23/1/07 - English Literature - Ben Jonson: Volpone

Jonson's reputation is often discussed in tandem with Shakespeare's. Shortly after Jonson's death he was considered the best of the two, and associated more with classics than with bawdy theatre. His reputation faded since the 1700s, and Shakespeare has been praised more. Jonson is often portrayed as the anti-Shakespeare, whose failures magnify Shakespeare's triumph. Shakespeare's models are praised as models of humanity; Jonson is criticised for lack of this, instead using stereotypes. This may not be inaccurate. Jonson gives us a critical view of his own work and his view on the function of poetry. 1. "If men will impartially, and not asquint, look toward the offices and function of a poet, they will easily conclude to themselves the impossibility of any man's being the good poet without first being a good man. He that is said to be able to inform young men to all good disciplines, inflame grown men to all great virtues, keep old men in their best and supreme state, or, as they decline to childhood, recover them to their first strength; that comes forth the interpreter and arbiter of nature, a teacher of things divine no less than human, a master in manners; and can alone, or with a few, effect the business of mankind: this, I take him, is no subject for pride and ignorance to exercise their railing rhetoric upon." 2. "As for the vile and slothful, … as they worthily fear [poetry] and think it a high point of policy to keep her in contempt with their declamatory and windy invectives; she shall out of just rage incite her servants … to spout ink in their faces that shall eat, farther than their marrow, into their fames, and not Cinnamus the barber with his art shall be able to take out the brands, but they shall live, and be read, till the wretches die…" 3. "Application is now grown a trade with many, and there are that profess to have a key for the deciphering of everything; but let wise and noble persons take heed how they be too credulous, or give leave to these invading interpreters to be over-familiar with their fames, who cunningly, and often, utter their own virulent malice under other men's simplest meanings." [Jonson, Volpone, Dedicatory Epistle] Here, Jonson illuminates how mankind should live. It is in line with Sidney's way of thinking. It is another defence of poetry, supposing that poetry is under attack. At the time, poetry was thought to be a form of persecution, satire and impertinence. Jonson denies that it targets individuals; his poetry is judicial and accusatory but it does not single anyone out. He uses violet language: "spout ink in their faces." Poetry deals with those who morally deserve punishment, but it is general in its reference. Jonson uses images of vice, not individuals, to demonstrate their comeuppance. Jonson's work is similar to fables, where figures are given animal names to represent moral failures or traits. If we decode Jonson's play, we can find a moral, go away and practice it. This would be boring, however. It is misleading to assume that Volpone is as simple as a fable. There are some good characters, e.g. Celia and Bonario. We do not focus on these characters as dramatic centres; they are stereotypical characters, not comic, and there is no satisfying comedic outcome. Jonson says that he produces 'types' of moral character, but it is not as simple as that. Their moral dilemmas are given particular situations, a commercial context. Venice was the realm of money and trade; we must take account of Jonson's concrete world that he puts up for us. He represents theatre as a commercial enterprise. In 1576 the first theatre coincided with the set up of the trade market. Jonson said that this was not a coincidence. He thinks he is capable and worthy of spouting ink in detractors' faces, yet he also writes for money. He portrays this paradox in his works. The play is set in Venice but there seems to be a mix-up of Venetian and London factors. Why Venice? Shakespeare's Merchant of Venice saw the city as a commercial centre. For Jonson, too, Venice engaged best in commercial issues. It was also politically ideal; there was the balance between the monarchy, democracy and the people. There was no tyranny. In the Renaissance, Venice was seen as an ideal social model. In the play, Venice is not like this; it is corrupt, and the important figures of noblemen and lawyers are also corrupt. Jonson shows antagonism towards the society. The character Volpone hoards wealth, but he is not a miser. The lay begins with heaps of treasure. The poetry is hyperbolic, vivid, and in praise of gold. It verges on sacrilege. The gold is not just beautiful. It's virtue is that it has the power to make men do anything, yet it is a dumb God. It is a means to an end. Money means power, which helps to achieve desire. So money is an end for actualising desires. Volpone loves the process of getting what he wants, of seeing changes in others; they become his playthings. The play could be about transformation, and its pleasures. VOLP: 'Tis the beggar's virtue, If thou hast wisdom, hear me, Celia. Thy baths shall be the juice of July-flowers, Spirit of roses, and of violets, The milk of unicorns, and panthers’ breath Gather’d in bags, and mixed with Cretan wines. Our drink shall be prepared gold and amber; Which we will take, until my roof whirl round With the vertigo: and my dwarf shall dance, My eunuch sing, my fool make up the antic. Whilst we, in changed shapes, act Ovid’s tales, Thou, like Europa now, and I like Jove, Then I like Mars, and thou like Erycine: So, of the rest, till we have quite run through, And wearied all the fables of the gods. Then will I have thee in more modern forms, Attired like some sprightly dame of France, Brave Tuscan lady, or proud Spanish beauty; Sometimes, unto the Persian sophy’s wife; Or the grand signior’s mistress; and, for change, To one of our most artful courtesans, Or some quick Negro, or cold Russian; And I will meet thee in as many shapes: Where we may so transfuse our wandering souls, Out at our lips, and score up sums of pleasures, [Act 3 Scene vii, 210-34] This passage is the seduction of Celia. The process of transformation is here eroticised. It engages in the psychology of commerce which was popular in Jonson's time. Venice is represented as a city simply compromised by the commercial pull. VOLP: Nay, fly me not. Nor let thy false imagination That I was bed-rid, make thee think I am so: Thou shalt not find it. I am, now, as fresh, As hot, as high, and in as jovial plight,As when, in that so celebrated scene, At recitation of our comedy, For entertainment of the great Valois, I acted young Antinous; and attracted The eyes and ears of all the ladies present, To admire each graceful gesture, note, and footing. [Act 3 Scene vii, 154-64] Volpone here recalls an acting triumph, referring to his role and the seduction of the theatre. So Jonson enforces that theatre is like commerce, depending on actualisation of our desires in the same way as money. Theatre is moral and yet tempting. The tension between the two makes it successful with both readers and audience.