Ben Jonson's Application of Aristotle's Concept

The Concept of Three Unities in Ben Jonson’s Play “Volpone”, Purwarno, Fakultas Sastra, Universitas Islam Sumatera Utara (UISU), Medan, Indonesia

THE CONCEPT OF THREE UNITIES IN BEN JONSON’S PLAY “VOLPONE”

Purwarno Faculty of Literature Islamic University of North Sumatra (UISU), Medan [email protected]

Abstract

This article is an attempt to observe Ben Jonson’s adherence to the Greek concept of Three Unities as a means to contribute to the realism of a play. It begins with an introduction to the three unities, i.e The Unity of Time, The Unity of Place, and The Unity of Action, and later fits together an explication of the meaning as well as the significance of the three unities as the actual practice of the Greek dramatists. This article observes that Ben Jonson obviously holds on the formula of the Three Unities in the play. It is seen in the play that the story takes place only in one place that is in a city named Venice. The action confines to a single day, and has no digression. It goes directly to the climax of the plot.

Keywords: The Unity of Time, The Unity of Place, The Unity of Action, Poetics, Renaissance, drama, tragedy, plot

I. INTRODUCTION Greek and Latin drama are strict in form. The stage represents as a single place throughout the action; the plot recounts the events of a single day; and there is very little irrelevant by-play as the action develops. The formula of the practice to which the Greek and Latin dramatists adhered in general is known as the Three Unities, i.e. the unity of time, place and action. Therefore, the Three Unities were conventions which ancient Greek playwrights were expected to adhere to. Every play was to adhere to these rules, according to their originator, Aristotle. In the name of Aristotle, the three unities were emphasized by the English, the Italian, and the French critics, and especially by the Italians and the French. The English critics of the Renaissance, especially Sir Philip Sidney, regarded the observance of the three unities as obligatory for dramatists. However, in the 17th and 18th centuries, some English critics, especially

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Dryden and Dr. Johnson, declared that the observance of the three unities was not essential, though Dryden thought that the unity of action was a necessary condition of a successful play. Aristotle means three unities as a description of the norm, not that of an ideal. Three unities are supposed by critics to be useful in contributing to realism of play. Aristotle describes the drama of an earlier age in his important work On the Art of Poetry; those who follow his precepts call this disciplined structure the “Three Unities”, i.e. the unity of place, the unity of time, and the unity of action.

Dealing with the unity of action in some detail, under the general subject of "definition of tragedy", Aristotle wrote:

Now, according to our definition, Tragedy is an imitation of an action that is complete, and whole, and of a certain magnitude[1] … As therefore, in the other imitative arts, the imitation is one when the object imitated is one, so the plot, being an imitation of an action, must imitate one action and that a whole, the structural union of the parts being such that, if any one of them is displaced or removed, the whole will be disjointed and disturbed. For a thing whose presence or absence makes no visible difference, is not an organic part of the whole.[2] ([1] Aristotle's Poetics, XVII, [2] Aristotle's Poetics, XVIII)

His only reference to the time in the fictive world is in a distinction between the epic and tragic forms:

Epic poetry agrees with Tragedy in so far as it is an imitation in verse of characters of a higher type. They differ, in that Epic poetry admits but one kind of metre, and is narrative in form. They differ, again, in their length: for Tragedy endeavours, as far as possible, to confine itself to a single revolution of the sun, or but slightly to exceed this limit; whereas the Epic action has no limits of time.[3] ([3] Aristotle's Poetics, V)

On place he is less explicit, merely saying that „tragedy should be confined to a narrow compass‟.

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Based on the consideration of the dramatic unities of action, time, and place above, it can be inferred that the classical unities or three unities are rules for drama derived from a passage in Aristotle's Poetics. In their neoclassical form they are as follows:

1. The unity of action: a play should have one main action that it follows, with no or few subplots. 2. The unity of place: a play should cover a single physical space and should not attempt to compress geography, nor should the stage represent more than one place. 3. The unity of time: the action in a play should take place over no more than 24 hours.

Ben Jonson, one of the great dramatists in Elizabethan period as well as the greatest English critic between Sidney and Dryden, had a strong masculine intellect, a sound deep basis of classical learning and an abundant fund of common sense. He obviously applied the formula of the Three Unities in most of his plays. In this article, the writer analyses Ben Jonson‟s adherence to the concept of Three Unities in his play entitled Volpone. In the play, the place in which the story takes place is only in one place, that is in a city called Venice. The action of the play is restricted to one day, and the action of the play also has no digression. The action goes directly to the climax of the plot.

