Volpone杰森（Jonson）独特的丛林愿景的出色体现，其独立的世界完全由捕食者和猎物组成。他对雇佣军和资本主义企业的蔑视令人鼓舞。对新收购社会的恶性习惯的指挥起诉表明，乔森在智力和分析成熟方面的前进飞跃。这部戏展示了整个琼森（Jonson）使用人类邪恶和弱点的严峻的新颖能力，这本身不是喜剧本身的材料，这是讽刺性喜剧的基础。迷恋的贪婪，欲望，野蛮人无视所有其他人类，甚至最终无法个人生存 - 这些很有趣，但乔森（Jonson）使他们如此。然而，他从来没有削弱他对这些残酷的唯物主义者的描绘力量，这些唯物主义者体现了“环球狼的食欲”。
- 罗莎琳·迈尔斯（Rosalind Miles），本·琼森（Ben Jonson）：他的手艺和艺术
WithVolpone，威廉·莎士比亚（William Shakespeare）自克里斯托弗·马洛（Christopher Marlowe）去世以来，这是一个认真的戏剧性竞争对手，而伊丽莎白时代的戏剧则具有重要的替代方法和材料。本·琼森（Ben Jonson）是《城市讽刺喜剧》的主人，在戏剧性的范围内带来了原始而不可思议的当代生活，并利用了不同的伊丽莎白女王时代的生活，使经典的戏剧性结构规则塑造了接下来两个世纪的新古典戏剧理想。乔森（Jonson）预定，与吟游诗人相比，在约翰·德莱顿（John Dryden）的估计中，莎士比亚的大天才蒙上了阴影，而不是被爱而不是被爱。但是在英语戏剧的历史上，只有莎士比亚和乔治·伯纳德·肖（George Bernard Shaw）对永久民族剧目的贡献比乔恩·森（Jon-Son）所做的更多。乔森坚持认为戏剧是诗歌的一种形式，是最崇高，最深刻的人类表达。乔森（Jonson）比其他任何英国戏剧家都多，他们帮助建立了戏剧作为文学，能够对人性和社会生活进行最认真的探究。莎士比亚是无与伦比的。但是，可以说，更多的剧作家声称自己的后裔是“本的儿子”。
A comparison between Jonson and Shakespeare, though irresistible and often misleading, is still instructive in underscoring their different relation-ships to the theater and dramatic practice. Born in 1572 or 1573, almost a decade after Shakespeare, Jonson was part of the next generation of Elizabethan and Jacobean dramatists who had Shakespeare’s works and the drama that he pioneered to imitate, modify, and transform. Both Shakespeare and Jonson came from similar lower-middle-class backgrounds, but Shakespeare was a countryman, who drew extensively on his love and familiarity with rural life, while Jonson was a Londoner, whose arena and references were predominantly urban. Jonson was the son of a minister who died a month before his birth. His widowed mother married a bricklayer, and Jonson was raised near Westminster where he enrolled at the prestigious Westminster School located in the precinct of the abbey. He studied under the age’s greatest classicist and antiquarian, William Camden, whom Jonson would later credit for “All that I am in arts, all that I know.” Camden would spark Jonson’s lifelong devotion to classical literature, his love of scholarship, and his self-consciously academic approach to his writing and aspirations. Jonson, in contrast to Shakespeare’s purported “little Latin and less Greek,” would proudly assert that “he was better Versed & knew more in Greek and Latin, than all the Poets in England.” It was at Westminster that Jonson was introduced to drama in annual performances mounted by its scholars. When he left Westminster, he did not, as might have been expected, matriculate at Oxford or Cambridge. (He would later express his gratitude thatVolponewas favorably regarded at “The Two Famous Universities” and dedicated the published play to them.) Instead he apprenticed as a bricklayer, becoming a journeyman by 1598. The premature end of Jonson’s formal education and his working-class background no doubt made him excessively proud and protective of his scholarly attainments and anxious that his writing should be measured against the revered classical standards. Jonson married unhappily, losing both his children to early illness, fought as a volunteer foot soldier against the Spanish in the Netherlands, and began his career as a playwright, like Shakespeare, after first acting in one of London’s professional theater companies. He would never, however, like Shakespeare, become a full partner of any playing company as a resident actor or writer. He took instead an independent line to protect his scholarly and poetic aspirations and to become more than a dramatic professional. Jonson would complain about “the lothed stage” that catered to popular tastes that were “not meant for thee, less, thou for them.”
