This is a comprehensive research essay incorporating several other resources, with full works cited included, which argues that "Romeo and Juliet" is neither a romance nor is it a tragedy, but that it is a comedic piece of literature.
Abstract Using literary critics and text-based information, this paper argues that in "Romeo and Juliet" there is a lack of tragic elements, an abundance of comedic scenes, that most critics overlook the lack of "romance" in the relationship of the protagonists, and that Shakespeare never intended 'Romeo and Juliet" to be a romance or tragedy.
From the Paper "William Shakespeare's Romeo & Juliet is most notably regarded as the quintessential romantic tragedy, but this view is superficial, at best. While some literary critics would argue that Romeo & Juliet is a tragedy in the classic sense, adhering to Aristotle's principles of what a tragedy should be, other critics have concurred that the structure of Romeo & Juliet falls more into the category of comedy and / or satire. The issues which cause critics to fight over the true genre of the piece may be seemingly obscure and minute, but, under close examination, it becomes quite clear that in literature as classic as Shakespeare?s, it is in the detail that the meaning is found. James Forse contends with the Neo-Classicist critics of the Eighteenth Century who "adjudged Romeo & Juliet as a flawed tragedy which lacked Aristotelian unity of plot and action, the character flaws essential to tragic protagonists, and a sense of the inevitability of tragic outcome" (122). Harold Wilson, on the other hand, disagrees, stating that, ?The play's tragic theme is unified by Petrarchan notions of "noble death": the lover's suicides represent the triumph of love over death? (31). Thus he attempts to defend the play's tragic intent and nature. If a critical reader examines this work, it will be difficult for him or her to find reasons for defining themes like "true love" and "fateful destiny" by the tale of Romeo & Juliet as so much of the general public does today. Shakespeare's Romeo & Juliet is neither a tragedy nor a romance, but is, rather, a comedic satire meant to be didactic in nature."
Abstract This paper analyzes the comedy of Italian film and suggests that while it contains many elements, it relies greatly on comedic techniques of the past, as well as intelligence to guide its progression. The paper presents many examples of these techniques and shows where in the films they can be found. It also discusses the success of the use of these techniques.
From the Paper "The Icicle Thief by Maurizio Nichetti accomplishes this task as well. Through the fast paced visions of changing locations, commercial intrusions and cinematic special effects the film presents the portrayal of multiple characters played by Nichetti. The Icicle Thief is entitled such to correlate to the Italian masterpiece The Bicycle Thief; yet, it remains connected to the latter film only through the title and through the understanding of the art of film. This understanding, however, is intellectual because Nichetti's work asks the audience to understand how artistic endeavors are often sabotaged by the commercialism that exists throughout the world. As a matter of fact, Nichetti demonstrates that the commercialism has grown so intense that audiences rarely even realize its presence in life or its impact on the filmmaking world."
Abstract Often in his works, Anton Pavlevich Chekhov mixes comedic and tragic elements. The purpose of this is to not allow things to get too drab or life to appear to be too gloomy. He uses his characters as mediums for this comedic relief. Another one of Chekhov's trademarks is the use of off-stage events and actions. These events and actions may appear to be things that deserve the center of attention, but Chekhov purposely places them off-stage so as to draw attention to something else and pulls it off quite well. This paper analyzes several of Chekhov's plays, including, "Uncle Vanya", "The Cherry Orchard", and "Three Sisters" to show how he successfully makes use of comedy and off-stage action.
From the Paper "An example of this would be when there was a fire in Three Sisters. When Act Three is introduced, we learn that there was a fire from the narrative notes and from some of the dialogue, but the play is not in action while the fire is happening. The fire itself is not so important. What is important is how the characters react to it. The fire was merely a catalyst that set people off and made Act Three a hectic one. Natasha gets bossier towards servants, Chebutykin becomes a drunken mess and Irina becomes more frustrated and desperate to return to Moscow."
Abstract This paper argues that the comedic element found in "Life is Beautiful" is appropriate to the subject of the Holocaust. The opposing viewpoints of Gerald Peary, a critic for the Boston Phoenix, and the late literary scholar Terence De Pres are also presented.
