Tuesday, February 6th:  Acts 1-2
1.  In Act I, scene 1 (pp. 1131-2), Volpone lists the many means of making money (honestly and dishonestly) that he does not use.  What is his "trade"?  How does he make his money?
2.  Trace the gold imagery in the first three acts.  What functions does gold serve in the world of Volpone?
3.  Jonson draws on animal fables for his characters' names and personalities.  How does this technique affect your expectations as a reader?  Does the text fulfill those expectations?
4.  Other than Mosca, the only members of Volpone's household are his three servants (rumored to be his illigitimate children).  In each of them, the natural body of a man has been in some way warped, mutilated, or curtailed: Nano is a dwarf, Androgyno a hermaphrodite (a person with characteristics of both sexes), and Castrone a eunuch (a castrated male).  What is the effect of Volpone's bing surrounded by such creatures?
5.  Note the performance given by Nano, Androgyno, and Castrone in Act 1, scene 2.  It is a dramatic rendering of a popular Italian prose form, the paradox, in which the writer makes a witty display by considering (usually scornfully) some supposedly paradoxical assertion.  Donne wrote some such prose paradoxes (e.g., "That a wise man is known by much laughing," which defends that idea in face of the usual proverb that you know a man is a fool if he's always laughing).  Volpone's minions present a Praise of Folly.  What is the point of this play within a play?
6.  In Act 2, scene 1, Peregrine and Sir Politic Would-Be converse.  How is this scene related to Act 1?  And what is Peregrine's function in the play?  How are we (as readers or audience members) to understand his role in relation to the other characters we have seen thus far?
7.  In Act 2, scene 2, Volpone adopts the "disguise" he decided to use at the end of Act 1.  Taking on the role of the mountebank Scoto of Mantua, he sets up a stage near the house of Corvino.  His speeches in the person of Scoto are printed in italics.  His act is to hawk "Scoto's Oil" ("oglio del Scoto"), a cure for all ills; how does his performance as Scoto compare to his performance as a dying man in Act 1?
8.  Celia appears at her window and throws down a handkerchief full of coins to the supposed mountebank below.  Why do you suppose she does this?  And what do the various characters in the play assume to be her motivation?  Does her motivation matter in the overall scheme of Jonson's play?
9.  In scenes 6-7 of Act 2, Corvino's greed takes precedence over his jealousy, so that he becomes willing to become a bawd or pander (i.e., a pimp) selling his own wife to Volpone.  Compare his speeches to Celia at the end of scene 5 (lines 48-73) and in scene 7 (lines 6-18).  What ironies emerge from the language he uses in each case?

Thursday, February 8th: Acts 3-5
1.  At the beginning of Act 3, Mosca speaks a grand soliloquy on his profession: that of the parasite.  What is a parasite?  Who qualifies as a "sub-parasite"?  If "Almost / All the wise world is little else, in nature, / But parasites and sub-parasites," does anyone qualify as another kind of being?
2.  Lady Politic Would-Be is, like Voltore, Corbaccio, and Corvino, a fortune-hunter.  But is she in the same category with the other three?  What, if anything, sets her apart?  As you think about this question, take a look at this web page (again by Jason from the University of Georgia) on Courtesans in Venice.
3.  What means does Volpone use in his attempt to seduce Celia in 3.7.139-154?  In 154-164 of the same scene?  In the "Song" that follows?  And in 185-239?  All of these attempts at seduction fail because of Celia's unassailable virtue.  At what, if anything, do they succeed?  Do they have an effect on you as a reader?
4.  How do Volpone's addresses to Celia in 3.7 compare with his address to gold in 1.1?
5.  Is there any shift in the degree to which the audience (or reader) identifies with Volpone and/or Mosca at various points in the play?
6.  What does Peregrine's trick on Sir Pol add to the play's plot and  theme?
7.  With whom, if anyone, do the audience's (or reader's) sympathies lie in the play's final scenes?
8.  Courtroom scenes are versions of the play-within-a-play technique, for lawyers and witnesses are performers very conscious of the audience that will judge them.  How good are the performances in the courtroom scene of Act 5, scene 12?  How does the courtroom "play" compare to the earlier plays-within-a-play (such as Volpone's deathbed act or his performance as Scoto)?  How does the courtroom play-within-a-play relate to the play Volpone itself?  That is, how do the performances in the courtroom (directed toward the judges) comment on that of the play Volpone (directed toward the theater audience)?
5.  How do the various punishments meted out to Volpone, Mosca, and the others compare?  Why are they so inequitable?
6. In Act 3, attempting to defend against the foul plans of her husband, Mosca, and Volpone, Celia declares her dedication to the preservation of honor (her own and her husband's).  Corvino's response dismisses her scruples.  Is Celia's view of honor vindicated by the end of the play?
7.  The Norton introduction to the play speculates "that what Venice is in the play, England is about to become, in the city of London, the year of our Lord 1606"; and that Jonson, given his "vigorous social morality, would not have rejected" such an interpretation.  Do you agree that Jonson's play is a warning for Englishmen about their own society?