Portrayal of Women in Jonson’s Volpone

The Portrayal of Women in Jonson’s Volpone

Women for centuries have fought against a male dominated society in order to achieve a more equal standing. This same society and its stereotypes of women have proven to be a hindrance to accomplishing this lofty goal. These stereotypes prevailed in renaissance England and flourished in many of the female characters in the literature. Ben Jonson’s classic comedy, Volpone, surely falls into this category. The portrayal of Celia and Lady Would-Be in Volpone reflects the misperceptions and low status of women in Renaissance England.

Celia reveals herself initially, however briefly, in Act II, Scene II. She does not speak but simply observes Volpone from her window, dropping her handkerchief to show her interest. This scene of Volpone down below on the street and Celia leaning out her window from above is reminiscent of the romantic stories of a lady-in-waiting being wooed by the gracious knight. However, Volpone’s intentions toward the fair Celia prove less than honorable. Celia shows an innocence and naivety that proves endearing and repulsive at the same time. Although women had limited rights at this time, her lack of self-esteem feeds the stereotype of the beautiful woman who lacks substance. Celia finally speaks in Act II, Scene IV, in response to her husband’s angry tirade. When Corvino demoralizes Celia by dragging her in from the window, she responds, “Good Sir, have patience.” The audience instantly sees Celia as a victim, unable to stand up for herself. Because she has given up control of her own destiny to her husband, Celia plays the role of lady-in-distress, waiting for her knight in shining armor.

Corvino, so jealous that he locks his wife up in her room, does not fit the part of the white knight, but rather the villain to be defeated. Celia’s husband treats her far less like a lady and far more like a prisoner. By keeping Celia locked in her room, Corvino thinks of her as his most “prized” possession. Although on the surface, this may seem as a term of affection, Celia transforms from a cherished wife to an object to be bargained. Because Celia plays the weak, lowly victim and allows Corvino to rule her domain, she ultimately is responsible for being played like a pawn in a chess game. However, even in a chess game there is the Queen. Here only male figures make the rules.

Celia finally appears to stand up for herself in Act III, Scene VI, when she protests Corvino prostituting her out to Volpone in order to gain his riches. With this most sincere of insults, Corvino brings to the surface his wife’s true insecurities. For although Celia pleads with Corvino to not allow this to happen, her defense lies in Corvino again locking her away. She implores, “Sir, let me beseech you, [a]ffect not these strange trials; if you doubt [m]y chastity, why, lock me up forever; [m]ake me the heir of darkness. Let me live [w]here I may please your fears, if not your trust.” Celia does not possess the strength to stand up and defend herself against Corvino’s mistreatment. Her only choices seem to be becoming a concubine to Volpone or a prisoner from the world, both at the hands of her husband. The thought of an option controlled by her never comes to Celia’s feeble mind. She can only hope for a noble knight to come and rescue her from this dire situation. Luckily for Celia, one exists.

Just as Celia plays the stereotypical lady-in-distress, Lady Would-Be plays an equally repulsive female stereotype. Initially, even her name diminishes Lady Would-Be’s identity as an independent woman. The audience never learns her first name and hence sees her as merely an extension of her husband rather than an individual. Lady Would-Be first comes into view in Act III, Scene IV and does not make a good first impression. Lady Would-Be proves to be the typical self-absorbed, superficial woman. She seems obsessed with looks and