Ben Jonson's Volpone - Report Example

How Ben Jonson uses the profligacy of visual spectacle in "Volpone" to critique the emerging genre of spectacular theater Introduction: The history of theatre shows various facets of dramatic development. While the creative works of ancient Greek masters were regarded as main inspiration for later dramatists to contribute in the context of theatrical improvement and different genres of theatre, namely, tragedy, comedy, tragicomedy, satire and several other forms, impetus to incorporate different technical aspects, social issues and aspects of moral concern were also observed. The Elizabethan Drama, which is considered to be a dramatic genre of great importance in leading English theatre to its maturity and Shakespeare playing the role of a leading figure in the same process, some of the contemporaries, at the same time, showed sharp inclination toward development of English theatre in their unique style, providing various dimensions of theatrical aspects with different ranges of perception both from individualistic and social perspective. There is no denial of the fact that such development from technical perspective and from the angle of socio-moral implication was incited mainly due to renaissance at the intellectual sphere of society. The growth of humanism, advancement of science and trade due to cultural intercourse, and strong patronization for humanist art are some of the most crucial factors that contributed to a great extent in the development of contemporary English theatre (Kuritz 153-155) and Ben Jonson was one of the most important figures of the contemporary times that contributed in the entire process with his ingenious satirical and theatrical techniques. Literature has traditionally been considered as one of the most powerful mediums of social documentation, incorporating various social traits within its scope; consequently, it also serves an important function by reflecting over the issue of social morality and pointing at the moral vices that crept into social behaviorism of the mass. In order to emphasize on such aspects, a literary artist can opt for metaphor and the subject of his criticism may be some other socio-cultural discourse; however, incorporation of the social vices in the metaphorical ambiance finally helps to identify the subject of criticism and helps people to relate with their own nature, irrespective of socio-cultural differences. In one of his most prominent works, Volpone, Ben Jonson adopted the same technique. Abundant use of visual profligacy in the drama on one hand, keeps the audience attached to it, helping them to enjoy and reevaluate themselves at the same time; consequently, his criticism against emerging genre of spectacular theatre also becomes poignant s he points out shift of the audience from auditory to visual. Spectacular Theatre: Despite the fact that spectacular theatre received immense popularity and reached the pinnacle of its success during mid and later part of the 19th century, however, dramatists observed audience’s support for such theatre since during the late renaissance and restoration period. Compared to the Victorian dramatists, their predecessors were more focused on poetic articulation, implication of auditory methods as effective instruments to commute with the audience. Playwrights of the spectacular theatre era provided more attention to visual aspects, rather than simply providing an impression of the setting to the audience. They believed that representation of a total situation, and effort to make it as realistic as possible according to the ambiance of drama would help the audience to weave themselves more integrally with growing course of action and also will help them to explore as well as evaluate the message that a playwright has aimed to incorporate with his creation. In addition to these factors, commercial success also received an altogether new dimension through spectacular theatre. Providing the spectators with means to explore various dimensions of stage techniques would attract them more to attend and satisfy their aesthetics as the world of drama or prior experiences to attend a performance have failed them to provide them with such marvels: “Since the Restoration theatre had used continuously recycled backdrops of conventional settings … framed by narrow, flat side screens that remained in the place while the drops were lowered and raised. With Spectacular theatre illusion exploded. Every play became one-of-a-kind” (Jordan 196). It becomes clear through such observation that success of spectacular theatre lies in appealing to the sense of psychological satisfaction of the audience. As this genre of theatre provided ample scope to the audience to explore various dimensions of their imaginative faculty, the audience not only found themselves nearer to relate them with the situation but also received the scope to interpret the play and the message conveyed by it according to their respective interpretation. During Elizabethan and Restoration drama such