乔森（Jonson）担任剧作家的首次亮相是不好的。1597年，他完成了狗岛托马斯·纳什（Thomas Nashe）的局部讽刺，并因煽动和合作而被囚禁了数周的煽动。乔森（Jonson）发行后，乔森（Jonson）继续合作进行了许多戏剧（现已失败），并制作了他的第一个独奏努力，案件已更改（1598年），一部来自Plautus的喜剧。其次是每个人幽默（1598）和每个人都从幽默中脱颖而出（1599年），由莎士比亚公司（Shakespear's Company）的《张伯伦勋爵的男人》（Lord Chamberlain's Men）表演，该公司将乔森（Jonson）确立为即将来临的剧作家。大约在首次亮相的时候每个人幽默乔森（Jonson）在一场决斗中杀死了一位年轻演员，并再次被监禁，避免了神职人员的古老利益，因为他可以读书。当詹姆斯一世（James I I）于1603年来到王位时，乔森（Jonson）赢得了赞美和赞助，尽管被认为是国王和苏格兰人在1605年被监禁的，但由于被监禁而被监禁。向东！在乔森（Jonson）因悲剧Sejanus的失败之后，该悲剧是在1603年在Globe Theatre舞台上发出的嘶嘶声之后，Jonson与Volpone，他的第一件无可争议的杰作，在1606年在全球盛行。Volpone标志着一种新型的道德喜剧，并展示了乔森的成熟风格和建筑，并加入了他钦佩的古典模特，以获得英语戏剧的流行传统。Volpone发起了一系列漫画杰作，包括上环（1609），炼金术士（1610），Bartholomew博览会（（1614), and魔鬼是屁股（1616）。
乔森（Jonson每个人的幽默，宣布他作为漫画作家的忠诚为“契据和语言，例如男人的使用”，并介绍了“时代的形象”，体现在普通角色和日常情况下 - “与人道的愚蠢，而不是犯罪，。”他批评当代戏剧家“所有的犯罪许可对上帝和人类的许可”，因为他们的不可能的情节依赖事故，巧合以及错误和隐藏身份的陈旧造成的仇恨，因为他们的喜剧，悲剧，悲剧，悲剧，悲剧，悲剧，悲剧，悲剧以及违法行为时间，地点和行动的统一语言不适合演讲者，并因人为的情绪和轰炸而损害。Volpone或Fox清楚地表明了乔森的回应。乔森（Jonson）并没有在莎士比亚（Shakespeare）在喜剧中依靠的传统浪漫阴谋，而是嘲笑漫画嘲笑“当时破烂的愚蠢”。乔森（Jonson）融合了狩猎财富的情节和罗马喜剧的性格类型与道德戏剧的本地寓言元素和野兽寓言，乔森（Jonson）巧妙地安排了人类贪婪主题的变化。戏剧的中心是Volpone，福克斯，文艺复兴时期的威尼斯人策划者和他的仆人莫斯卡（苍蝇），他们从那些渴望沃尔珀的人的宠爱中勒索了沃尔珀（Volpone）的青睐，因为Volpone假装是一个需要继承人的垂死的人。随着戏剧的打开，Volpone发出了对黄金的援引，这使戏剧的主题是Avarice的主题：
一天早上好；接下来，我的黄金！
打开神社，我可能会看到我的圣人。
冰雹世界的灵魂，我的灵魂！比以下
充满渴望的太阳的地球
。。。你的儿子，索尔，
但是比你父亲更明亮，让我吻，
有着崇拜，你和每个遗物
Of sacred treasure in this blessed room . . .