II. DISCUSSION Old plays traditionally aim at conveying a sense of cohesiveness and unity, and one of the classical poetic ”laws” to achieve this goal is the idea of three unities; the unity of time, the unity of place, and the unity of action. Although only the unity of action is explicitly addressed in Aristotle‟s Poetics, the other two unities are also often attributed to him, while in reality, these concepts are postulated a lot later by an Italian scholar, Castelvetro in his commentary on Aristotle. The unities mean that a play should have only single plot line, which should take place in a single location and within one day (one revolution of the sun). The idea

3 The Concept of Three Unities in Ben Jonson’s Play “Volpone”, Purwarno, Fakultas Sastra, Universitas Islam Sumatera Utara (UISU), Medan, Indonesia behind this is to make a plot more plausible, more-to-life, and thus to follow Aristotle‟s concept of mimesis, i.e. the attempt to imitate or reflect life as authentically as possible. If the audience watches a play whose plot hardly has a longer time span than the actual viewing of the play, and if the focus is on one problem only that is presented within one problem only that is presented within one place, then it is presumably easier for the viewers to succumb to the illusion of the play as “reality” or at least something that could occur “like this” in real life.

2.1 The Unity of Place In Ben Jonson‟s Volpone, the unity of place is clearly observed as the entire action of the play which consists of five acts takes place only in one city that is the city of Venice covering Volpone‟s house, Corvino‟s house, streets of the city, Sir Politic Would-be‟s residence, and the Senate House. The settings of Act I which consists of iii scenes take place in Volpone‟s house. In Act I, Scene i, it is shown that Volpone and Mosca enter on the scene and Volpone worships his gold. Volp. : Good morning to the day; and next, my gold: Open the shrine, that I may see my saint. (I, i: 1-2)

In Act I, Scene ii, Nano, the dwarf, Androgyno, the fool as well as hermaphrodite, and Castrone, the eunuch, three misshape and deform human beings living in Volpone‟s house enter. These three deformed characters stage a show for the entertainment of Volpone, who is pleased by the performance. Volp. : Now very, very pretty! Mosca, this Was thy invention? Mos. : If it please my patron, not else. Volp. : It doth, good Mosca. (I, ii: 63-65)

The entertainment provided by Nano and his comrades is a good example of the complexity and range of Jonson‟s dramatic technique. The latter part of this scene carries the plot a little further when one of the legacy hunters having the name of Voltore arrives at Volpone‟s house.

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In Act I, Scene iii, it is shown that Mosca informs Volpone that Voltore has come to visit him. He has brought a costly antique plate as a gift for Volpone who, in an assumed feeble voice, expresses his appreciation of Voltore‟s concern. Mos. : (to Volpone) … Patron, sir. Here‟s signior Voltore is come. Volp. : What say you? Mos. : Sir, signior Voltore is come, this morning, to visit you. Volp. : I thanke him. Mos. : And hath brought a piece of antique plate, bought of S. Marke With which he here presents you. (I, iii: 6-11)

In Act I, Scene iv, it is seen that Corbaccio, an aged gentleman, hard of hearing, comes to visit Volpone. He comes to know Volpone‟s condition and has brought a sleep inducing drug from his physician for Volone. Mos. : Signior, Corbaccio! Yo‟ are very welcome, sir. Corb. : How do‟s your patron? ………………………………………………………….. Corb. : Good! He should take some counsel of physicians: I have brought him an opiate here from mine owne Doctor--- (I, iv: 5-13)

In Act I, Scene v, it is seen that Corvino, “the spruce merchant”, also comes to Volpone‟s house to know Volpone‟s health. He has brought a wonderful pearl as his gift for Volpone, and he has got a diamond too. Mos. : Signior Corvino! Come most wisht for! O … ………………………………………………………. Volp. : Signior Corvino! Mos. : Harke. Volp. : Signior Corvino! ……………………………………………………….. Mos. : … H‟is here sir, and he has brought you a rich pearl. ……………………………………………………….. Corv. Say, I have a diamond for him, too. (I, v: 1-17)

In Act I, Scene v, it is also informed that Lady Would-be has sent word that she would like to meet Volpone, but Volpone says that he would see her later in the day.

