Group+Eight



=By Ben Johnson =



  //**Volpone is the story of a wealthy man who loves his money almost as much as he loves acquiring it. In this play by Ben Jonson, set in 17th century Venice, Volpone and his servant, Mosca, devise a plan to trick three men who wish to acquire Volpone's fortune: Voltore, Corbaccio and Corvino. Volpone pretends to be on his death bed, while Mosca plants the rumor that Volpone will likely leave his fortune to whoever gives him the best gifts. While the three men vie for his favoritism, Volpone milks as much as he can from them, finally he asks Corvino for a night with his wife. Corvino’s wife, Celia, is a chaste woman and has no intention of making a cuckold of her husband, even at his request, so she resists. Volpone attempts to rape Celia, but she is saved by Corbaccio’s son. Volpone, Mosca, Voltore, Corbaccio, and Corvino lie at the rape trial and Volpone gets off. Volpone’s final deception is faking his own death and leaving all of his money to Mosca, but the plan backfires when Mosca refuses to give up his new wealth. In order to reclaim his fortune, Volpone confesses to all of his trickery, and all five of the men are punished. **//

= Author and Identity =  In the webpage written by Jokinen, it is stated that Ben Jonson was an English Renaissance poet, and actor, and was best known for his satirical plays. He was surrounded by tragedy throughout his life. It is said that his father died when he was very young and he also lost his eldest daughter when she was just six months old, and his son when he was about seven years old. People would have expected him to write tragedy plays, but he focused on satire. Some of his plays, such as __Epicoene: or the Silent Woman__, __The Alchemist__, and __Bartholomew Fair__, were written about people who had deceived him.  First, in 1598, Jonson killed Gabriel Spencer, a fellow actor, and was tried for murder. He escaped by pleading the benefit of clergy, which means the exclusion from the jurisdiction of the secular courts. That same year his second play, “Every Man in His Humour”, was performed with William Shakespeare in the cast. Because of Jonson’s temperament, and confidence of his superior talent, the “War of the Theatres” begins. This is a controversy that gives an insight into the rivalries and interconnections of various dramatics of the time. Various writers were attacking Jonson using their plays by writing about him. <span style="font-family: 'Arial','sans-serif';">Jonson got in trouble with the law by writing a play called “Sejanus”, which is based on the history of Rome, and offering an insightful view of dictatorship. He was imprisoned for a short period. Although this shows how Jonson really is, most of his reputation was based of the comedies written between 1605 and 1614. The play that is said to be his masterpiece is called __Volpone, or The Fox__. The plays written after __Volpone, or The Fox__ were not as successful, so he started focusing on writing masques, which is a dramatic entertainment performed by masked people representing mythological or allegorical figures. Jonson died from a stroke. He was able to write one last play before he died but he wasn't able to complete it. This play was called __Sad Sheperd's Tale__, and it was published in 1641. <span style="font-family: 'Arial','sans-serif';"><span style="font-size: 80%; font-family: Arial, Helvetica, sans-serif;"> Maria Coronel

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=** <span style="font-family: Georgia,serif;">Crime, Punishment and Identity **=

<span style="font-family: Georgia,serif;"> During the Elizabethan era crimes were divided by the two classes, the elites and the commoners, and both classes were subject to the laws set forth by the Queen. Crimes commited varied from high treason to poor begging depending on your social standing The punishment for breaking the laws varied from starvation to death. Punishments were not only harsh, but were used as means of setting an example. In __Volpone__, we will explore the various crimes committed by each character and how these characters identify with society.


 * History of Crime and Punishment**: Even before the Middle Ages criminal sterotypes existed, and became even more common during the Elizabethan era. Theft, witch craft, rape, riots, domestic violence and murder were all too common in the era of __Volpone__//.// According to Wendy Griswold, crimes of property theft were most common, and these crimes were five times more common than assaults and ten times more common than homicides. As England begins to separate from the church the crimes committed by criminals become less about sin. and more about the offenders responsibility for their actions. __Volpone__ represents the changing times, because by the end they each much take responsibility for their crimes.

