The Ambiguous and Separate Natures of Mosca and VolponeThe "dynamic duo" of Mosca and Volpone in Ben Jonson's play Volpone are similar in consistent and inconsistent ways. Oddly enough, appearances can be both correct and misleading indicators of each character's character traits. The obvious notions of each player are often replaced by the subtleties of individuality. Considered together, Mosca and Volpone are both childless, single, and cunning deceivers. They are both guilty of unbridled materialism and sordid betrayals. Additionally, each character relies on some form of disguise, physical or mental (1.1.1,31; 1.2.73). Both lustfully desire women, are presumably childless and single (1.2.117-118). Both Mosca and Volpone are similar in how they relate to their personalities through metaphor. However, differences appear quite early. The establishment of a societal hierarchy in the play is a noteworthy element in the comparison between Mosca and Volpone. Mosca is bound and resistant to his submission as a "parasite" to his equally dishonest benefactor (Volpone) (1.1.69). Mosca's place in society is much less considerable than Volpone's, as his longer and more severe punishment reveals. Mosca finds himself without the saving graces of gentleman status (5.12.18). Increasingly, the metaphorical affiliation of Mosca (the housefly) reflects his shared existence and non-influential social class. Additionally, Mosca doesn't like being Volpone's support system and inciting his wealthy supporters into scams. Mosca is (at best) praised for being a "good devil" (5.3.46). Furthermore, as a parasite, Mosca feels the need to be appreciated for his services: “You see, sir, how I work/For your purposes…” (4.6.91-92). Another distinction between the two characters is that Mosca feels proud (even in reliable soliloquies) of his prosperous misdeeds. Mosca remarks: “I fear I am beginning to fall in love/with my dear self…” (3.1-2). His pride turns to malice and a plot to kill his own master in a "fox trap" (5.5.18). Volpone, while equally witty and deceptive, demonstrates that he has more power in the relationship. Volpone uses this ability to attempt to claim Celia's hand despite Mosca's unspoken attempt to do the same (1.5.108-116). As a noble, it stands to reason that Volpone is more “wrong” about his aspirations. However, in his pursuit, Volpone has real ethical problems (unlike Mosca) with his actions. He speaks of expelling "the conscious humor from [his] heart" and cries, "What a vile wretch was I" (5.11.12-15). Mosca is also the driving force that reignited Volpone's evil in the duo's attempt to "deceive the court »." (5.