In Ben Jonson's Volpone, Celia represents the epitome of femininity in Renaissance literature. She is beautiful, submissive, silent and unable to resist her husband's control over her every movement. While it is disturbing that her gender makes her a victim of male characters like Corvino and Volpone, who treat her as if she were a commodity to be conquered, this essay seeks to reveal the reasons why masculinity is threatened by female strength and strength. autonomy, not to victimize female characters within Jonson's work or vilify men as the root of this injustice. Because masculinity and femininity cannot exist without each other, both men and women must be willingly or forcibly complicit to function within this binary. By examining female sexuality and morality not only in Celia's characterization but also in that of the Aspiring Political Lady, Jonson reveals how women are trapped in a double bind within the patriarchal structure of Renaissance England; they must conform to their feminine roles or risk being alienated from their communities. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essayCelia, the wife of Corvino (one of Volpone's victims) has completely conformed to the feminine role of a real married woman. Mosca introduces his character in the play by informing Volpone: “It is kept as carefully as your gold:/ It never comes abroad, it never takes air/ But at the window. All his looks are sweet/ As the first grapes or cherries, and are watched/ As near as they are” (Jonson 2.0 ll. 118-122). Although Corvinus married Celia because she embodied the virginal and moral qualities of the “feminine,” now that she lives in his home it becomes his responsibility to maintain her virtue. He keeps it locked within himself so that it is not corrupted by external influences. Volpone, having learned this news, finds Celia sexually attractive not only because Mosca tells him of her beauty but also because he compares her to Volpone's gold. For Volpone, wealth is the source of his power in the community and therefore strengthens his masculinity. If Celia is Corvino's gold, Volpone ultimately wants to have sex with her to prove that he is more masculine than all the men involved in his scam. In the article "Desire and Domination in Volpone", Howard Marchitell explains that the reason Celia is sought by both Corvino and Volpone as a prize is that "Celia is the model of a woman who is commodified and exchanged between men" (298 ). Throughout the play, Jonson characterizes Celia as flat, one-sided, and static to use her as an example of any woman who conforms to her feminine role and then becomes a target for men like Volpone, who simply want to use her to enhance their own reputation. Blissfully unaware of the danger surrounding her femininity, Celia purchases from Volpone (in disguise) a powder that, according to him, was used by Venus and which, "kept her perpetually young, lightened her wrinkles, firmed/her gums, filled her skin, [and] colored her hair” (Jonson 2.2 ll. 234-236). Conforming to her feminine role has undoubtedly put Celia in a position where she is easily victimized by the men in her community, but the consequences of not conforming are perhaps even more severe than the danger she now faces. She buys the powder because she believes it is necessary to preserve her feminine appearance to remain in her husband's favor. By marrying a nobleman, Celia has gained status within the community and lives the lifestyle of a noblewoman. By moving away from the feminine you risk losingher status as her husband's wife and is also in danger of being alienated from her community. Aspiring Lady Politics, on the other hand, is an example of a woman seen as somewhat masculine by members of society and is therefore often ignored and avoided by men of status. When the self-styled Lady visits Volpone, who she believes is seriously ill, and attempts to have a conversation with him, he seems completely disgusted by his presence, stating "The sun, the sea will not stop before / of his eternal tongue!" Nothing can escape him” (Jonson 3,4 ll. 84-85). Not only is Volpone not interested in anything a woman might have to say to him, but he also seems surprised that a married woman lacks proper feminine modesty and shows up at his house unaccompanied. Her independence is extremely unattractive to Volpone because self-employed women in this community are likely prostitutes. Volpone is not interested in women considered promiscuous because he cannot demonstrate his masculinity by having sex with a woman who is not a model of femininity. Yet even if Lady Aspirant isn't feminine enough for Volpone, she is in many ways trapped in the same double bind as Celia. When Mosca interrupts the conversation with Volpone and tells her that her husband is “rowing on the water in a gondola / With the most astute courtesan in Venice” (Jonson 3.5 ll. 19-20), the self-styled Lady immediately leaves so she can intervene . She is aware that other women who have embraced their feminine roles may have greater appeal to her husband than to herself. This is a threat to her quasi-independence, because as a married woman she is somehow accepted in the social sphere of the community, whereas without her husband she would no longer be welcome. Even as she pushes the boundaries of her role as a wife, she is unwilling to completely let go of her position because without that status she would be completely alone and have no way to support herself. This cycle of oppression then leaves her with only one viable option, and that is to perform her gender with enough effort to maintain her marriage. The aspiring lady only performs her gender when she feels threatened; however, because Celia is married to a man who constantly tries to prove his masculinity, she must constantly remain a model of femininity, especially in her sexual behavior. Unfortunately she makes the mistake of showing herself in public when a disguised Volpone sells her his miracle powder. When Corvino catches her in the act, he is full of anger; ranting, "You were an actor with your handkerchief! / Which he sweetly kissed on the receipt, / And you could no doubt return it with a letter, / And point out the place where you might meet" (Jonson 2.5 ll. 40-43). Although Celia simply handed Volpone her handkerchief with a coin inside to pay for the powder, Corvino sees her public appearance with another man as a sexual act. The social implications of Celia being seen with another man threaten Corvino's power and ultimately his male status within his community because she is his wife and therefore his property, over which he should have control . In his article on Volpone, Marchitell reveals the reasons behind Corvino's behavior, stating: “Corvino fears that Celia, through cuckolding, will displace him from his many social ties with men: that he will lose his honor and his place in society male which is based primarily on the domination of women” (Marchitell 297). While Celia is one of Corvinus' most prized possessions, she is also potentially the most dangerous threat to his status. In a society where a man's wife is a reflection of his own character, Corvino believes that any public sexual behavior displayed by Celia.