The arrest of criminals was determined by the crime committed, in most cases relatives or the victims were responsible for the arrest of the criminal. Watchmen were present, but not in the capacity as they are today, most watchmen were carrying out their civic duty, and eventually as time progressed these watchmen were replaced with paid police officers who began policing and keeping crime to a minimum. According to Clive Emsley who contributed to __History of Crime and Punishment__, for //Encarta//, most urban areas spent more time preventing crime than in the countryside, because there was the advantage of anonymity. Most punishments were barbaric, and were used to deter other criminals from committing the same crime. About four percent of criminals who committed capital crimes were executed. Execution, in the form of a beheading or a hanging, were the most common forms of punishment, but were not the only forms. Whipping, shaming punishments, witches were burned at the stake, mutilation, banishment, and prison time. Instead of executions most criminals were given the option to live if they could read psalms.

The characters followed in __Volpone__ each experience their own crimes, and betrayals from other characters. Understanding the crimes most common during the Elizabethan era allows us to better understand the characters in Volpone, and their motivations. Depending on your social standing and the crime committed your punishment may or may not reflect the crime committed, and as we read __Volpone__ we will discover the innerworkings of deceit and criminal behavior.

Lauren Wilkinson

= <span style="font-family: Georgia,serif;">**Class Structure and Identity** =

Class structure is an important element in understanding literature and historic situations alike. Whether you're dealing with class within a family, a community, or society as a whole, understanding of class structure allows you to make inferences of certain actions and/or events. Familiarizing yourself with the different structures enforced during the time a work is written helps you view the piece in it's historical context. For the purpose of further comprehending Ben Jonson's __Volpone__, it's important to understand social classes and how they relate and influence the actions of the characters in the play.

Social status plays a huge part in the development of the story. In Elizabethan England, power and status was attained by wealth. According to William Harrison, a historian who contributed to the book //[|Descriptions of Britain and England]//, you only reached the status of Baron if you made a certain amount of money a year. Volpone, our main character, is a wealthy man who's "in love" with his money and wishes to keep it that way. Not only does this high status of wealth lend to the credibility of his greedy character, but gives him power above the lower classes which he manipulates in the story. Likewise, all the characters act with as much power as their social status allows. The only character who seems to overstep his class is Mosca, Volpone's assistant/servant who helps Volpone develop his schemes as opposed to just being a free servant or Yeoman, a newly developed middle class. Not only does Mosca hold an intellectual role in the play, he, in the end, comes out the winning mastermind and minipulator, outsmarting his master and the other characters. Mosca's triumph is a demonstration of the superiority of the newly emerged middle class and the power they had accumulated.

The social status of the characters in __Volpone__ helps us better understand not only the characters, but the context in which this piece was composed in Some actions are limited due to a class a character belongs to. It also makes the characters more relatable and helps the audience for which this play was written for, the Elizabethan people, understand.

