Following Stefan Zweig’s influential adaptation of Volpone in 1926, the twentieth century saw a slew of adaptations of Jonson’s great comedy. This essay focuses on three less familiar adaptations of Volpone, which follow Zweig’s particularly twentieth-century interest in the intersection of financial scams and power. First, Lionel Bart’s musical Wally Pone, King of Soho (1958), staged at London’s Unity Theatre and set in 1950s Soho. Second, the 1962 musical Foxy, which saw a Broadway run. This version eschews direct contemporaneity, instead relocating Jonson’s narrative to a remote area in the Yukon experiencing an economic bubble at the height of the 1896 Gold Rush. Third, Larry Gelbart’s Sly Fox, a farcical comedy first staged in 1976 at the Broadhurst Theatre, New York. This adaptation also stages the invalid trick among gold prospectors, this time in nineteenth-century San Francisco. Each of these versions involves a complex repurposing of the play, to make it speak to the experience of completely different audiences. The adjustments made in these three adaptations reveal considerable transformations in value and ideology, particularly around matters of social class and sexuality. Together they demonstrate Jonson’s robust and still powerful critique of a sexually rapacious and, above all, money-driven society.

Baldesar Castiglione’s courtesy book Il Cortegiano introduced the notion of sprezzatura (a kind of ‘effortless mastery’) to early modern England. The notion of courtesy, which characterised the Middle English period, was replaced by the notion of civility. A review of the relevant research shows how the theoretical framework proposed by Brown and Levinson with the key notions of ‘positive’ and ‘negative’ politeness has been applied to the plays by William Shakespeare. The chapter continues with a third-wave discursive politeness approach that is exemplified with case studies of two plays by Ben Jonson, Volpone, Or the Fox and Bartholomew Fair. They demonstrate how default politeness or impoliteness values of specific linguistic forms interact with the discursive contexts in which they occur.