The Ambiguous and Separate Natures of Mosca and Volpone :: Volpone Mosca

The Ambiguous and Separate Natures of Mosca and Volpone   The dynamic duo consisting of Mosca and Volpone in Ben Jonsons play Volpone be consistently and inconsistently similar. Strangely enough, appearances can be both(prenominal) excoriate and deceiving indicators of each characters traits. The obvious notions of each player are often replaced by the intricacies of individuality. Considered together, Mosca and Volpone both are childless, unmarried, and cunning deceivers. They are both guilty of unbridle materialism and sordid betrayals. Also, each character depends on some run of disguise- either physical or mental (1.1.1,31 1.2.73). Both lustfully longing women, are presumably childless, and unmarried (1.2.117-118). Mosca and Volpone are both alike in their linkage to their personalities by metaphor. Differences, however, arise soon enough. The plays establishment of a social hierarchy is a worthy consideration in the comparison of Mosca and Volpone. Mosca is res train and resistant to his subservience as a parasite to his equally double-faced benefactor (Volpone) (1.1.69). Moscas place in society is much less appreciable than Volpones as his longer, more severe punishment reveals. Mosca is left without the saving graces of the condition of gentleman (5.12.18). Increasingly, Moscas metaphorical affiliation (the housefly) conveys hiscommon existence and non-influential social class. Further, Mosca resents being Volpones support system and setting up his wealthy well-wishers for swindlings. Mosca is (at best) praised for being a fine devil (5.3.46). Also, as a parasite, Mosca feels the need to be appreciated for his services- You see, sir, how I work/ Unto your ends... (4.6.91-92). Another distinction between both characters is that Mosca feels proud (even in reliable soliloquies) of his prosperous misdeeds. Mosca remarks,I fear I shall begin to grow in love/ With my dear self... (3.1-2). His pride grows into misdeed and a plot to kill hi s own master in a Fox-trap (5.5.18). Volpone, while equally witty and deceptive, demonstrates he has more power in the relationship. Volpone uses this capability to attempt to claim Celias hand despite Moscas non-verbalized attempt to do likewise (1.5.108-116). As a nobleman, it stands to reason that Volpone is more wrong for his aspirations. However, in his pursuit, Volpone has real ethical problems (unlike Mosca) with his actions. He talks of expelling a sensible humor from his heart and cries What a vile wretch was I (5.11.12-15). Mosca is in like manner the driving force for rekindling Volpones evil in the duos attempt to gull the tourist court (5.