Amanda Marin

=<span style="display: block; font-family: Georgia,serif; text-align: center;">Wives and Identity <span style="display: block; font-family: Georgia,serif; text-align: center;"> <span style="display: block; font-family: Georgia,serif; text-align: center;"> = <span style="font-family: 'Arial','sans-serif';">In the era of Ben Johnson, women’s lives were different than those of women today. Through a historical microscope Johnson’s play __Volpone__, can be used to discover truths about the lives of wives in early 17th century England. Women were often pegged into stereotypical roles, such as the good Christian and they were expected to follow their husband’s commands without protest. Wives in the Johnson period had little control over their lives outside of the private sphere. <span style="font-family: 'Arial','sans-serif';">In the early 1600’s married women had little legal autonomy from their husbands. They could not own property, they couldn’t vote, and even divorce was seen as something only a man could justifiably do. When Volpone attempts to rape Celia, with her husband’s consent, the following court case is biased considerably in favor of men. All it takes to get Volpone off is the testimony of other men that Celia was unfaithful. This is representative of women’s place in the legal system. <span style="font-family: 'Arial','sans-serif';">Celia’s refusal to prostitute herself places her in an ambivalent moral position. On one hand the ideal woman of the time was the Christian who had “wisdom, piety, humility, meekness, love, constancy, charity, good household government and godly devotion” (Trill, 33), but on the other hand women were supposed to obey their husbands. In __Volpone__ Celia represented this Christian woman, but Johnson takes a deeper look at how the stereotype is at odds with the greed that Corvino possesses. The idea of a good Christian woman being told to sin by her husband places two common standards of a good wife at odds. __Volpone__ takes the stereotypes of a greedy man and a pious woman and applies the opposing views to a marriage in a way that shows the reader who was really in control in marriages in the 17th century. <span style="font-family: 'Arial','sans-serif';">In [|"The Influence of Ben Johnson's Volpone on Mary Wollstonecraft's Maria, or The Wrongs of Women"] Ivan Canadas discusses the way women, in the time of "Volpone," were often treated as commodities by their husbands. The relationship between Celia and Corvino demonstrates the lack of caring husbands sometimes showed towards their wives. Corvino tries to prostitute Celia, as if she were a tool that he could use to further his own economic standing, this was the marital status that many 17th century women found themselves in. Corvino's actions towards Celia waiver between paranoid jealousy and selfishly using her, in this it is seen that Corvino believes that Celia is his 'property' to be used and treated as he sees fit. Canadas also argues that the men believe their wives have a duty to use whatever they can to make his life better, so when Celia refuses to prostitute herself the only thing Corvino can say is "if you be loyal and mine, be won respect my venture". He shows no concern for what she feels, only for what he can gain from her use.

Brandy Cyrus

=<span style="display: block; font-family: Georgia,serif; text-align: center;">Art and Architecture =

Though commissioned art was primarily for the ruling classes, everyone in 17th century Venice would have been very familiar with art in the form of churches. Not only would Venetians have seen beautiful architecture in these churches but would have also seen many elaborate Christian themed sculpture inside these buildings. Churches were generally in the basilica style and took as long an centuries to complete. Lower and middle classes were usually without personally owned art since commissioning would have been beyond their means but were however the subjects of many paintings. A wealthy Venician man such as Volpone would have been able to afford such luxuries as fine art. However, the character of Volpone was more concerned with the acquisition and maintenance of wealth than what that wealth could buy him so fine artwork was not an element in __Volpone__. .

According to Kleiner, Italian art in the 17th century usually fell into the Baroque category. Baroque art and architecture was created in a dramatic and bold style. Previously, Italian artists were very interested in ordered depictions similar to the Classic model from ancient Greece and Rome. But Baroque art moved more into the realm of dynamic and active representations. Sculptures were generally meant to be seen from all sides, only to be taken in fully if the viewer walked around it. Faces were very expressive and bodies in full motion, as if the artist had taken a snapshot of a moment. Bernini's David for instance, captured the moment before the Biblical figure David was to throw a rock at the giant Goliath. This sculpture could not simply stand in a corner to be viewed from one angle. It required space around it so that the viewer could take in the sculpture from al angles, as the artists intended.

Baroque architecture emphasized grand vertical structures. The idea was to make the building appear even taller so rounder features such as arches were taken away and replaced with more linear elements. Baroque paintings were also very dramatic and dynamic. Artists used a technique popular at the time called "chiaroscuro", meaning light and dark. The effect was paintings that appeared to have a light cast upon figures in a very dark setting. For example, in the image on the left, Artemisia Gentileschi depicts an extremely intense moment from the story of Judith. In it Judith and her servant are knee-deep in a brutal and dramatic act; cutting off the head of her enemy, Holofernes. Blood spurts everywhere and the viewer can really see the the force with which the action takes place. But beyond the actual content, the technique itself is dramatic. The figures appear in a dark lit space and the light seems to fall on them in such a way as to create many shadows.