Act II, Scene i and ii takes place outside Corvino‟s house in which Volpone and Mosca try to plan their strategy to get the attention from Corvino‟s

5 The Concept of Three Unities in Ben Jonson’s Play “Volpone”, Purwarno, Fakultas Sastra, Universitas Islam Sumatera Utara (UISU), Medan, Indonesia beautiful wife, Celia. Mosca asks Nano to set up a small platform beneath a window of Corvino‟s house: “Under the windore, there‟t must be…” (II, i: 1). Then Volpone gives speech in the disguise of a mountebank right beneath the window of Corvino‟s house. It can be seen as Volpone is driven away by Corvino as quoted below: Corv. : Spight o‟devill, and my shame! Come downe, here; Come downe: no house but mine to make your scene? Signior Flaminio, will you downe, sir? Downe? What, is my wife your Franciscina? Sir? No windores on the piazza, here, To make your properties, but mine? But mine? Hart! ere to morrow, I shall be new chirsten‟d, An cald the pantalone di besogniosi,… (II, iii: 1-10)

From the quotation above, it can be seen that Corvino gets furious to see a mountebank right beneath the window where his wife stands watching the show, and he drives away Volpone and his companions, giving them blows. From this, it is clear that the setting is just beside Corvino‟s house, which is not so far from Volpone‟s house. Act II, Scene iv takes place in Volpone‟s house. After being driven away by Corvino, Volpone and his companions go home. It is seen that Volpone has been smitten by Celia‟s beauty: Volp. : “O, I‟m wounded. Mos. : Where sir? Volp. : Not without; Those blowes were nothing: I could beare them ever. But angry Cupid, bolting from her eyes, Hath sot himselfe into me, like a flame; Where, now, he flings about his burning heat, … (II, iv: 1-5)

Act II, Scene v takes place in Corvino‟s house. It is seen that Corvino bitterly rebukes his wife Celia for having tried to communicate with a mountebank, a juggler who goes about performing tricks. He scolds her for having smiled at the mountebank and thrown her handkerchief at him. Corv. : Death of mine honour, with the cities foole? A juggling, tooth-drawing, prating mountebanke? And, at a publike windore? Where whil‟st he, With his strain‟d action, and his dole of faces,

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To his drug-lecture drawes your itching eares, A crue of old, un-marri‟d, noted lechers, Stood leering up, like Satyres: and you smile … (II, v: 1-7)

Act II, Scene vi takes place in Corvino‟s house. It is seen that Mosca comes to Corvino‟s house to meet Corvino. He falsely tells Corvino that Corbaccio and Voltore have succeeded in reviving Volpone by administering a little of the mountebank‟s oil to him, and further that a panel of physicians have suggested that, for a complete cure, Volpone must get a sexy woman to sleep with him. Corv. : Let him come in, his master‟s dead: There‟s yet Some good, to helpe the bad. My Mosca, welcome, … ………………………………………………………………… Mos. : Why, sir, with Scoto‟s oyle! Corbaccio, and Voltore brought of it, …. ………………………………………………………………… Mos. : … the colledge of physicians Consulting on him, how they might restore him; … … at last, they all resolv‟d That, to preserve him, was no other meanes, But some young woman must be steight sought out, Lustie, and full of juice, to sleepe by him; … (II, vi: 1-35)

Act II, Scene vii also takes place in Corvino‟s house. It is seen that Corvino is shooting words to Celia. He placates Celia, whom he has severely reprimanded and snubbed a little while age. He tells her that he has spoken to her roughly just to test her and that he is not at all jealous. Corv. : … I thinke, thou thought‟st me earnest? Ha? By this light, I talk‟d so but to trie thee. … Come, I am not jealous. Cel. : No? Corv. : Faith, I am not, I, nor never was: … (II, viii: 2-6)

Act III, Scene I takes place in a street of Venice. It is seen that Mosca is on the way home from Corvino‟s house. This scene contains a soliloquy by Mosca. Mosca feels greatly elated by his continuing successes in his schemes of duping the legacy- hunters and thus pleasing his master, Volpone.

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Mos. : I feare, I shall begin to grow in love With my deare selfe, and my most prosp‟rous parts, They doe so spring, and burgeon; I can feele A whimsy I‟ my bloud: (I know not how) … (III, i: 1-4)

Act III, Scene ii also takes place in a street. It is seen that Mosca, while on his way home to Volpone‟s house, happens to meet Bonario, Gorbaccio‟s son. It can be seen through Mosca‟s words: “Who‟s this? Bonario? Old Corbaccio‟s sonne?” (III, ii: 1). Act III, Scene iii takes place in Volpone‟s house. Volpone, who is waiting for Mosca‟s return from Corvino‟s house, is being entertained by the three deformed persons, Nano, Ardrogyno, and Castrone in his household. In this scene, it is also shown that Lady Would-be arrives to see Volpone. Volp. : Mosca stayes long, me thinkes. Bring forth your sports And helpe, to make the wretched time more sweet. ………………………………………………………………… Nan. : It is the beauteous madam--- Volp. : Would-be—is it? (III, iii: 1-24)

