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Importance of women character in ben jonson volpone
Johnson's volpone as a comedy of humour 500 words
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In the play Volpone, written by Ben Jonson, Volpone, a childless and wealthy nobleman, plans to carry out a trick on three legacy hunters with assistance from his “parasite”, Mosca. Even though Mosca is dependent on his master for his living and finance, he is an influential person in Volpone’s life. Unlike ordinary servants, he is trusted to perform important tasks and continually thinks of ways to save his master from troublesome situations. It seems that Mosca will remain loyal and dutiful; however, he attempts to move out of his lowly status and take over Volpone’s wealth. Throughout the play, Jonson’s characterization reveals the untypical relationship between Volpone and Mosca and explains how it leads to Mosca’s attempt to usurp power from the nobility. Volpone’s intimate relationship with Mosca causes him to lose his status as a master. Mosca’s roles in the house are different than Volpone’s other servants-Nano, Castrone, and Androgyno. Instead of taking care of domestic issues, he is his master’s strategic partner in plotting schemes. After Mosca successfully carries out Volpone’s first trick on two men who are behind Volpone’s legacy, Volpone declares to his “good rascal” that he wants to “kiss thee” (Act 1, Scene 4). As he speaks to Mosca, Volpone disregards the class difference between him and his servant. Volpone never uses close physical language to other servants in the house. More importantly, Mosca is also the only servant who receives Volpone’s praises for his deceptive talent and satisfactory performance of the plan. Mosca is even allowed to be in his master’s chamber to admire the gold and treasures Volpone has been collecting. Volpone’s cozy language and special treatment to Mosca gradually makes Mosca feel t... ... middle of paper ... ...f Volpone to gain more from his fortune before his actual death. Ironically, a man that is supposed to be cunning, like Volpone, decides to put his trust into his deceptive servant. He does not realize that his desire to play a final trick on people turns him into a fool and gives Mosca the chance to rise above him. The unordinary master-servant relationship between Volpone and Mosca and Volpone’s dependence on his servant’s intelligence motivate Mosca to nourish his dream for power and wealth. Mosca’s attempt to move upward in the society and usurp the privileges of the nobility is threatening to those rank higher than him. However, he is punished for pretending to be a nobleman and ultimately does not manage to move himself to a higher position in the society. Work Cited Jonson, Ben. Volpone, or The Fox. Ed. Brian Parker. New York: Manchester UP, 1999.
The band of characters is drawn from every level of the class system. Unique interactions among characters from different social standings are conveyed, from the distressed, kindly gardener, to the impertinent daughter of the village innkeeper, to the prosperous de Luce family, and to the royalty. What appealed to me was that Flavia could trace her family’s history back many generations, and for one to be able to make these personal connections is extremely rare. Of course, this awareness of their past is correlated to the de Luce’s chain of affluence.
Moliere’s Tartuffe assumed set of social conventions were shaped by all the characters within the play, however the authoritative figure was established depicted by the father, Oregon. Oregon’s character assumed the role of king or lord of his household. He believed that as the head of household, he had the right to rule over his kingdom as he saw fit. His kingdom had to run smoothly in order for it to be effective. No matter how harsh, unfair and painful it was for his, wife daughter or servants. In the social arena there is always a central powerful family, or first family that everyone in the community aspires to be, or in more recent term “keeping up with the Jones”, “or the one with swag”. The title, position and authority was so entrenched in their social community, that it came down to even choosing one’s mate through arranged marriages. We see in Moliere’s Tartuffe, that authoritative power was as precious as gold, in the realms or patriarchal power that was prevalent in the 17th Century, political and economic power, and also religious power (in which Oregon) wanted association
The sincerity of Claudio's love is thrown into question by the fact that his 'soft and delicate desires,/ All prompting him how fair young Hero is, are not confessed until he has ascertained that she will bring her husband a fortune.
In Tartuffe, Moliere creates a play that is interesting in so many ways. His comedy reflects a lot on the role of men and women within a family. During this time, it was common for the man to be the head of the household and women to be submissive to the men. Men held the power in the family and made all the decisions. In this play, a man's point of view is the only view that matters. All else do not serve an importance. His lack of trust and awareness for other people's feelings and needs has caused great conflict in his family. The actions taken by Orgon and his family members express how this play views marriage and relations between men and women. It is a extremely different view (in some cases) of marriage today in average American family.
The story begins with the Marquise de Merteuil corresponding with Vicomte de Valmont regarding a luscious new act of ‘revenge’, as she describes it, against the Comte de Gercourt. The young Cecile de Volanges has just come home from the convent and her marriage to Gercourt has been arranged. However, before he can wed the innocent child, Merteuil proposes Valmont ‘educate’ her, thus spoiling Gercourt’s fancy for untarnished convent girls. Valmont is uninterested in such an easy seduction and is far more aroused by the thought of lulling The Presidente’ de Tourvel, the very epitome of virtue, into submission. And so the tale unfolds.