In Deborah Howard's "Seasonal Apartments in Renaissance Italy" it is described the ways in which architects in Renaissance Italy designed apartments to altered in order to suit the conditions of any given season. Certain rooms were to be used during the summer and others were to be used during the winter months. Summer rooms usually faced north while winter rooms faced south. This had the advantage of not only keeping the occupants comfortable but also to make use of heat and cold for functions of the apartment. For instance, wine and cold food storage was situated on the south side of the apartment and the kitchen and bakery on the north side.

Jennifer Watts

=**Works Cited**=

__Author__ Jokinen, Anniina. "The Life of Ben Jonson". //Luminarium.// 9 Sept 2003. [October 3, 2008]. <http://www.luminarium.org/sevenlit/jonson/benbio.htm>

__Class Structure and Identity__ Harrison, William. //A Description of Elizabethan England.// Vol. XXXV, Part 3. The Harvard Classics. New York: P.F. Collier & Son, 1909–14; Bartleby.com, 2001. [|www.bartleby.com/35/3/]. [11-21-2008].<span style="font-family: Arial,Helvetica,sans-serif;">

__Wives__ Canadas, Ivan. The influence of Ben Jonson's Volpone on Mary Wollstonecraft's Maria; or, The Wrongs of Woman. __ANQ__ 19 (2006): 6-11. LIterature Online. 25 Sept. Trill, Suzanne. "Religion and the Construction of Femininity." __Women and Literature in Britain, 1500-1700.__ Helen Wilcox. Cambridge, England: Cambridge UP, 1996. 33.

__Crime and Punishment__ Emsley, Clive. "History of Crime and Punishment." Online Vers. 2008. __Encarta Encyclopedia.__ Online Vers. 2008. 31 Oct. 2008. <http://au.encarta.msn.com/text_1461500354__0/Crime_and_Punishment_History_of.html> Griswold, Wendy. "Crime in Seventeenth-Century England: A County Study." __Contemporary Sociology.__ 1 Mar. 1985. Ebscohost. San Diego State Univ. Lib. 31 Oct. 2008. <[|http://web.ebscohost.com.libproxy.sdsu.edu]>

__Art and Architecture__

Kleiner, Fred S.,and Mamiya, Christin J. __Gardner's Art Through the Ages.__ Wadsworth, 2005. pp. 689-760 Howard, Deborah. "Seasonal Apartments in Renaissance Italy". Artibus et Historiae, Vol. 22, No. 43 (2001), pp. 127-135

<span style="font-size: 10pt; line-height: 200%; font-family: 'Times New Roman','serif'; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;"><span style="font-size: 12pt; line-height: 200%; font-family: 'Times New Roman','serif'; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;">This is a passage that we invented to supplement Volpone. It’s meant to be read as part of the advice Sir Politic Would-be gives Peregrine. Enjoy! **
 * Missing Passage:


 * Contemporary Version**

//Jennifer Watts// Politic: I heard that the Mamuluchi once spied on the King of France Peregrine: What did these baboons hope to find out by disguising themselves and lying? Who were they working for? Politic: They were working for the Sultan of Arabia. Everyone knows that the Mamuluchi loved middle-eastern pastries and clothes. I’m sure that the spy baboons traded their spying services for pastries and clothes. Don’t you know what I’m talking about, Peregrine? I thought everyone knew these things? Peregrine: No, sir. I had no idea. But please tell me the story. Why did the Sultan of Arabia need to spy on the King of France? Politic: Can I count on you to keep this story a secret? I discovered this information in a very stealth way. If my sources found out that I told you my reputation would forever be ruined. Peregrine: Of course! You must think very lowly of me if you think I would tell your secret tale. I am not a low man. Politic: Of course you aren’t. Then keep quiet that the Mamuluchi were sent to steal a secret recipe from the King of France. They infiltrated a dinner party dressed and acting like noblemen. Peregrine: No way! Baboons eating at a dinner table with the King of France? I don’t believe it. Politic: Now who’s calling who the low man? I’m not lying. Don’t punish me because I’m so knowledgeable. Peregrine: No, you’re not lying. Please tell me the rest of the story.

