Book contents
- Frontmatter
- Contents
- Introduction
- PART I THE INHERITED PAST
- Prologue
- 1 The Historical Context
- 2 The Elizabethan World Order: From Divinity to Dust
- 3 Sin, Death and the Prince of Darkness
- 4 The Seven Cardinal Virtues
- 5 Kingship
- 6 Patriarchy, Family Authority and Gender Relationships
- 7 Man in His Place
- 8 Images of Disorder: The Religious Context
- PART II THE JACOBEAN PRESENT
- Bibliography
- Index
2 - The Elizabethan World Order: From Divinity to Dust
from PART I - THE INHERITED PAST
Published online by Cambridge University Press: 17 June 2017
- Frontmatter
- Contents
- Introduction
- PART I THE INHERITED PAST
- Prologue
- 1 The Historical Context
- 2 The Elizabethan World Order: From Divinity to Dust
- 3 Sin, Death and the Prince of Darkness
- 4 The Seven Cardinal Virtues
- 5 Kingship
- 6 Patriarchy, Family Authority and Gender Relationships
- 7 Man in His Place
- 8 Images of Disorder: The Religious Context
- PART II THE JACOBEAN PRESENT
- Bibliography
- Index
Summary
Strict hierarchy (everything having its place according to its importance in God's order) and organic harmony (everything being part of a whole and having a function to perform) were the overriding principles of the broad orthodox background to how the audience thought their universe was structured (cosmology), how they saw God and religion (theology) and how their place in the order of things was organized (sociology). The disorders and disharmonies upsetting roles and expectations stem from Volpone's and Mosca's massive deception (already three years old). Both contravene Christian and humanist teaching about conduct. Mosca has usurped control over his master, and Volpone fails to live according the rank to which he belongs. Their transgressions, while theatrical, impressive and fascinating, are entirely immoral. An audience might be amused by their trickery and admire their skills, but would expect (even demand) ultimate punishment. Volpone is like other Ben Jonson pieces in that the action becomes increasingly complex in the last act. The outcome remains unsure as unexpected new twists make the audience wait. Suspending retributive justice prolongs the excitement as the plot winds up into a whirlwind of complications, as the sins reach excessive proportions and as the audience wonders how and whether it will all be resolved. Christian beliefs and values demanded punishment, but it looks as if Mosca will get away with his final scam – betraying his partner in crime. Both characters, at the beginning of the play, are already deeply implicated in the breaking of the Commandment not to bear false witness. Both commit the sins of avarice and covetousness.
Volpone's household and clients form a small court, but it is a place of corruption and predation, not a centre of amity, harmony, elegance or moral example. The source of that subversion is the very man who should be an exemplar. His little world is a reflection of the greater society with its cheats and scavenging parasites, a place of dishonesty, theft and a form of cannibalism where men prey on their own kind.
- Type
- Chapter
- Information
- Volpone' in ContextBiters Bitten and Fools Fooled, pp. 23 - 68Publisher: Anthem PressPrint publication year: 2016