Subtle and Face’s approach to each of the victims in the play is very different, and this factor is central to the key theme of the play, that of transformation. By becoming different appropriate ‘faces’ to each of their victims, the protagonists can maximise the extent to which they can dupe their victims. Indeed, much of Jonson’s humour within the play is shown to us through the different guises taken by Face and Subtle, as well as the reaction of the visitors to them.

In one extract, we see Dapper preparing to meet the Fairy Queen. At the start of the extract, we see Face and Subtle’s adjacency pairs being exchanged over just one poetic line. For example:

‘SUBTLE: And is he fasting?
FACE: Yes.
SUBTLE: And hath cried hum?’

In order to keep up the pace of the iambic pentameter in this exchange, it must be performed in a rather fast and frenzied manner. This helps create the illusion, to Dapper at least, that the questions asked are important, and also makes it appear that Subtle and Face are rather nervous about the process that is to be undertaken. The swift manner of the exchanges rarely allows Dapper to make comment, and certainly does not allow him enough time to question the process.

Dapper, who is likely to have a small amount of knowledge of myth and folklore, would expect Subtle to use some kind of incantation in order to summon the Queen of Fairy. Clearly, Subtle is also aware of this need and proceeds to use one. However, to the audience, if not to Dapper, it is clear that Subtle is simply making up the incantation as he saying it. This is clearly shown through the poor rhyming scheme used, as exemplified during the two occasions where Subtle resorts to repetition to provide a rhyme: ‘it’ and ‘him’ are both repeated. The clumsy sentence structure, punctuated with many pauses, helps to show this further:

‘And, therefore, even of that a piece she hath sent,
Which, being a child, to wrap him in, was rent;’

Here, we can see the classic rhyming couplet style employed by Subtle throughout the incantation, as well as the very unusual sentence structure used on the second line. Again, the use of incantation here prevents Dapper from being allowed to protest, as he is first blindfolded, pick pocketed, and finally pinched.

The control which Face and Subtle clearly and explicitly have over unquestioning Dapper in this extract is rather different to the more subtle way in which they control Mammon. Here, Face is disguised as Lungs, and refers to Mammon with the respectful title ‘sir’. This use of this respectful language is much more appropriate to the apotheosis displayed in Mammon, and helps to encourage Mammon’s hyperbolic fantasies. Subtle acts as the mysterious Doctor, a pious and religious man in the duping of Mammon, which serves to increase Mammon’s interest, as it is Mammon’s nature to desire the exotic and unknown. By using these techniques, Face and Subtle increase Mammon’s desire to get the Philosopher’s stone, and to give them money in the process.

However, in the duping of Mammon, there is an additional complication for Face and Subtle in the form of Surly. Surly provides brief bathetic comments for each of Mammon’s fantasies:

‘MAMMON: But taking, once a week, on a knife’s point,
The quantity of a grain of mustard, of it:
Become stout Marses, and beget young Cupids.
SURLY: The decayed Vestals of Pict-Hatch would thank you,
That keep the fire alive, there.’

Here, we see Surly reduce Mammon’s fantastic dreams to the level of the venereal infection that was rife among prostitutes of that era. However, these bathetic comments, which provide great humour for the audience, ironically cause Mammon to increase his hyperbole, and make his dreams even more fantastic.

The style used by Face and Subtle to dupe Drugger is very different, and their approach to the victim is also completely different. Instead of being extremely respectful, and referring to him as ‘sir’, they call Drugger by the nickname ‘Nab’, and befriend him. In this way, Drugger feels that he can trust the pair, and does not think that he will be duped. This situation is almost a reversal of that with Mammon: here, we see Drugger acting almost reverently towards Subtle, acting as the Doctor, using phrases such as ‘Thank, sir, both your worships’. Drugger’s use of words from the semantic field of religion when referring to both Face and Subtle shows that he thinks of them as above suspicion, and helps to demonstrate his naivety.

The final duping of all in the play, whereby Face dupes both Subtle and Dame Pliant, allows Face to show yet another ‘face’. Where the audience may expect Face to act as himself and tell the truth to his partners, it is made clear that there is no ‘honour among thieves’, and Face is not entirely truthful in his explanation of events to his comrades. However, instead of this, Face lies and tells Subtle that he had arranged Lovewit’s early return. This makes Subtle believe that Face can ‘shark best’, the ultimate challenge the pair agree upon during the opening scene.

Throughout The Alchemist, we see that Face and Subtle use varying disguises and linguistic techniques in order to provide the best guise for duping their victims, with Face even going as far as to dupe his own partners in crime at the end of the play. We see that it is through these disguises, and the response of the audience and the victim to them, that much of the humour in the play is created. Clearly, the linguistic techniques are realistic, and provide Face and Subtle with the necessary tools to successfully dupe their victims.