//Maria Coronel// Politic: They all sat on the table trying to blend in and see what they could find out about the secret recipe. They were talking to everybody and were asking all sorts of questions. Trying to find out information about the secret recipe, and where the king keeps it safe. Although they tried blending in and pretending they were just there to enjoy the party and have fun, they just couldn't do it. Peregrine: Let me guess, the reason why they couldn't act normal, and stay put was because they were so eager to find out about the secret recipe. Politic: Who is telling the story? Peregrine: Sorry, I got carried away. Continue please. Politic: Fine. They tried acting like gentlemen, but their wild side took over their body, and they acted like crazy children. Peregrine: No way! The guests must have been shocked when they saw the gentlemen acting this way. Politic: Yes they were. People also started to question themselves how these gentlemen were able to get invitations to the King of France's party. Peregrine: Were people able to figure out that they were intruders and that they were plotting to steal the King's secret recipe? Politic: Surprisingly enough, no. They were able to come up with something brilliant that did not make them suspicious at all. Peregrine: What was it? What did they come up with that was so brilliant and made it normal?

//Lauren Wilkinson// Politic: Well they began dancing around the table claiming that they were the evening’s entertainment, and part of their costume was to be dressed as noblemen and see how long it took before people began to notice. Peregrine: Really? So the noblemen seemed to buy the story that they were entertainers for the king’s party? Politic: This planned worked out better, because they were able to wonder the room listening to the many conversations taking place, without being suspicious. Peregrine: Where was the king during the baboon’s outburst? Where the royal guards suspicious or did they also buy their story. Politic: Well the king had not yet arrived, he preferred to make a grand entrance and walk around the table allowing everyone their opportunity to greet the king. Yes the guards seemed oblivious to the entertainers and their antics/ Peregrine: While they were wandering, the room were they able to learn anything interesting. Politic: Yes, they learned more than was necessary, but because they were enjoying themselves immensely they decided that the secrets of the nobleman could help them. Peregrine: Did they give up on learning the secret recipe of the king? Politic: No, but it was not their main priority anymore. Peregrine: Well what was then? Politic: Destroying the King of France became their priority. Peregrine: Really? What changed their minds and what happened when they changed course?

//Amanda Marin// Politic: Upon their rounds of the table, one of the men heard such an interesting rumor that he immediately stopped dancing and called a council among the Mamuluchi. In a secret hand signal, he conveyed all the men to meet him in the hall. Peregrine: But what mere rumor could call those baboons off their original mission? Politic: I did not say that, I merely mentioned that their focus changed. Now would you stop interrupting and let me tell the story? Peregrine: My mistake. Carry on. Politic: As I was saying, their focused changed because of a peculiar story one of the noblemen had mentioned. It turns out the secret recipe was only secret because of a secret ingredient; the secret red sauce that made the dish so delectable. Well, it turns out this sauce was none other than the blood of the Arabian royalty! Peregrine: This must be a lie! Politic: I kid you not! The Mamuluchi counseled for a whole two minutes before deciding that the royal blood was what made the sauce to rich and superior because the sauce itself was rich and superior. That's when they switched their focus. Peregrine: You don't mean to get the ingredients for the dish? Politic: That's exactly it. Their mission now to acquire the blood of royalty so they could make the rich and creamy sauce for their employer. Peregrine: And why did they choose the blood of the King of France instead of an Arabian Sultan? Politic: Because they didn't wish to anger the Sultan. Also, who's blood would make the most rich and superior sauce than the most rich and superior King of France. Peregrine: And they were fools enough to carry out this ridiculous plan? Those monkeys actually believed the nobleman's tale