财富，愚蠢的神，给所有人的舌头，
那罐子确实毫无疑问，但麦克的人做了所有的事情。
灵魂的代价；甚至地狱，带你启动，
Is made worth heaven. Thou art virtue, fame,
荣誉和其他事物。谁能得到你，
他将是高尚，英勇，诚实，明智的 -
Volpone’s morning devotional—his sacrilegious worshipping at a golden shrine from which all blessings are derived—sets the tone for the gulling of three birds of prey, snared by their own cupidity. The lawyer Voltore (vulture), the aging gentleman Corbaccio (crow), and the merchant Corvino (raven). The allegorical arrangement recalls the medieval beast fable in which a fox feigns death to catch and eat the carrion birds but with the appetite for food here replaced by a craving for gold. Each arrives with presents and is assured in turn that he is to be Volpone’s choice to inherit his fortune if their gifts continue to fi nd favor with him. Corbaccio is advised to disinherit his son and leave his fortune to Volpone; while Corvino, whose beautiful and virtuous young wife Volpone lusts after, is to deliver Celia to the supposed decrepit and impotent Volpone’s bed for medicinal purposes. Compared to the slow-witted, unimaginative prey, Volpone and Mosca tower above them as ingenious, consummate actors, totally adaptable to their audience, totally consumed by their parts, with a zest for deception and intrigue that will be their eventual undoing. To relieve and expand the play’s satirical attack on greed, Jonson introduces the foolish Sir Politic Would-Be and his wife, English travelers whose inflated self-regard shows how easily fools can be manipulated by self-centered delusions. What is striking about Jonson’s arrangement here is his centering the play on a comic villain and his parasite. While Elizabethan tragedies featuring monstrous characters had been common since Marlowe’s Tamburlaine, few Elizabethan comedies had ever dared such a complete capitulation to the villainous hero and his sidekick.Volpone展示了一个仅由knaves，Gulls和两者的无辜受害者居住的世界。乔森（Jonson）在这里间接提出了他的讽刺性论点，不是通过善与恶的反势力来反对他的角色的恶习和道德失败，而是通过通过讽刺，虚伪和自我欺骗而繁殖和夸大的，从而使听众拒绝了他的听众这些错误的价值观通过嘲笑。乔森（Jonson）策略的核心是，角色的贪婪将确保自己的失败。正如Volpone所指出的那样，“这是一种罕见的惩罚 /对本身的贪婪。”
当沃尔彭（Volpone）的策略推翻了伏尔塔尔（Voltore），科巴西奥（Corbaccio）和科维诺（Corvino）的当之无愧的诱捕，以切断父亲和儿子和夫妻之间的自然纽带，以使他的目的终点。Corbaccio的失误儿子Bonario目睹了Volpone作为Celia的热心爱好者，并防止Volpone的强奸。然而，无辜者的胜利应该很快变成了狂暴的自助服务者的更加险恶的胜利。在随后的审判现场中，真理是由律师伏尔塔尔（Voltore）屈服的，他们将西莉亚（Celia）和博纳里奥（Bonario）扮演犯规计划，淫荡的通奸者和无辜的沃尔珀（Volpone）的无情受害者。判断此案的四个Avocatori无法克服自己的偏见，自我满意以及对财富和等级的态度。正义不仅是盲目的，而且是不明智的，而且在食欲的鲁棒下，所有人的机智倒置似乎都是完整而完全的。
Volpone通过最后展示了他对代表他伪造的海鸥的权力，庆祝了他的预期法律胜利。他预先准备死了，并把自己的财富留给了莫斯卡，因为他们在得知受害者被欺骗时会如何回应。终于不是贪婪，而是骄傲，使沃尔潘倒下了，因为莫斯卡（Mosca）仅忠于金钱，决定保留财富。要恢复它，Volpone必须揭示情节和他自己的欺骗。当法院重新召集时，Voltore撤回了他的虚假证词，而且，由于Mosca击败了他，Volpone抛弃了他的伪装并揭露了包括他本人在内的所有人。终于揭示了真理，并没有由任何强大的善良力量重新确立，而是由剧本的首席反派供认，他们牺牲了他为复仇而牺牲了他的安全。适当的惩罚适合每种罪行，莫斯卡保留了最糟糕的罪行，莫斯卡（Mosca。Avocatori sanctimine intones：
让所有看到这些恶习的人都得到奖励，
振作起来，爱学习！恶作剧饲料
像野兽一样，直到它们发胖，然后流血。
But there is precious little moral reassurance here in the wisdom of authority, in justice, or in the moral force of virtue over the appetites for self-supremacy. Jonson’s bracing and daring comedy, grotesquely and ludicrously magnifying our worst capacities, is turned into a mirror by which we are forced to recognize unflattering and disturbing resemblances. By shifting the focus of comedy from dreamy and delightful wish fulfillment to actuality, Jonson helps establish drama as an instrument for both truth and moral instruction, even as he delights with the skill of his construction and the daringness of his conception.
类别：戏剧批评，，，，伊丽莎白汉诗歌和散文，，，，文学批评，，，，文学
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