Act III, Scene iv also takes place in Volpone‟s house. It is seen here that Lady Would-be visits Volpone. She greets Volpone as “my Volpone” and starts making anxious inquiries about the state of Volpone‟s health and suggesting several remedies. Lad. : How do‟s my Volp? Volp. : Troubled with noise, I cannot sleepe; I dreamt … ……………………………………………………………. Lad. : Alas, good soule! The passion of the heart. Seed-pearle were good now, boild with syrrope of apples, Tincture of gold, and corrall, citron-pills, Your elicampnane roote, mirobalanes— …………………………………………………………….. Lad. : Burnt silke, and amber, you have muscadell Good I‟ the house— (III, iv: 39-57)

Act III,Scene v also takes place in Volpone‟s house. It is seen that Mosca just returns from his visit to Corvino. Volpone implores him to manage somehow to send Lady Would-be away and thus rid him of her company.

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Volp. : Mosca? Welcome, Welcome to my redemption. Mos. : Why, sir? Volp. : Oh, Rid me of this my torture, quickly, there; …. (III, v: 1-3)

Act II, Scene vi also takes place in Volpone‟s house. Mosca has brought Bonario with him to give proof of Corbaccio‟s plan to disinherit him. He hides Bonario in a safe place in the house and asks him to wait patiently. Mos. : Sir, here conceald, you may heare all. But „pray you Have patience, sir; …. Bon. : Do so. Yet, Cannot my thought imagine this a truth. (III, vi: 1-4)

Act III, Scene vii also takes place in Volpone‟s house. Corvino arrives at Volpone‟s house with his wife, “Where are you, Celia? You know not wherefore I have brought you hither?” (III, viii: 6-7). In this scene, there are some incidents taking place, i.e. Corvino‟s attempts to persuade Celia to sleep with Volpone, Celia‟s unwilling to carry out her husband‟s behest, Volpone‟s attempts to make love to Celia, Volpone‟s attempts to win Celia over with the lure of gold, Volpone‟s becoming poetic in his love-making, Volpone‟s attempt to rape Celia, and Bonari‟s action to rescue Celia from Volpone‟s clutches. Act III, Scene viii also takes place in Volpone‟s house. It is seen here and Volpone and Mosca are in a mood of despair. Mosca has received a beating from Bonario and comes to Volpone bleeding. Volpone himself is already feeling miserable. Mos. : (Wounded and bleeding). Where shall I runne, most wretched shame of men, To beate out my un-luckie braines? Volp. : Here, here. What! Dost thou bleed? ….. Volp. : Woe, on thy fortune. Mos. : And my follies, sir. (III, viii: 1-8)

Act III, Scene ix also takes place in Volpne‟s house. It is seen that Corbaccio comes to Volpone‟s house, and is told by by Mosca that his son Bonario, having come to know somehow about his intention to disinherit Bonario, has come to Volpone‟s house in search of him in order to kill both him and Volpone. Corbaccio says that in

9 The Concept of Three Unities in Ben Jonson’s Play “Volpone”, Purwarno, Fakultas Sastra, Universitas Islam Sumatera Utara (UISU), Medan, Indonesia that case his decision to disinherit Bornario is further confirmed. He has brought the will which he offers to Mosca. Corb. : Why! How now? Mosca! Mos. : O, undone, amaz‟d, sir. Your sonne (I know not, by what accident) Acquainted with your purpose to my patron, Touching your will, and making him your heire; Entred our house with violence, his sword drawne, Sought for you, call‟d you wretch, unnaturall, Vow‟d he would kill you.… Corb. : This act, shall disinherit him indeed: Here is the will. (III, ix: 1-9)

In this scene, Voltore is also seen coming to Volpone‟s house, and assured by Mosca that he still stands by him and that Voltore will get two fortunes, one belonging to Volpone, and the other to Corbaccio. Mosca also in this scene gives Voltore a distorted version of Celia‟s visit to Volpone‟s house and Bonario‟s assault on him, seeks Voltore‟s legal help as an advocate to straighten matters because otherwise Bonario will go about slandering both Volpone and Corbaccio. Act IV, Scene i takes place in the street of the Venice. This scene contributes much to the humour of the play. In this scene, it is seen the conversation between Sir Politic Would-be and Peregrine. Act IV, Scene ii and iii also takes place in the street of the Venice. In this scene, it is seen that Lady Would-be, who has been searching for her husband, now finds him engaged in conversation with Peregrine. Thinking that Peregrine is a harlot in the disguise of a man, she first scolds her husband and then turns to Peregrine. Eventually, it is seen in scene iii Mosca comes and explains that Peregrine is not a harlot he has spoken to her, and Lady Would-be apologizes to Peregrine for her mistake. Act IV, Scene iv up to vi, takes place in the court of the Venice. In scene iv, It is seen here that all the three legacy-hunters are ready to speak in Volpone‟s defense. Mosca here talks to all the three legacy hunters and makes sure that each of them knows what he is expected to say in Volpone‟s defence in the court. In scene v, it seen that the court now assembles with four Magistrates to hear the case, that is the charge against Celia and Bonario, who have been accused of having an illicit love-affair. The