//Brandy Cyrus// Politic: Yes they did, and they gathered together to make a new plan of action. Peregrine: How did they attempt to capture him? Politic: They made their plans quickly, and when the king entered they put it into action immediately. Peregrine: But what about his guards? How did they defend themselves against the well trained knights? Politic: The Mamuluchi separated the king from his guard with the precision of the well trained soldiers. While most of the Mamuluchi fought the guard, two of them carried the king out of the window and down the terrace. Peregrine: They escaped! Politic: Yes, and when they got to the place where they keep their ship they tied the king down. The Mamuluchi that were left over after battling the knights returned to the ship too; they lost many in the fight, but they still had a good number. Peregrine: So they left? They successfully captured the king? Politic: Yes, that is how Henry the IV really died. Peregrine: But Henry the IV is still alive. You low man, it was all a lie. Politic: My friend, I may be a low man, but I’m not stupid- you are. I’ve told you never to tell strangers the truth, but now I’ve taught you not to believe everything you’re told. I hope you’ll forgive me, but you needed to be taught.


 * Original Version**

//Jennifer Watts// Politic: It was once I heard tale of the Mamuluchi as spies upon the King of France Peregrine: Marry, of what advices did these baboons hope to acquire, in visor and by invention? To whom did these baboons owe their loyalties? Politic: Surely it was the Sultan of Arabia to whom the Mamuluchi pledged their allegiance. For it is well-cited indeed their fondness of Arabian pastries and fine apparel and garb. Certainly in turn for their employment these spy baboons the Sultan paid generously in his country’s wares and products. Peregrine, know you not of these accounts? For I believed them to be known widely. Peregrine: Nay, sir. No recollection or knowledge have I of such grand tales. Do regale me with these events. Whatever did the Sultan of Arabia desire so as to send the spy baboons to France? Politic: May I rely upon your strict’st of confidences? For such accounts were divined in the stealth’st of manners. My repute would thus be soiled if it were made discovery of that I spoke second-hand of these tales. Peregrine: Sir, the strict’st indeed. You must hold me as a knave if I were to reveal your advertisement. Nay, I am no knave. Politic: I should say not, Peregrine. Then keep under heavy cover the Mamuluchi’s object was a recipe and their device, a dinner party in the guise of man, costumed in the garb of gentlemen. Peregrine: A dinner party? Feigning etiquette and refinement? Mustn’t be so! Politic: Am I to be the knave now? I tell no untruth. Punish me not for the advices I am burdened by. Peregrine: No, sir. You are no knave. Proceed, if you will.

//Maria Coronel// Politic: Everyone gathered around the dining hall blending amongst the rest seeking information about the secret recipe. Sneaking around was what they did all night. Speaking and questioning every soul they encountered in the quest to reveal the secret hiding place of the King of France's secret recipe. Although these gentlemen tried to be as discrete as possible, and pretend to enjoy the gathering in honor of the King, something like this was not possible for them to do. Peregrine: If I am correct, they would not stand still because their eagerness to discover the recipe controlled their bodies. Politic: I believe I am explaining this tale. Peregrine: My apologies. The excitement rushed through my body. Please proceed. Politic: Gentlemen was what these baboons should have been conducting like, yet possessed children was what they insisted in conducting. Peregrine: Is that so! Others should have been shocked at the sight of these baboons. Politic: Absolutely. Questions amongst the other guests began arising about how these baboons were able to obtain invitations to the King of France's gathering. Peregrine: Their identity and true motifs must have been revealed after all of these events. Politic: Nay. The gentlemen were able to cook up a brilliant scheme to conceal their previous scheme, 'cause not a single soul was suspicious. Peregrine: Was it as wicked as I believe that these baboons were able to fool those poor souls? Reveal the wicked scheme they were able to imagine.