From the Paper "Shortly after WWII, jokes associated with the Holocaust were found circulating in Israel. For example, "Do you know why Hitler killed himself" He got his gas bill? (Mamet, 142-3). Jokes like this one are often considered inappropriate because they mock a very tragic event and furthermore offend many Jewish people. Such people find jokes about the Holocaust disturbing to hear and yet others find them humorous. Therefore, this form of questionable humor poses the question, do comedy and the Holocaust mix? When dealing with an issue as serious as the Holocaust, it is debatable whether or not an element of humor is appropriate."
Abstract This paper details author Sheldon Zitner's discourse and evaluation of William Shakespeare's comedic Elizabethan play "Much Ado About Nothing." Beyond the plot and character analysis Zitner asserts that the play lacks accessibility to the memory unlike some of Shakespeare's more studied and performed romantic comedies.
From the Paper "Besides Shakespeare's literary control, Zitner points out the fact that "Much Ado About Nothing" makes no claim on class distinction like most other romantic comedies. I deeply agree with Zitner's thought since I did not feel heavy class distinction between the characters when I read the play. For instance, Dogberry is portrayed as being ingratiating and terribly unpleasant, which impedes justice rather than upholding the law. Although Leonato has some rank, he, unfortunately, has little ability. The play merely hints at Hero's lower class."
Tags: literature, criticism, view, perception, language
Abstract This paper opens with a brief biographical profile of author and playwright Alan Richardson who is well known for his numerous publications on a wide variety of topics including: Gender issues and issues of race, colonialism as well as topics related to children. This paper examines the plot and characters in "Brodie the Broadsword" while discussing the author's unique style of writing. Richardson's play is set in an average Scottish community during the 16th century amid old castles and forts. This paper details the personality of the title character Brodie who, for the most part, has been wasting his life engaging in the trivial pursuits of looting and robbery. This paper cites the various scenes in the play which pay homage to Richardson's creative writing and comedic sense.
From the Paper "The characters in 'Brodie the Broadsword' are all interesting and full of beans. Some of them are: Sir Archibald Brodie, who has been nicknamed 'the Broadsword', Sir Henry Milburn, the illustrious neighbor of Brodie Broadsword, Lady Kate, or rather, lady Catherine, the wife of Brodie, Ina, Lady Catherine's servant, Clarty Sim, the an-of arms of Brodie, Young Effie, another servant, Alison, the daughter of Brodie and Lady Catherine, Stephen Milburn, Sir Henry Milburn's son, and Kirsty Boyd, who is from the nearest village. As the play is set during the early sixteenth century, and close to the English border, which is where Brodie's castle is located, the language and the dress of the characters would be suited to the setting and the period. When Lady Kate starts off with making a very insightful comment about Brodie's deeds and misdeeds, by saying, "A fine mess Brodie's in this time", the audience gets a glimpse of the comedy that is yet to come during the course of the play."
Abstract The paper looks closely at the short story "Me Talk Pretty One Day" in order to identify the literary tools David Sedaris uses to construct a story that is both humorous and easily identifiable with experiences and responses we have all experienced at some time. The paper discusses the descriptions, comedic imagery, exaggeration and sarcasm that are vehicles for his observational commentary and humor.
From the Paper "Starting with his opening paragraph, Sedaris introduces the topic of his story with the sophisticated image suggested by the term "true debutante" which he contrasts, for humorous effect shortly thereafter with the his description of a perk associated with his "debutante" training program, in the form of billboards " ... picturing a cartoon stegosaurus sitting in a canoe and eating what appears to be a ham sandwich."
"Continuing later in his opening page, Sedaris begins his character and theme development simply by choosing the names Kang and Vlatnya for two of his fellow students and by introducing the notion of utter incomprehensibility of the French spoken by the instructor, using the (non)words meimslsxp, lgpdmurci, and apzkiubjxow in her opening remarks, a mechanism for humor to which Sedaris returns several times again with similar effect."
