At first impression, Ben Jonson's Volpone has the most authority of all the characters in the play. Indeed, Volpone's initial high social rank provides him with the privilege of transforming into various identities without tangible social consequences. In contrast, Mosca's rank confines him to the role of Volpone's parasite. He constantly helps Volpone in the transformation, but can never take part in the transformation himself. However, when Volpone finally falls, the parasite usurps Volpone's primary identity and seemingly gains the benefits of his rank. His new habit of being very clear gives him more respect: “Here comes the gentleman; make way for him” (V.xii. 48). Yet, having been given license to transform, Moscow shows a desperate need for fixity. Moscow must consolidate its transformation by grounding its status in reality. As long as Volpone lives, Volpone retains part of his former identity and can expose himself and the scam. This places Moscow in a vulnerable and liminal role between parasite and host with the threat of social reordering looming over it. The first scene of the play indicates that Volpone's high status afforded him flexibility of identity. Jonson presents Volpone as a nobleman whose status exempts him from securing his fortune in a way that is anything but "noble, valiant, honest..." (Ii 27). In particular, Volpone establishes a direct connection between class and money by commenting on how others must work for their wealth, but his status allows him to “glory/More in the cunning purchase of my riches/Than in the happy possession” (Ii 30 -31). Through this line, Jonson implies that Volpone's high social rank relieves him of financial anxiety and allows him to engage in elaborate disguises and immoral schemes. Jonson further disp...... middle of the sheet......." Project MUSE - "Monstrous Manner": Style and the Early Modern Theatre. Np, nd Web. 1 May 2014."common, n.1 ." OED Online. Oxford University Press, March 2014. Web. 5 May 2014.Hyland, Peter. Disguise on the Early Modern English Scene. Farnham, Surrey, England: Ashgate Pub. Co., 2011. Print.Jonson, Ben , and Richard Harp. Ben Jonson's comedies and masks: authoritative texts by Volpone, Epicoene, The alchemist, The mask of darkness, Mercury avenged by the alchemists at court, Pleasure reconciled with virtue: contexts, backgrounds and sources , criticism.. 2nd ed. New York: W.W. Norton, 2001. Print.Maltby, Robert. “Classical Receptions in English Drama and Poetry from About 1970 to the Present". 2014.