Fate or choice? Choice or fate? How does one separate these ideals? Can one? Shakespeare could not. Nor can we. Fate and choice are so intertwined that our choices determine our fate, and our fate determines our choices. William Shakespeare trusts the audience to scrutinize whether it is fate or choice that rules our human life. Shakespeare aptly conveys this oxymoron (with which people have been dealing for ages) through the evidence and structure of his play, Romeo and Juliet.
In the time of William Shakespeare where courtship and romance were often overshadowed by the need to marry for social betterment and to ensure inheritance, emerges a couple from Much Ado About Nothing, Hero and Claudio, who must not only grow as a couple, who faces deception and slander, but as individuals. Out of the couple, Claudio, a brave soldier respected by some of the highest ranked men during his time, Prince Don Pedro and the Governor of Messina, Leonato, has the most growing to do. Throughout the play, Claudio’s transformation from an immature, love-struck boy who believes gossip and allows himself to easily be manipulated is seen when he blossoms into a mature young man who admits to his mistakes and actually has the capacity to love the girl he has longed for.
Henrik Ibsen’s controversial and influential play, entitled HeddaGabler, is divided into four acts, and, as any good piece of literature ought to be, much of what would later on become crucial to the plot is introduced, hinted at, and foreshadowed in the first act. In this case, the character interactions are most significant, especially that of the titular protagonist, Hedda, whose ultimate destiny in the play is to be trapped in her own crafty machinations and manipulations. A close look on the actions and motivations of the characters in Act I reveal much about their innermost wishes, and considering the complications these desires face, the eventful and explosive conclusion could almost be seen from the first scenes of the play.
Volpone (the fox) is a wealthy man who fakes a grave illness in order to accumulate further treasures that will make him wealthier. His servant, Mosca (the fly), informs some of Volpone's rich associates that he is nearing his end and considering his will; each can boost his or her prospects of becoming sole beneficiary after his death by presently bestowing upon him plentiful gifts.
Complications also arose when viola fell in love with her master, duke orsino, while at the same time had the love interest of orsino, the countess Olivia, trying to woo her. This placed viola in an extremely difficult and complex situation on one hand, she loved the duke and would have liked to do all she could to win his heart. But because she was his servant, she was obliged to serve him and help him win the hand of Olivia. What was a poor girl to do ?
The play, Othello is one of the most famous tragedies composed by William Shakespeare during the Renaissance period. It powerfully portrays a world where the acts of evil ultimately vanquishes fidelity, nobility and integrity. The central themes jealousy and manipulation embodies the foretold tragedies and the downfall tragedies of the characters due to one’s insecurities. Through the use of literary techniques and figurative language, Shakespeare has effectively explored the themes of jealousy and manipulation.
The Speaker in ‘My Last Duchess’ is conversing with the servant of a count whose daughter he is proposing to marry. He treats t...
With Feste's help, we are able to attain a better understanding of the other characters in the play- revealing their true personalities, which are sometimes unseen, not only by us, the audience, but also by the characters themselves. He shows Olivia how unrealistic and excessive her mourning for her brother's death has been, he tells Orsino how foolish he is for languishing in a mood of love-sick melancholy for Olivia and points out how mercurial his personality is, and he makes a fool out of the pompous Malvolio. "Foolery, sir, does walk about the orb like the sun- it shines everywhere" says Feste.
...goal of the Antitheatrical movement in the Renaissance, was both supported and denounced by Jonson in various ways. However, the general perception is that Jonson (unlike Shakespeare) fueled the fires of degradation- implicating women with the weakness, lack of intelligence, and reason they were believed to exude. In the annals of theatrical history, Jonson's metadrama could be said to perpetuate this social stereotype. Nevertheless, Jonson's crossing of the gender line and sexual scenes like Volpone's "flashing" of Celia were enough to have religious, moral, and social commentators screaming blood murder. Two issues demand prominence in the play. While outwardly a play driven by blatant genderless controversy, the inward thematic, character-driven nature of Volpone suggests a conformity and adherence to the intellectual and theological moralism of the time.
According to Niccolo Machiavelli’s, The Prince, there are five traits that make up a successful leader. The five traits that are necessary in determining a leader’s success involve being feared, being virtuous, having the support of the people, having intelligence and the use of arms. In this paper, I will argue that the Duke Vincentio of William Shakespeare’s, Measure for Measure, is an ineffective leader because he loses virtue acting deceitful and spying on his subjects as a friar. Also, when he realizes that his people do not fear him, he allows for Angelo to come so that he can win their respect by becoming the better option of the two. It is portrayed by his constant presence in the play as the friar, that instead of earning the support of his people, he treats them as puppets and himself as the master puppeteer.