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Unit 16: Volpone: Satire and all its Detailed Analysis and Comedy

like Italians (in the eyes of Jonson’s compatriots, they were just about the same thing). Peregrine, on Notes
the other hand, is a model of how one should behave in Italy; his named, which comes from the
Latin for “wanderer”, indicates that he is just passing through this foreign land. Furthermore, he
has been instructed well by “he that cried Italian” to him, in other words his tutor, who instructed
him using a “common grammar.” This was probably one of the travel books then widely available,
published by educated Italo-philes, giving instructions on how to go to Italy without being corrupt;
they were full of various bits of helpful advice such as “never let a Venetian know where you live,
or any other important facts about you”; and they were seen as a kind of inoculation, if you will,
against whatever “virus” the Italians had that made them so mean.

16.3.2 Scene II

Mosca and Nano enter the square, disguised; they serve as the advance scout party for Volpone.
They establish themselves beneath the window of Corvino’s house. Sir Politic identifies the oncoming
crowd as the surrounding party for a mountebank, a Renaissance Italy version of the nineteenth
century American medicine-show men, hucksters who sold fake potions to cure all and any ailments;
they would “mount a bank” (embankment) in order to speak to the public. He then informs Peregrine
that, contrary to popular belief, the Italian mountebanks are not all liars, but are in fact very learned
men and excellent physicians. Volpone enters, followed by a crowd. Disguised as Scoto Mantua,
Italian mountebank extraordinaire, he takes his place underneath Corvino’s window with Mosca
and Nano (who mounts on his shoulders) and engages on a long history of Scoto’s fictional life,
detailing the difficulties he has faced thanks to the rumor-mongering of Alessandro Buttone, a
fellow mountebank, who has spread the vicious lie that Scoto was imprisoned for poisoning the
cook of Archbishop Bembo, as well as the extreme popularity of the new potion he is selling. He of
course lists the numerous illnesses the potion is supposed to cure, sings a wonderful song about its
medicinal qualities, discusses how cheap his potion is, sings another song, before trying to convince
everyone that they should buy it, immediately, at a special discount price of six pence. He then asks
everyone to toss him their handkerchiefs so that he can rub some of his oil on them. The lovely
Celia, watching above, tosses down her handkerchief, and Scoto/Volpone engages on a long tribute
to her beauty, grace, and elegance.

16.3.3 Scene III

Corvino enters, and he is enraged by his jealousy. He beats Volpone and the crowd away, referring
to them by the names of various characters from the Comedia dell’Arte: Flaminio, the lover (Volpone);
Franciscina, the serving-maid (Celia); and himself as Pantalone di besognioni, a stock buffoon
character, often portrayed as a cuckold. Politic watches the events with shock, Peregrine with
amusement. They leave, and Peregrine remarks that he will stay close to the hyper-gullible English
knight for the sheer amusement it brings him.

Analysis to Scene II and III
An essential part of Volpone’s character is his fascination with disguises. Volpone assumes at least
three separate disguises over the course of the play, if we count “ill Volpone” as being a disguise.
He also assumes the disguise of Scoto and that of a sergeant in the final act. Furthermore, his thoughts
are often obsessed with disguises, and he sees disguise—and acting—as a source of pleasure in its
own right. This enthusiasm for disguise has connotations both good and bad. On the one hand, his
delight in constantly assuming new identities emphasizes Volpone’s energy and imagination. But
on the other hand, not having a fixed identity makes him appear unstable, irresponsible and
untrustworthy. His love for pretending to be others sums up and connects the central traits that
define-energy, imagination, and moral corruption.

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