Desire plays a major role in Volpone by Ben Jonson. The most dominant theme in this play is by far greed, but desire and lust also play significant roles as well. Volpone and Mosca develop a scheme to manipulate Voltore, Corbaccio, and Corvino into giving Volpone gifts because of their desire to be named his heir, Volpone and Mosca desire not only to accumulate wealth from their scheme but also to outsmart everyone, and Volpone desires Celia despite her disgust towards him.
At the beginning of the play Volpone says to Mosca, “Yet I glory more in the cunning purchase of my wealth than in the glad possession, since I gain no common way.” (1.1 30-33). This statement shows that Volpone’s desire to be the best con artist outweighs the importance he places on the wealth that he accumulates. His desire to fool everyone is fueled by the desire to ascertain Volpone’s wealth of Voltore, Corbaccio, and Corvino. Once Volpone sees Celia, his desire quickly changes from gaining wealth through his scheme to claiming the love of Celia, although it seems that he has more lust for her than love and will do anything to have sex with her. Celia is one of the few symbols of good in this play and she is saved by Bonario when Volpone tries to rape her.
Desire can be strong motivation for the actions of individuals. In many cases, people desire to reach a goal that represents success to them. However, in Volpone, Ben Jonson manipulates human nature to twist his characters’ desires to yearn for unethical things, causing them to act in a grotesque manner at times. Corvino prostitutes his wife, Volpone attempts to commit rape and adultery, and Mosca manipulates Voltore into lying and nearly has two innocent individuals punished for crimes that they did not commit. Nearly every character in this play, with the exception of two, has a rotten core and some even acknowledge their wrongdoing and yet they still do not care. Desire is a powerful emotion and when the goal is bad, the means to reach that goal may be worse than the goal itself.
Desire is a central motive in all dramatic literature, I think: as Thomas says, it drives characters to extreme actions that reflect on our own, presumably less spectacular behavior.