opportunity was clearly lacking. Focus on the auditory rather than visual, compelled audience to think and interpret a drama according to the playwright’s perception. Jonson’s criticism against such tendency lies in the fact that message of the play can be misinterpreted and what the playwright actually wanted to convey about social condition or moral status of common people, can entirely be ignored. Thus, he uses the devices of emerging spectacular theater masterfully in this work Volpone to show that appearances can be deceptive and more a person would reply over visual aspects ignoring the auditory part the risk of being trapped or being deceived by ongoing trend of social hypocrisy increases. Ben Jonson’s Volpone: Fusion of Visual Spectacle and Satire to show the declining social moral plight of individuals in the visually interpreted world In the early comedies like Eastward Ho!, Jonson has exposed an individual as a “…product in a consumerist economy, offering the satisfaction of intensified desires that neither civic pageantry nor its moral economy of thrift versus prodigality can ever hope to address” (Loxley 69). In Volpone, exposure of such plight of an individual and helpless submission to be trapped within such a deceitful situation, rather social discourse, has been exposed in a more satirical and realistic manner. Volpone or The Fox, as it becomes evident from the title of the play clearly points out at the sly nature of human beings that aims towards prosperity through deceiving others. However, during such course of action, when a person of such nature starts feeling himself invincible and finally when he finds himself trapped in his own devices, realizes to what he has been up to all these days, leading him to his self-condemnation. Clearly, such an ending does not help in inciting laughter of the audience but lead them to ponder over their respective situation, providing them a scope to reflect over their respective conditions and life. “Satire carries with it a tragic undertow” (Hart 115), and this undercurrent of tragedy has been has been dealt in a crafter manner in the Volpone. Volpone, as a manifestation of human vice, has received a secular identity through deception and ill means and during course of the play, an audience feels himself integrally related to the growing actions. “The magnitude of sin or treachery or deceit” (Hart 115) receives a universal dimension in the play, however mastery of the piece lies the fact that every human being, no matter how great or ingenious he is in inventing and exploring the means to deception but finally human morality and sense of universal justice remains triumphant: “The end of Jonson’s satirical comedy, Volpone, is as much about teaching as delight, a movement that involves thought and dramatic irony rather than laughter as a reflex. It is a comedy that spares no targets, male or female, in an attempt to see how blind and greedy human beings can become. Volpone is based on variations on a trick that extend throughout the comedy with great intricacy, providing the audience with an ironic view of the dupes, even though, ultimately and beyond the intentions of the playwright, the end of the play might dupe the audience” (Hart 116). The intention of Ben Jonson that receives a magnitude of eternal truth that every man, in the course of living, is required to exercise his rationality, which is a fusion of perception received from both visual and auditory perspectives. A failure to do so would evidently lead an individual to his plight and he would be left with no option other than the deeds he committed, directing him to such a situation. Growing social tendency to depend on visual and ignoring the auditory can be pathetic to a great extent and condition of the protagonist in the end of Volpone is an explicit proof in support of such observation. Since the very beginning of his drama, Volpone, Ben Jonson, with his satirical attack, has criticized such tendency of contemporary society. Jonson’s satiric attack against the general tendency to depend more on visual perception becomes evident from prologue of the Volpone, as he suggests, “Now luck yet sends us, and a little wit/ Will serve to make our play a hit;/ … / Here is rhime, not empty of reason” (Jonson 39). He does not deny the importance of luck to see his drama appreciated by audience, yet emphasis on “little wit” from the audience also plays an equally significant part in attaining that goal. In this context, “wit” can be interpreted as rationality that is attainable only when there is a proper coordination between visual and auditory senses. Total reliance over visual aspects only leads an individual to apply rationality in interpreting the scene whereas an equal importance to auditory perception helps him to delve deep in the situation and convinces him to realize what he is seeing is not the reality; rather to receive a glimpse of reality, he must interpret the situation from different perspectives, depending on his rational and it cannot be attained unless an individual