Abstract This paper examines how both Charlie Chaplin and Buster Keaton are often heralded as cinematic comedic pioneers. It looks at how, in both of their respective short films, entitled "The Tramp" and ?One Week,? each comedian makes use of common stereotypes of women and also the common stereotypes of romantic relationships between men and women, to illustrate their comedic creations? personality deviations from the conventional masculine roles of domestic success. It discusses how the men in the two films function as failures in the domestic realm and how this parallels both their failures in conventional life and successes at comedic life.
From the Paper "The film ?One Week,? like ?The Tramp,? revolves around the theme of domesticity and building a home. However, unlike ?The Tramp,? "One Week" is a parody of modernity, and is not sit in a far-off idyllic landscape of the countryside. The newly married couple, receives, as a wedding present, a supposedly easy-to-assemble mobile home. Keaton's failures to find the home so easy to assemble form the crux of the film. If only Keaton were the stereotypical "male" he should be able to do so in a jiffy, runs the subtext of the film. However, Keaton's failure to do so does not necessarily count against him, as the project seems absurd from the beginning and his rival makes things even more difficult by interfering and switching the labels on the packing crates."
Abstract Madness in Shakespearean plays has distinct and multiple meanings and purposes. On one level, the madness of insanity is clearly felt in the tragedies like "Lear". On another, madness is also felt in the frenetic pace of impossible situations and comedic errors in judgment as is found in "Twelfth Night". Madness is, then, both tragic and comedic. But, it is much more than that. Madness represents a loss of control, of being borne by unnatural impulses, drivesa nd, perhaps, voices. Being mad is to not be yourself, it is to have lost touch with humanity, with life and with reality. The mad are excused from the rules of man and at the same time, tragically bound by them. For some, in madness is found freedom. Lear is wrapped, tightly, within a horrible prison created by his inability to see through the duplicitous daughters and embrace the one person in his life that loves him enough to refuse him. His madness, in the end, is what sets him free of the binds that his daughters and his pride had him in. The madness, however, is like the release from an intense and long-term drug addiction, it is horrible to watch, but leaves Lear in a better state afterward, free of poisons. Madness also allows otherwise straight-laced, bound by social rules (which were oppressive in Elizabethan England), to freely express inner passions, make mistakes and be fools in the eyes of others without fear of recourse, as is the case with nearly every character in "Twelfth Night". It is the purpose of this paper to examine the nature of madness in the Shakespearean context, how it plays out in both King Lear and Twelfth Night, and the meaning behind the madness in both works.
Abstract As a brief introduction, this paper was assigned to me during a English course called: American Humor.
The topic that the professor gave out to the students was to choose two comedians and compare and
contrast their styles of comedy. Quite simple right?
As a big fan of Chris Rock's stand-up performances,
I elected to use him as my centerpiece and have Margaret Cho and John Lequizamo, who I also love, as
comparisons to him.
The main theme shared between all of the comedians is that they all use their culture
in their acts to arrive at one common goal, which is to make people laugh. In my essay I give examples
of how the comedians use their culture and the various cultural aspects that are selected.
Tags: based, cho, chris, ethnic, john, lequizamo, margaret, rock
Abstract This paper analyzes one of William Shakespeare's most celebrated comedic plays, "A Midsummer Night's Dream". The author examines how the throughout the play the characters attempt to find a way to understand the mechanism of love in a rational way and experience self-alterations that they believe to be a dream in the end. The paper also looks at how the recurring reference to the ever-changing moon parallels the transformation of the characters in "A Midsummer Night's Dream".
From the Paper:
"A Midsummer Night's Dream" brilliantly expresses the profound human uncertainty about love. Dream world and reality merge undetectably so that the characters are not sure themselves in which sphere they move, nor whether what they have experienced has been imagination or truth. What seems to be a fantasy or a dream for the characters in "A Midsummer Night's Dream" is actually reality. However, the dreamlike atmosphere of the play accentuates the fact that the lovers appear to be quite removed from any criteria applicable to reality."
