English 434
Dr. Desmet
Spring 1997
Nano's body, rather than his mind or spirit, is defective. His deformity is nevertheless as much behavioral as physical, because Nano performs as a "dwarf" for Volpone. Nano is partly in control of his own identity because he manipulates his deformity to amuse Volpone. He exploits the natural tendency to gawk at and ridicule his short stature and unusual proportions. He is quite successful at seizing control of his situation.
Castrone is just that, "castrated." His defect is one of the body--physical. His castration might be a result of birth (like the title character in Chaucer's Pardoner's Tale; it might also be the result of punishment, as it is (rather ambiguously) in the case of Clem from the 2 part version of Fair Maid of the West; the castration might also be professional, a perverse occupational version of the actor's craft. Castrone succeeds in negotiating Venetian society despite his infirmity. In fact, since no one actually has sex in this play, Castrone can be said to symbolize perfectly the condition of his society.
Androgino, as a hermaphrodite, has a physical defect as well. Yet we might say that he is more "perfect" or complete than any other character in the play, since he has two sets of genitals. Androgino is "smarter than he looks," and actually seems to have a photographic memory (1.2.10). He is also described as a successful "juggler" or fool (3.3), which also suggests that he is a wizard or magician (see footnote). Androgino is an "idiot savant," like the "rainman" (1.2). Although complacent (5.5) and dogmatic (1.235). Sex is not important to Androgino, either in terms of intercourse (1.2) or in terms of gender (1.2).
Corvino is a known cuckold. His deformity, unlike those of the previous characters, is ethical, spiritual, or moral rather than physical. He has a strong need for others' approval, he is egocentric, and he exploits ("pimps") his own virtuous and beautiful wife. He goes down the social scale from merchant-- pimp. Using his wife to gain more money, he is less self- sufficient than the previous "monsters." He also is wildly inconsistent as a person (also unlike the previous monster). He is at once old and phlegmatic (in terms of humors psychology) and choleric (prone to jealous rages). As a "raven" he is a scavenger, suggesting avarice. He is unable to be either self- sufficient or to make normal human connections.
Sir Politic is mentally and spiritually empty. He needs the company of others, but does not make real human and intellectual connections. (The elaborate yet stupid nature of his spying tricks suggest as much.) He too is egocentric, pretentious, and shows the dangers of being too "sanguine" in a humors psychology. He is also guilty of avarice. Like his wife, Sir Politic creates himself through language, through talk, although he does not know what he is talking about. While the physical "monsters" are completely self-sufficient and wander through "normal" society at will, Sir Politic has no essential self of his own. At the end of the play he is disillusioned, which is a fate the physical monsters do not endure. He is also deceptive and plotting, and noen of hte "monsters" have to pretend to be what they are not. Finally, Sir Politic is a fraud, a "monster wanna-be!"
She's no "lady"! Like her husband, she is self-absorbed and shallow. She is also mean to her servants. Lady Would-Be tries to imitate the Italian courtesans, which suggests that she aspires to a sexual voraciousness that no one else in the play can attain. She is the most talkative character in the play (and has bad breath!), which means that Lady Would-Be must create herself through speech, while the physical monsters are identifiable by their physical appearance. Lady-Would Be's class is in doubt (bad breath is declasse). Volpone likens her to a storm--she calls attention to herself, as the "real" monsters do not have to. As a "parrot," Lady Would-Be is very bright and colorful. She wants to be an object of amazed sight, like Nano, Castrone, and Androgino.
Corbaccio is physically weak and weak in character. He is basically phlegmatic, but disinherits his own son, which suggests that Corbaccio does not understand human connections. He is a scavenger, attracted to bright things (sequins). He does not hear well, which also makes Corbaccio seem less human.
Thanks to all oaf the members of English 434 Spring 1997. Special thanks to Melissa Arrowood for her excellent notes.