focuses on proper exercising of his wit, an accumulation of both visual and auditory perceptions. The poet’s “rhime” is not empty of reason, as he incorporates the traits of cotemporary socio-moral discourse within its scope but grounds for such evaluation can only be cultivated if the audience provides considerable importance on verse. As a literary artist he clearly identifies his goal and social duty; thus, he mixes “profit with … pleasure’ (Jonson 39) but such effort would remain unobserved and non-appreciated if the audience does not exercise their respective rationality. He has attempted to present a “comedy refined, / As best critics have designed” (Jonson 40) and he also has included “The laws of time, place, persons he observeth, / From no needful rule he swerveth” (Jonson 40) but the implications of futility of purpose does not escape attention of a sincere and critical reader as he recognizes that the dramatist also is quite persuaded about the final outcome that despite all his efforts “Of his play’s worth, no eggs are broken” (Jonson 39). He is quite convinced that people will enjoy, they will be enchanted but the rationality or critical appreciation of the drama that the dramatists expects from the audience will remain unachieved as the essence of rationality or the message he attempts to convey, would be forgotten soon: “Wherewith he’ll rub your cheeks, till red, with laughter, / They shall look fresh a week after” (Jonson 40). The path of rationality that the dramatist has attempted to convince his audience is not so easy to walk and in the process of pursing the path all the pleasures of life, apparently, can “be stale and forsaken” (Jonson 47) but turning away from this goal will surely lead an individual to a situation further complicated and tough to revive. Volpone, despite all his vices and treacherous nature, has attained his success as he is judgmental of every situation and has been capable of finding ways to avoid or escape his plight. His critical and rational nature becomes evident as with very appearance of the advocate he interprets the situation correctly and also expresses his confidence to avoid the plight that people are trying to thrust upon him, “….Vulture, kite/ Raven, and gorcrow, all my birds of prey, / That think me turning carcase, now they come; / I am not for them yet -” (Jonson 48). A person with lack of rationality can evidently escape his plight or the kind of mental exercising that he has to undergo but ignoring a situation does not help an individual to assert his individuality or to exercise his rationality as a human being. Thus, when Nano and Castrone sing in celebration of foolery, it becomes evident that it is Jonson’s attack towards ongoing social trend to enjoy blissful ignorance, “Fools, they are the only nation/ Worth men’s envy or admiration; / Free from care of sorrow-taking, / Selves and others merry making:” (Jonson 47). People dehumanize their human existence and keep themselves at distance to perceive the truth without proper exercising of their rationality because they are fear to speak the truth as there is chance of being socially prosecuted. They love to remain as “great man’s darling, / And your ladies’ sport and pleasure” (Jonson 47) even at the cost of sacrificing their respective self-dignity. Conclusion: Throughout the drama, though the playwright has presented spontaneous flow of laughter and abundant resource for the audience to enjoy the comic interaction between characters, but signs of explicit satirical attack over contemporary socio-moral standards are quite poignant. Volpone, with all his vices and treacherous capacities or cunning approaches, finally remains to be an isolated figure. He, during the quest for survival, though has changed himself into such a figure but deep down he also longs for fulfillment and the same sense of regret never leaves him. He keeps denying what he actually is and fights to secure his apparently perceived identity on a stronger foundation but finally fails. Just like the rest of the society that keeps denying its human nature and feels satisfied by putting on a masquerade of innocence, actually foolery, he also suppresses his humanity inside and finally is left with no other option than to regret his deeds as he is deceived by his near ones. This is plight that every individual has to encounter if he does not execute rationality that is a fusion of auditory and visual perception. Over reliance on visual aspects would lead a human being top misinterpret the actuality and he will keep on denying the inevitable situation that he has been dragged into. Works Cited Hart, Jonathan Locke. Reading the Renaissance: culture, poetics, and drama. London: Taylor & Francis. 1996. Jonson, Ben. Volpone. South Carolina: BiblioBazaar, LLC. 2009. Jordan, John O. The Cambridge companion to Charles Dickens. Cambridge University Press. 2001. Kuritz, Paul. The making of theatre history. PAUL KURITZ. 1988. Loxley, James. The complete critical guide to Ben Jonson. London: Routledge. 2002. Read More