Abstract This paper explores and compares the psychology of the Ego and masks that are worn by two of Shakespeare's characters; Malvolio(Twelfth Night) and Angelo(Measure for Measure). Using concepts of the Ego laid down by Freud and Jung the author demonstrates how Shakespeare uses this flaw, of imagining oneself as an ideal persona, in both a comedic, and later, tragic play. The paper cites examples from Shakespeare's plays to demonstrate his points. Also, the author references known critics in the field of literary criticism to further elucidate his meaning. The author concludes that by using the Ego as a flaw, Shakespeare created characters that are easy to relate to and provides valuable insight on how to deal with ones mask.
From the Paper "In C.G. Jung's book, The Archetypes and the Collective Unconscious, he described what can happen to one who is "possessed" by what Freud would call the Super-ego. This is an idea Shakespeare was well aware of. He used the concept in his writing as a means to bring about both comedy and later to develop a more sophisticated plot, with a more developed conflict. This flaw of imagining oneself as an ideal persona is supported by critiques of Shakespeare's comedies. Richmond, states that Shakespeare's comedies suggest, "that we should test higher sentiments against the implication of facts"(p.2). He argues that Shakespeare finds virtue in what might be called compromised relationships and only destructiveness in single-minded commitment to an ideal. This is not because this harsh world will not tolerate ideals, but because ideals are self-destructive. Through the characters of Malvolio, in Twelfth Night and Angelo in Measure for Measure, Shakespeare explores this character theme, and creates, not only internal conflict, but external as well ."
A compare and contrast analysis of two adaptations of the same story: "The Christmas Story" and "In God We Trust", both comedies that explore the mysterious and rich inner life of an American child.
1,005 words (approx. 4 pages), 0 sources, 2002, $ 35.95
Abstract This paper examines the differences between the book "In God We Trust" by Jean Shepherd together with its movie adaptation "A Christmas Story". Both stories are endearing and engaging comedic works centered on the main character Raphie. It shows how "A Christmas Story" seems to have been filmed for a younger audience, or at least an audience not willing to deal with the complexities of the dark side of young Ralphie's life whereas "In God We Trust", deals with much darker, more complex fare and explores the drabness of Raphie's life and more adult topics than the movie.
From the Paper "In God We Trust also explores much more of the adult Ralph's life than does the movie. The book contains a passage about the young Ralph's experiences trying to pick up girls as a New York Art Museum, for example. An entire chapter "Ludlow Kisser and the Dago Bomb that Stuck Back" describes an account of a man who purchased too many fireworks for Independence Day. The book also describes Ralph's service in the war, a subject not addressed in the movie."
Tags: childhood, book, movie, satire, comedy, america
Abstract This paper analyzes the movie's use of humor, both verbally and visually. It continues to use examples from the movie of how repetition combined with the unexpected twist holds the viewer in stitches. The author also comments on how the comedy becomes more protracted and complicated as the movie progresses.
From the Paper 'When Curtis goes to Cleese's house, the situation becomes more and more complicated, amounting to a drawing room comedy of errors. Mistakes multiply upon each other, with Archie's wife the only person seeming to notice anything amiss. The scene where Kline quizzes Palin about the location of the jewels sends common sense skittering everywhere: "What's the green fish's name" Well, I?m going to call her lunch!?
""A Fish Called Wanda" does a masterful job of combining various comedic effects while maintaining a plot that holds together. This is more satisfying than a movie based on one gag all the way through, such as Rodney Dangerfield going to college. That movie is one long gag that wears thin rather quickly. The ending isn?t terribly believable, but it's a comedy. It's not about reality."
Abstract "The theater in its full form came into being in Classical Greece. At that time, the theater was part of a religious festival and so included a number of ritual elements, several of which have been modified for use in theater ever since.
From the Paper "The theater in its full form came into being in Classical Greece. At that time, the theater was part of a religious festival and so included a number of ritual elements, several of which have been modified for use in theater ever since. Roman theater developed from Greek traditions carried over in the Hellenic period and then transformed to fit the Roman social structure and Roman sensibilities. The two theaters have similarities and also differences. They often use the same myths as source material and give those myths different treatment. The Roman theater also developed new theatrical forms and genres which extended what the Greeks had performed.
The ancient comic dramatists developed structures which remain valuable today. Later critics discerned a certain difference between early comedy and later, and they..."
