1. James D. Redwine Jr.
VOLPONE’S SPORT
AND THE STRUCTURE OF JONSON’S VOLPONE
Presented by
Mary DeViney
English 655
Dr. Helphinstine

2. James D. Redwine Jr. says,
“That Volpone is a powerful
moral study of human
greed, foxish cunning, and
goatish lust has been
thoroughly appreciated. It
has not been sufficiently
emphasized, I think, that it
is also a study of man’s
wolfish compulsion to
make others suffer” (301).

3. Redwine points out that John Dryden (1631-1700)
questions the structure of Volpone, especially as
it relates to “congruence of character and plot”
in the 5th act. Dryden does not think Volpone’s
“disguise” grows “naturally out of Volpone’s
craftiness or greed” (303).
Volpone’s disguise, however, is an
extension of his appetite for the pain and
misery of others. Redwine says, “This is
Volpone’s ‘sport’ and I wish to argue that
it drives his actions and the complex
structure of Jonson’s first great comedy,
especially in its fifth-act conclusion” (302).

4. VOLPONE: Narcissistic and Sadistic from Beginning to End
“Though Volpone’s appetite for the suffering of others comes to the
fore in Act V, Jonson gives us glimpses from the outset” (Redwine
305).
Signs of Narcissism:
“Yet I glory more in the cunning purchase of my wealth
than in the glad possession...”
—Volpone
(1.1.30-32)
Signs of Sadism (driven by narcissism):
[I] “have no mills for iron,
oil, corn, or men, to grind ‘em into powder"
—Volpone
(1.1.35-36)

5. As Volpone accepts gifts from his visitors, Redwine
implies that Dryden thinks these gifts appeal to
Volpone’s “voluptuary side” (305).
However, in Volpone’s own words, he is merely
“playing with their hopes” (1.1.85). Redwine terms this
“sadistic games” (306). Indeed, Volpone says:
And look on that, still bearing them in hand,
Letting the cherry knock against their lips
And draw it in by their mouths and back again.
(1.1.88-90)
Voluptuary:
One who is
devoted to
luxury or to the
gratification of
the appetite and
to other sensual
pleasures.
(Webster)

6. The Wolf and the Woman
Redwine, quoting modern analyst Erich Fromm:
“For the narcissistic male, the sight of a woman may be sexually
exciting because he is excited by the possibility of proving to himself
how attractive he is. Or a sadistic person may be sexually excited by
the chance to conquer a woman...and to control her”(307).
Volpone....
• Hears of Celia.
• Oh, sir, the wonder, the blazing star of Italy ! – Mosca (1.5.107-108)
• Stalks Celia.
• I will go see her, though but at her window. – Volpone (1.5.127)
• Sends Mosca to trick her husband to obtain Celia.
• That to preserve him...some young woman must be straight sought out.
– Mosca (2.6.33-34)
• Attempts to seduce her.
• Come my Celia, let us prove while we can, the sports of love. – Volpone
(3.7.165-166)
• Attempts to assault her.
• I should have done the act and then parleyed. Yield or I’ll
force thee. – Volpone (3.9.264-265)

7. Wounded Narcissism = Defensive Aggression
Sadism = The Transformation of Impotence
into the Experience of Omnipotence
(Redwine 307)
Forbear, foul ravisher, libidinous swine!
Free the forced lady or thou diest, impostor.
Bonario (3.7.266-267) I am unmasked, unspirited, undone,
Betrayed to beggary, to infamy—
Volpone (3.7.2.77-278)
Any device, now, of rare ingenious knavery,
That would possess me of a violent laughter
Would make me up again.
Volpone (5.1.14-16)
Celia and Bonario are cruelly betrayed. However, it is not enough that
Volpone and Mosca have duped the court. Volpone is still fearful, “since
the sadist always ‘feels impotent, unalive, and powerless’” (Redwine 308).

8. Act V: Turning up the Heat
Redwine, after
establishing
Volpone’s
narcissistic and
sadistic nature,
draws attention to
Volpone’s operative
words in Act V:
“torture, vex,
torment, afflict,
provoke.” He goes
on to say, “...they
emphasize his
obsession with the
suffering of others”
(312).
Volpone:
I will begin ev’n now to vex ‘em all.
(5.2.56)
...use them scurvily.
(5.2.76)
Play the artificer now; torture ‘em rarely.
(5.2.113)
Straight take my habit of clarissimo
And walk the streets; be seen, torment ‘em more.
(5.3.105-107)
Oh, I will be a sharp disease unto ‘em.
(5.3.117)

9. The Purpose of Disguise
“The theme of crime and punishment in the subplot predictably parallels the more
serious concerns of the main plot; it is not accidental, I think, that the language of the
farcical catastrophe at times seems pointedly to parody the tropes of disguise, torture,
and suffering which characterize the rest of Act V” (Redwine 313).
PEREGRINE VS. SIR POL
“They’ll put you to the rack” (5.4.50).
I shall ne’er endure the torture” (5.4.53).
“Nay, you may strike him” (5.4.68).
I’ll see him creep or prick his guts” (5.4.70)
Peregrine never intends to harm, though.
He merely want to teach Sir Pol a lesson,
“Now, Sir Pol, we are even” (5.4.74).
and even adds,
“I am sorry for the funeral of your
notes, sir” (5.4.77).
TWIST OF IRONY
Volpone, in disguise, feigns
kindness to torture others with
congratulations for an inheritance
he knows they did not receive. The
responses?
“Dost thou mock me” (5.6.13)?
“Again to afflict us? Monster” (5.8.4)!
“Thou dost torment me” (5.8.16).

10. SOMETHING HAS TO GIVE
“Volpone’s plot to torture Voltore and the others for the sake
of his... ‘violent laughter’ has run its course” (Redwine 315).
Even Volpone sees the “relationship between character
and action”(Redwine 316), which move him to these
ends:
To make a snare for mine own neck! And run
my head into it willfully! With laughter!
(5.11.1-2)
Redwine ascertains that it is apt that Volpone “hang in a
noose of his own contriving” because of his
“destructive and self-destructive compulsions” (317).

11. THINGS FALL APART
As Volpone and Mosca vie to dominate one another, and as Voltore recants, his
testimony, then retracts his recantation, Redwine says, the “interplay between plot and
character continue as the sadistic games go on” (317). until it becomes obvious to
Volpone that he can only break Mosca’s power by bringing everyone down –
including himself.
Bane to Thy Wolfish Nature
 Power into will
 Will into appetite (universal wolf)
 Appetite to universal prey
 Must last eat up himself
(Redwine 119)
Note:
As justice has prevailed , the audience may
enjoy the play in “good conscience”
(Redwine 319).

12. Works Cited:
Jonson, Ben. “Volpone.” The Norton Anthology of Drama. Gainor, J.
Ellen, Stanton B. Garner Jr., Martin Puchner, eds. New
York: Norton. 2009. 899-995. Print.
Redwine Jr., James D. “Volpone’s ‘Sport’ and the Structure of
Jonson’s ‘Volpone’.” Studies in English Literature (Rice) 34.2
(1994): 301. Academic Search Premier. Web. 25 Oct. 2013
“Voluptuary.” Webster’s New Twentieth Century Dictionary. 2nd
ed. 1983. Print.
All graphics from Microsoft Office Clip Art.