10 The Concept of Three Unities in Ben Jonson’s Play “Volpone”, Purwarno, Fakultas Sastra, Universitas Islam Sumatera Utara (UISU), Medan, Indonesia magistrates comment upon the unnaturalness and strangeness of the case, especially because Celia and Bonario are reported to have enjoyed a good reputation. Avoc. 1. : The like of this the Senate never heard of. Avoc. 2. : „Twill come most strange to them, when we report it. Avoc. 4. : The gentle woman has beene ever held Of un-reproved name. Avoc. 3. : So, the young man Avoc. 4. : The more unnatural part that of his father. Avoc. 2. : More of the husband. (IV, v: 1-6)

In scene vi, it is seen that Lady Would-be also gives false evidence, and confirms the allegation that Celia is a woman of loose character. In this scene, it is told that Bonario and Celia are believed guilty by the court. Act V, Scene I up to iii takes place in Volpone‟s house. In scene I, it is seen that Volpone heaves a sigh of relief at having survived the legal crisis. He feels oppressed by the stress and strain of the trial in the court, and now it is luckily al over. Volp. : Well, I am here; and all this brunt is past: I ne‟re was in dislike with my disguise, Till this fled moment; here „twas good, in private, But, in your publike, Cave, whil‟st I breathe. … (V, i: 1-4)

In Scene ii, it is seen that Volpone and Mosca feel jubilant over their success in which they have played their cards and turned the tables upon Bonario and Celia. This scene also shows that Volpone summons his dwarf and eunuch to go and announce in the streets that their master Volpone is dead. In the meantime, he will fill in the blank spaces in the draft of his will with the name of Mosca. In other words, he will temporarily write down Mosca‟s name in his will as his sole heir in order to enjoy some fun at the cost of the legacy-hunters. Volp. : Go, Streight, give out, about the streets, you two, That I am dead; … ………………………………………………………. Volp. : „Tis true, I will ha‟ thee put on a gowne, And take upon thee, as thou wert mine heire; Shew „hem a will: open that chest, and reach Forth one of those, that has the blankes. … (V, ii: 59-72)

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In scene iii, it is depicted that all the legacy hunters arrive at Volpone‟s house. Each of them naturally hopes to be informed by Mosca that he alone is Volpone‟s heir. Mosca is busy preparing an inventory of the good and belongings of Volpone. Volt. : How now, my mosca? Mos. : Turkie carpets, nine— ……………………………………………………………….. Corb. : Is it done Mosca? ------Corv. : Ha? Is the houre come, Mosca? ……………………………………………………………….. Lad. : Mosca? Is his thred suppne? (V, iii: 1-10)

However, all the legacy hunters are rebuffed and dismissed by Mosca. All of them are disappointed as they feel that they have been deceived by Volpone and Mosca. Volpone himself has fully enjoyed the disappointment and despair of each of the legacy hunters. Act V, Scene iv, it is seen that Pregrine visits Sir Politic‟s residence. In this scene, Peregrine takes his revenge upon Sir Politic for Lady Would-be‟s insulting treatment of him. It is a comic scene and provides much furn. Act V, Scene v takes place in Volpone‟s house. In this scene it is depicted that Mosca is alone in Volpone‟s house while Volpone, disguised as a court official, goes out of his house to enjoy some more fun at the cost of the legacy-hunters. Mosca puts on the Venetian Magnifico‟s robe, as advised by Volpone. However, Mosca now decides to cheat his master, Volpone. Act V, Scene vi up to ix takes place in a street of Venice. In these scenes, it is depicted that Volpone, disguised as a court official, enjoys some fun at the cost of the legacy hunters. He mocks Corbaccio and Corvino, and taunts Voltore. All the legacy hunters feel annoyed by Volpone‟s sarcasm, harassment and impudence. Act V, Scene x, takes place in the Senate House. It is depicted in this scene that the court reassembles to pronounce the sentence against the Bonario and Celia, who have been found guilty.

