a society where self-interest rules, and where people quickly believe what they want to believe, regardless of facts.
“I fear I shall begin to grow in love / With my dear self, and my most prosperous parts, / They do so spring and burgeon; I am so fortunate!”
The play presents a cynical view of justice, especially through the courtroom scenes where truth is twisted and innocence is almost condemned. The Venetian legal system is shown to be open to rhetoric, reputation, and the influence of powerful, wealthy individuals. Bonario and Celia, the only truly good characters, face great injustice. However, the play eventually delivers a form of justice, though harsh, as Volpone, Mosca, and their dupes are all punished. This ending suggests that while justice may be slow or imperfect, extreme vice can lead to its own downfall.
“The law / Must have her course, and give her sentence. They / Are all caught in their own trap, and justly.”
Hypocrisy is common in 'Volpone.' Characters constantly pretend to be respectable, pious, or concerned while having bad motives. The dupes, supposedly pillars of Venetian society, do morally wrong things. Volpone, pretending to be dying, is secretly energetic and lustful. This theme shows the large gap between outward appearance and inner reality, suggesting widespread moral decay in society. The play critiques a world where virtue is just an act, and true morality is sacrificed for personal gain, leading to general cynicism.
“O, sir, the wonder / Is, how he could sustain that ample style / Of a magnifico, to have such a parasite / To feed upon him...”
Jonson clearly frames 'Volpone' as a beast fable, with the main characters embodying animal traits. Volpone is the 'fox,' cunning and predatory. Mosca is the 'fly,' a parasitic opportunist. The dupes are 'vultures' (Voltore), 'ravens' (Corvino), and 'crows' (Corbaccio), all birds drawn to the smell of death and potential food. This metaphor emphasizes the characters' base instincts, greed, and predatory nature. It strips away their human dignity, showing them as driven by primal urges rather than reason, satirizing the animal impulses beneath polite society.
“I am Volpone, and this is my Mosca; / The one a wily fox, the other a hungry fly.”
Audience knows more than the characters.
Dramatic irony is a pervasive device in 'Volpone,' particularly through Volpone's feigned illness. The audience is privy to Volpone's true health and his schemes, while the dupes (Voltore, Corbaccio, Corvino) remain completely ignorant, believing him to be on his deathbed. This creates humor and tension, as the audience anticipates the characters' reactions to Volpone's 'recovery' and enjoys their gullibility. It also heightens the satire, making the dupes' avarice and foolishness more pronounced as they continue to offer gifts and make sacrifices to a man they believe is dying.
Exaggerated characters and situations to criticize vice.
'Volpone' is a biting satire, using exaggerated characters and situations to criticize human vices, especially greed, lust, and hypocrisy. The dupes—Voltore, Corbaccio, and Corvino—are caricatures of avarice, each representing a different facet of how wealth corrupts. Lady Would-be and Sir Politic are caricatures of pretentious and foolish travelers. These exaggerated portrayals serve to highlight the absurdity and moral bankruptcy of the characters' actions, making the play a sharp social commentary on the moral decay of society driven by material desires and superficiality.
Literal and figurative changes in identity.
Disguise is a crucial plot device. Volpone repeatedly adopts different guises—from the 'dying' magnifico to a mountebank and a commendatore—to observe and manipulate his victims. These literal disguises allow him to move freely and gather information, while also adding to the play's comedic elements. Figuratively, many characters wear disguises of respectability or virtue, masking their true, base motivations. This device underscores the theme of deception and the idea that appearances are often misleading, contributing to the play's cynical view of human nature and society.
Characters personify animalistic traits.
The play is structured as a beast fable, with the main characters explicitly named or described with animalistic qualities. Volpone is the fox, Mosca the fly, and the three dupes are carrion birds: Voltore (vulture), Corbaccio (raven/crow), and Corvino (crow). This device immediately signals the play's satirical intent, stripping away human pretense and highlighting the characters' base, predatory instincts. It emphasizes their greed, cunning, and willingness to prey on others, reinforcing the theme of humanity's animalistic nature when driven by vice and self-interest.
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Ben Jonson was a prominent Jacobean playwright and poet, celebrated for his sharp wit and satirical genius. His most famous play, "Volpone," is a masterpiece of English Renaissance theatre, known for its intricate plot and biting social commentary. A contemporary of Shakespeare, Jonson's works explored themes of human vice and folly with unparalleled skill.
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