The ambiguous and separate natures of Mosca and Volpone The "dynamic duo" of Mosca and Volpone in Ben Jonson's play Volpone is consistently and inconsistently similar. Oddly enough, appearances can be both correct and misleading indicators of each character's traits. The obvious notions of each player are often replaced by the complexities of individuality. Taken together, Mosca and Volpone are both childless, unmarried, and cunning deceivers. Both are guilty of unbridled materialism and sordid betrayals. Additionally, each character depends on some form of disguise, physical or mental (1.1.1,31; 1.2.73). Both lust after women, are presumably childless and unmarried (1.2.117-118). Mosca and Volpone are both similar in connecting to their personalities through metaphor. The differences, however, emerge quite early. The establishment of a social hierarchy in the work is a worthy consideration 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. Moscow remains without the saving graces of gentleman status (5.12.18). Increasingly, the metaphorical affiliation of Moscow (the housefly) conveys its communal existence and non-influential social class. Furthermore, Moscow resents being Volpone's support system and framing his wealthy supporters for scams. Moscow is (at best) praised for being a "handsome devil" (5.3.46). Furthermore, as a parasite, Mosca feels the need to be appreciated for his services: "See, sir, how I work / To your ends..." (4.6.91-92). Another distinction between the two characters is that Mosca feels proud (even in reliable soliloquies) of his prosperous misdeeds. Mosca observes, "I fear I shall begin 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, although equally witty and deceptive, proves to have more power in the relationship. Volpone uses this ability to attempt to claim Celia's hand despite Mosca's unverbalized attempt to do the same (1.5.108-116). As a nobleman, it is obvious that Volpone is more "wrong" for his aspirations. However, in his pursuit, Volpone has real ethical problems (unlike Mosca) with his actions. He speaks of expelling a conscious "humour from [his] heart" and cries "What a vile wretch was I" (5.11.12-15). Mosca is also the driving force in reigniting Volpone's wickedness in the two's attempt to "deceive the court"." (5.