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Act V, Scene scene xi, takes place in a street of Venice. It is seen that Volpone is in a street of Venice. He curses himself for having gone out of his way to get into trouble after having survived the first crisis. He feels unnerved, being faced with an extremely unpalatable situation in the court. Moreover, he sees the fact that Mosca seems to be plotting againsts him. Act V, Scene xii takes place in the Senate House. The court scene reopens, and in this scene Volpone throws off his disguise as he finds out that he is going to be cheated by Mosca of his entire estate. He then reveals the true facts about Mosca and about all the legacy hunters. Though at the beginning the Magistrates have declared that Bonario and Celia are guilty, in this scene they are declared innocent and released while the evil doers are awarded punishments. From the punishment awarded by the Magistrate to Corvino, it is also clear that the action is confined to the limited of a city, i.e. Venice. Observe the punishment awarded by the first Magistrate to Corvino: “Thou Corvino shalt be straight imbarqu‟d from thine owne house, and row‟d Round about Venice, through the grand canale,… (V, xii: 135-137)

From the statement of the first Magistrate quoted above, it can be seen that the situation takes place in the Senate House, in Venice.

2.2 The Unity of Time The action of Volpone is restricted to one day. The play opens at sunrise, and it can be seen from the introduction of Volpone as quoted below. Good morning to the day; and next, my gold: Open the shrine, that I may see my saint. (I,i,1)

The above quotation shows that the play opens in the morning in which Volpone is in praise of his gold whose, according to him, brightness exceeds the brightness of the sun.

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Then, at the end of Act I, when Mosca tells Volpone that Lady Would-be, the wife of an English knight on a visit to Venice, wants to meet Volpone, Volpone says that he would see her some three hours later in the day. Volpone : Who is‟t? Mosca : The beauteous Lady Would-bee sir. Wife to the English Knight, Sir Politique Would-be. (this is the stile, sir, is directed me) Hath send to know, how you have slept to night, And if you would be visited. Volpone : Not, now. Some three houres hence (I, v: 93-98)

Then, when Lady Would-be, in Act III, scene iv, comes to Volpone‟s house, it is afternoon. See the following quoted lines when she asks Mosca to inform Volpone that she has come. I thanke you, good sir.‟Pray you signifie Unto your parton; I am here. This band Shewes not my neck inough (I trouble you, sir, Let me request you, bid one of my women Come hither to me) in good faith, I am drest (III, iv: 1-5)

From the lines quoted above, it can be seen that the action still takes place in the same day. Further, when Corvino brings his wife, Celia, to Volpone‟s house and asks his wife to be ready to sleep with Volpone, Volpone is very happy. He leaps out his sick bed and tells Celia that her beauty has cured him of all his ailments. That incident happens in the same day. It can be seen from Volpone‟s word to Celia: Volpone: ……………………………………………… „Tis thy great worke: that halt, not now alone, But sundry times, rays‟d me, in several shapes, And, but this morning, like a mountebanke, To see thee at thy windore… (III, vii,147-150)

From the quotation above, it is clear that Celia meets Volpone in his house in the same day as Volpone disguises as a mountebank. Volpone discloses to Celia that

14 The Concept of Three Unities in Ben Jonson’s Play “Volpone”, Purwarno, Fakultas Sastra, Universitas Islam Sumatera Utara (UISU), Medan, Indonesia he has appeared in disguise only that morning in the shape of a mountebank just to see her at her window. The next situation which shows that the incident takes place in the same day is that in the court. It happens when the First Magistrate speaks to Voltore about the punishment that Bonario and Celia will receive that day. First Magistrate: You shall heare, ere night, What punishment the court decres upon‟hem. Voltore : We thanke your fatherhords… (IV, vii: 61-63)

From the above quotation, it can be seen that the First Magistrate ensures Voltore that before nightfall, the punishment of Bonario and Celia will be awarded by the court. It means that the incident still happens at the same day. The other situation which shows that the incidents takes place in the same day is when Volpone and Mosca plan to enjoy another joke by pretending dead, and having made Mosca his sole heir. Volpone : Shall we have a jig, now? Mosca : What you please, sir, Volpone : Go, Streight, give out, about the street, you two, That I am dead; doe it with constancy, Sadly, doe you heare? Impute it to the griefe, of this late slandeer.

The lines quoted above show that Volpone asks Mosca to announce about his death at the very day. Then, from his instruction to Mosca to announce that his death is due to the grief caused to him by the disgrace he has to face a little while before, it is also clear for the readers that the situation takes place in the same day. From the description above, it is clear that Ben Jonson really fulfils the criterion of the unity of time as the story takes place from the very morning until before night of the same day.