//Lauren Wilkinson// Politic: Well they began dancing about the table announcing that they were the evening’s court jesters, and as such, their costumes were to be dressed as royalty. Peregrine: Really? The royalty believed them to be court jesters there to entice the king? Politic: Meandering about the baboons heard a many stories, without being suspect. Peregrine: Where hath the King be during the outburst of baboons? Were the royal guards doth not suspicious? Politic: The King had yet arrived, preferring grand openings allowing all to fawn over him. Surely, the royal guards doth not suspicious of the jesters. Peregrine: While they hath meandered the room did the acquire knowledge? Politic: Yes, the baboons acquired more knowledge than they needed, but the royalty had many a secrets to acquire. Peregrine: What say you about the secret recipe? Politic: Nay, it was not a priority. Peregrine: What hath been important? Politic: Ruining the King of France. Peregrine: What hath changed their minds and what hath happened to their course?

//Amanda Marin// Politic: Upon their rounds of the table, one of the men heard such an interesting rumor of scandal and sin that at once he ceased his rouge of dance and called a council among the Mamuluchi. For with his secret sign with the flick of his wrist, all the men he tempted to the hall to converse. Peregrine: Are these not the Mamuluchi you speak the tale of? What ghastly report could turn those pitiful mongrels into conniving canines? Politic: I do not deliver lies nor that conclusion. Certainly you understood me to convey only that the mislead heart of their preposterous mission changed. Peregrine: The mistake is of me. Carry on with your tale. Politic: As was said by me prior, an account of a scheming nobleman doth made change of their heads. He held that the secret recipe only be a secret by the secret sauce. And, claimed by this nobleman, this sauce was fixed by the life of Arabian royalty! Peregrine: You take me for a fool? What man understands this? Politic: I kid you not! The Mamuluchi counseled in the time of two minutes before recognizing the royal blood was the ingredient which doth born the sauce rich and superior in fault that the sauce was itself rich and superior. That was the cause of their falter. Peregrine: You don't mean to get the ingredients for the dish? Politic: Right you are. Their mission they employed was to acquire the life of a royal so that they might stew a sauce for to whom they were loyal. Peregrine: And why the blood of the glorious King of France in the place of an Arabian Sultan? Politic: For obviously the Sultan would have resentment. What's more, whose life water would make the most rich and superior sauce than the most rich and superior King of France. Peregrine: And they be deaf and dumb enough to engage this plan of fools? Those monkeys themselves put trust in the nobleman's tale?

//Brandy Cyrus// Politic: Without a doubt, and they convoyed immediately to settle their new plan of action. Peregrine: And how did they proceed with this most impossible of endeavors? Politic: Instantaneously they decided on their path and left not a moment to waste when the king entered. As soon as the noble was in view they fell upon him with grace and agility. Peregrine: But the guard! How did they maneuver against knights so valiant and intelligent? Politic: With a malignant swiftness only matched in the fields of battle, the Mamuluchi separated the king from his guard and, while the better part dealt with the royal’s knights, two of the Mamuluchi stole away with him through a window and down the terrace. Peregrine: They escaped! Politic: Indeed, and at last they encroached on the place where they keep a waiting vessel and settled their secret ingredient for the trip. At night fall the remnants of the Mamuluchi returned to their fated meeting place; their numbers were tenuous but devastatingly altered. Peregrine: And they set sail? They captured the King of France so simply? Politic: Yes, and, in truth, this is how Henry the IV met his demise. Peregrine: Nay, Henry the IV is living today! You knave, lies, and all lies this has been. Politic: My dear sir, knave I may be but fool I am not, that is now your honorary title. I have told you never to speak the truth to strangers, but now I taught you to not believe all you hear. In doing so I implore your forgiveness, but the lesson was necessary.