Most of the play’s characters are men who operate in the traditionally male sphere of commerce. At the time in which the play is set, men were wholly responsible for finance and they were expected to have power over women in relationships, roles that most of the male characters in the play firmly occupy. However, the play also compares male authority, love, sex, and courtship to the social expectations of women by exploring two examples of marriages, one an extreme depiction of an Italian marriage and the other a comedic English relationship.
The Italian marriage is between Celia and Corvino. Though Celia is virtuous, she is kept under Corvino’s extremely careful and cruel control—Corvino keeps her indoors almost at all times, and he forbids her, at one point, from even venturing too close to a window. Corvino’s rule over Celia is extreme, but it was stereotypical for Italian men to be jealous and controlling of their wives. Likewise, Celia represents the stereotypical Renaissance ideal of a woman; she is silent, chaste, and obedient. This is shown to work to both her advantage and disadvantage. Her sterling reputation initially gives her credibility in court, but her testimony is quickly undermined since, as a woman, she was considered to be an unreliable witness (even to a crime of which she was a victim). The power of Celia’s reputation cannot stand up to the stereotype that women are too hysterical and emotional to be trustworthy and rational, even though the men who argue against her are known to be deceitful. The cruelty of the impossible position in which Celia finds herself in court illustrates that seventeenth century women couldn’t win—no matter how virtuous, women were considered to be untrustworthy and inferior creatures.
Jonson’s position on gender roles can be clarified, to an extent, through an examination of Corvino and Volpone, who both try to exhibit male authority over Celia through sexuality (Corvino attempts to whore her to Volpone, who in turn attempts to rape her). For a while, it seems that Volpone will get away with this rape attempt, as several men during the play conspire to say that Celia is lying about her accusation. At the end of the play, Volpone is punished, but it seems that the primary reason for his punishment is his continuous deception of the play’s other men, rather than the attempted rape. It’s difficult to discern Jonson’s ultimate statement (if any exists) about sexual oppression. However, it could be argued that, while he shows sexual oppression and violence to be reprehensible, Jonson believes that the oppression of women is less important than the moral lesson about excessive desire and greed. Lust and rape are bad, in other words, but only because they are a form of avariciousness. The crime Volpone seems most guilty of in the play is excessive greed for money at the expense of Voltore, Corbaccio, and Corvino.
Lady Would-Be, the second woman in the play, is the opposite of Celia. The play contrasts her marriage to Sir Politic Would-Be—a quintessentially English marriage—with the Italian marriage between Corvino and Celia. Lady Would-Be is more independent than Celia, which reinforces the stereotype that married English women were given more freedom than married Italian women. Lady Would-Be is able to wander Venice on her own, and she is seen without her husband just as often as with him (contrast this with Celia, who is prevented from even leaving her home). Lady Would-Be is also much more talkative than Celia, though the play doesn’t exactly suggest that this is a good thing. When Lady Would-Be visits Volpone, he jokes in asides that she is so long-winded that he’s being tortured by her “flood of words,” and that, though he’s only pretending to be sick, she’s actually making him ill by talking ceaselessly. Much of this scene, we can note, is taken from an ancient Greek book called “On Talkative Women,” suggesting that Jonson might have believed that there was some truth to the stereotype that woman talk excessively (more generously, one could argue that Jonson is merely engaging with the literary tradition of depicting women in this way). Lady Would-Be, however, also breaks the mold of a renaissance woman in that she appears to be educated, certainly much more so than Celia. Her long-winded speeches are so filled with literary references and allusions that Peregrine is shocked when she yells at him.
The differences between Lady Would-Be and Celia illustrate different societal roles for women in Italy and England, which suggests that gender roles are culturally contingent, rather than biologically determined. In this way, the play challenges stereotypical gender roles and assumptions about women, though it sometimes affirms stereotypes, too. At the very least, Volpone complicates the role of women in society by showing that women—like men—can be well read, virtuous, well educated, and well spoken.
Gender Roles and Women ThemeTracker
Gender Roles and Women Quotes in Volpone
O, sir, the wonder,
The blazing star of Italy! a wench
Of the first year, a beauty ripe as harvest!
Whose skin is whiter than a swan all over,
Than silver, snow, or lilies; a soft lip,
Would tempt you to eternity of kissing!
And flesh that melteth in the touch to blood!
Bright as your gold, and lovely as your gold!
Why, the whole world is but as an empire, that empire as a province, that province as a bank, that bank as a private purse to the purchase of it.
First, I will have this bawdy light damm'd up;
And till 't be done, some two or three yards off,
I'll chalk a line; o'er which if thou but chance
To set thy desp'rate foot, more hell, more honor,
More wild remorseless rage shall seize on thee,
Than on a conjuror that had heedless left
His circle's safety ere his devil was laid.
Before I feign'd diseases, now I have one.
I have a little studied physic; but now
I'm all for music, save, i' the forenoons,
An hour or two for painting. I would have
A lady, indeed, to have all letters and art,
Be able to discourse, to write, to paint,
But principal, as Plato holds, your music,
And so does wise Pythagoras, I take it,
Is your true rapture: when there is concent
In face, in voice, and clothes: and is, indeed,
Our sex's chiefest ornament.
Honour! Tut, a breath:
There's no such thing in nature; a mere term
Invented to awe fools. What is my gold
The worse for touching, clothes for being look'd on?
O God, and his good angels! whither, whither,
Is shame fled human breast? that with such ease,
Men dare put off your honours, and their own?
Is that, which ever was a cause of life,
Now plac'd beneath the basest circumstance,
And modesty an exile made, for money?
Good sir, these things might move a mind affected
With such delight; but I, whose innocence
Is all I can think wealthy, or worth th' enjoying,
And which, once lost, I have nought to lose beyond it,
Cannot be taken with these sensual baits.
If you have ear that will be pierc'd - or eyes
That can be open'd-a heart that may be touch'd-
Or any part that yet sounds man about you –
If you have touch of holy saints: or heaven-
Do me the grace to let me scape: - if not,
Be bountiful and kill me. You do know,
I am a creature, hither ill betray'd,
By one whose shame I would forget it were:
If you will deign me neither of these graces,
Yet feed your wrath, sir, rather than your lust
(It is a vice comes nearer manliness,)
And punish that unhappy crime of nature,
Which you miscall my beauty.
I would I could forget I were a creature.