4.3 The Unity of Action Unity of action, which Aristotle has rightly emphasized, is the higher and controlling law of the drama. Aristotle compares the plot of a tragedy to a living

15 The Concept of Three Unities in Ben Jonson’s Play “Volpone”, Purwarno, Fakultas Sastra, Universitas Islam Sumatera Utara (UISU), Medan, Indonesia organism and says that just as in a living organism every part is harmoniously related to each other, and to the whole, so in tragedy also the various incidents and events must bear a proportionate and harmonious relationship. In Volpone, the Unity of action demands that a play should be so closely knit that no part of it can be removed without causing damage to the whole. Volpone does not entirely fulfill this condition because the scenes between Sir politic and Peregrine are not essential to the total structure or to the total effect. However, these scenes are needed for other reasons as will be shown below. The first Act itself shows Jonson‟s complete control over his material. The opening is rather slow, and the story begins only when Voltore knocks, after about 170 lines. But this by time, three important facts have been brought out. First, the theme of avarice has been introduced in the very opening speech of the play. Secondly, it has been indicated that the possession of his wealth is not the only interest which Volpone has: he rejoices ”more the cunning purchase of the wealth than in the glad possession”, and he tells us how he is extracting “plate, coin, jewels“ from the legacy-hunters, whom he calls his “clients”. Thirdly, there is the strange interlude of the dwarf, the eunuch, and the hermaphrodite. The drama of the maniacal obsession with wealth of three legacy- hunters is preceded by a display of three misshapen and deformed human being living in Volpone‟s house. The first Act offers three absolutely parallel scenes in which appear the three birds of prey, i.e. Vulture, Raven, and Crow. The first visit, that of Volture, is presented without complexity. In the second, Corbaccio‟s gloating over Volpone‟s ”sickness” is made more grim, and at the same more farcical, by his own senile deafness. In the third visit, Corvino shout his frenzied taunts in the ear of the supposedly dying Volpone: Corvino : His nose is like a common sewre, still, running.” Mosca :‟Tis good! and, what his mouth? (I, v: 65-66)

The pitch has been rising uninterruptedly, and reaches an alarmingly high note in the third visit. The three visits are not repetitions of each other in respect of their

16 The Concept of Three Unities in Ben Jonson’s Play “Volpone”, Purwarno, Fakultas Sastra, Universitas Islam Sumatera Utara (UISU), Medan, Indonesia pattern, but are carefully graded in intensity. A remarkable concentration and power are achieved by the end of the third visit. Before Act I closes, two other threads are introduced. Lady Would-be is told that she should come some three hours later, and Mosca excites Volpone‟s curiosity and lust by his eloquent description of Celia‟s beauty, thus paving the way for the mountebank scene of the attempt seduction of Celia. Act II develops, what is to be a recurrent pattern, with tension relative low at first, rising progressively to a peak higher than that of Act I. Sir Politic provides some relief from the fever at the close of the preceding scene. Not only that, his conversation with Peregrine shows a reversal of the earlier interviews between Volpone and the legacy-hunters: While the legacy-hunters proved to be Volpone‟s dupes, Sir Politic invents material for his own self-satisfied gullibility to work upon. This conversation introduces naturally Volpone‟s impersonation of the mountebank. Volpone is here in his raciest and most light-hearted mood, obviously enjoying himself and sharing part of this enjoyment with the audience. Jonson here ingeniously releave the possible monotony of his chief character remaining confined to a feigned death-bed. With Corvino‟s arrival on the mountebank scene, we get some savage comedy. It is Volpone‟s presence as a mountebank which stirs Corvino‟s jealousy, and he builds up a fantastic image of Celia‟s wantonness. But this mad fit of jealousy is no more than a prelude to his getting ready to sacrifice Celia‟s virtue for the sake of his greed. Act II ends with Corvino swearing to Celia that his jealousy has been feigned, and he behaves thus because he intends to act as her pimp. Act III opens with a boastful speech by Mosca in praise of him self as a perfect parasite. In Act III, the plotting reaches its first climax, and its first crisis which is averted by Mosca‟s quick wittedness. It can be seen from this quotation: I feare, I shall begin to grow in love With my deare selfe, and my most prosp‟rous parts, They doe so spring, and burgeon; I can feele A whimsey i‟ my bloud: (I know not how) Successe hath made me wanton. I could skip Out of my skin, now, like a subtill snake, I am so limber. O ! yuur parasite (III, i, 1-7)

17 The Concept of Three Unities in Ben Jonson’s Play “Volpone”, Purwarno, Fakultas Sastra, Universitas Islam Sumatera Utara (UISU), Medan, Indonesia

Bonario‟s suspicious attitude towards Mosca strikes the first jarring note in this Act. Mosca pacifies him with some of his most outrageous lies, and then proceeds to draw him into new snares. However, it is not clear at this stage what Mosca is aiming at, and what his motive in this scheme against Bonario is. This scene s following by an interlude provide by the trio of grotesque figures. This interlude is not strictly relevant to the plot, through one ingredient in it-the arrival of Sir Lady Would-be-has its justification. She leads additional force to the theme of avarice. Mosca‟s trick upon Lady Would-be subsequently leads to a complication in the relations of Sir Politic and Peregrine. Corvino now arrives with Celia. She refuses to do his bidding in spite of his appeals, pleadings and threats; but, at Mosca‟s suggestion, he leaves her alone with Volpone, and the scene is set for the great voluptuary‟s magnificent wooing of a virtuous woman. Celia is ultimately rescued by Bonario, and dramatic interest centres on the ruin with which Volpone and Mosca are threatened. It can be seen form the statement Volpone: Fall on me, roofe, and bury me in ruine, Become my grave, that wert my shelter. O ! I am un-masqu‟d, un sprited, un-done, Betray‟d to beggery, to infamy- - (III, viii, 275-278)

Once again we note the skill Jonson shows in his dramatic construction: the various parts of the villains‟ schemes begin at this moment to catch up on each other, so that a series of crises develops. Voltore enters, overhears Mosca‟s talk with Corbaccio, and feels suspicious of this “knave”. But Mosca pretends to be offended with Voltore for suspecting his loyalty, and Voltore has to apologize. The Act ends with everything still under control. The court scene in Act IV is technically a great feat in so far as it offers the opportunity to the dramatist to exhibit all the dupes together. It is the expected climax, the natural end to the sequence of events, fully satisfying the dramatic idea of the partnership between Volpone and Mosca. Mosca manipulates all the puppets (the legacy-hunters), one after the other. Truth is deliberately suppressed by them all in the court, and facts twisted and distorted. Corbaccio disowns his son publicly. Corvino

18 The Concept of Three Unities in Ben Jonson’s Play “Volpone”, Purwarno, Fakultas Sastra, Universitas Islam Sumatera Utara (UISU), Medan, Indonesia depicts his wife as a woman of insatiable sexual appetite having an adulterous affair with Bonario. Lady Politic falsely describes Celia as a courtesan: Lady Politic‟s role is an organic part of the plot. Jonson shows superb judgement in keeping Volpone at the dramatic centre here: Volpone‟s entry on a stretcher is made the crux of this scene. The first scene in the final Act is an excellent example of Jonson‟s keen dramatic imagination. The problem was how to show an extension of the power and skill of the two master-minds after they have already touched the height. Yet from an unpromising situation, Jonson builds up a comic climax which also highlights the central motifs of the play. This commix climax is reached in the manner in which all the legacy-hunters are dismissed by Mosca after their shocking discovery that Mosca himself is the heir. A new series of crises then begins, longer and more dangerous even than those at the end of Act III. First, Voltore the advocate, feeling disillusioned decides to speak the truth. Volpone saves the situation by the telling Voltore that the Magnifico is still alive. Secondly, Mosca betrays his master. The former partners are now at each other‟s throat. Volpone is not the man to submit. He would rather lose all than be outwitted and cheated by his parasite. The punishments awarded by the court are severe. Mosca will be a perpetual prisoner on Venetian galleys. Volpone will be put in irons; the birds of prey are banished or disgraced. Jonson winds up the play quickly, without an anti-climax. In a penetrating analysis, it can be seen that the sub-plot is important to the play as a whole as the sub-plot shows the parody of the central theme. The sub-plot is relevant to the total design of the play.

III. CONCLUSION The three unities, i.e, the unity of time, place and action, are useful in contributing to the realism of the play. The construction of the plot is characterized by an observance of the three classical unities, and by the logical development of events with a growing suspense and the ready increase in tempo. The various threads in the story become intertwined as the play proceeds. The unity of action demands that a play should be so closely knit that no part of it can be removed without causing damage to

19 The Concept of Three Unities in Ben Jonson’s Play “Volpone”, Purwarno, Fakultas Sastra, Universitas Islam Sumatera Utara (UISU), Medan, Indonesia the whole. Volpone does not entirely fulfill this condition because the scenes between Sir politic and Peregrine are not essential to the total structure or to the total effect. However, these scenes are needed for other reasons. In short, Ben Jonson has adhered to Aristotle‟s conception of the Three Unities in Volpone. In the play, the place in which the story takes place is only in one place, that is in a city called Venice. The action of the play is restricted to one day, and the action of the play also has no digression. The action goes directly to the climax of the plot.

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