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Tragedy and Comedy, 2005.
A discussion of tragedy and comedy in literature.
1,279 words (approx. 5.1 pages), 2 sources, MLA, $ 43.95
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Abstract
This paper tries to find the similarities, despite their obvious differences, between tragedy and comedy. The paper explores Greek and Shakespearean literature to qualify points made. The author of the paper concludes with a personal opinion and an example of the correlation of tragedy and comedy in life.
From the Paper
" This criticism can however be rebutted by the fact that tragedy and comedy can entail elements of each other. Although a tragic Greek play involved more death and injury than the comedy, both genres focused on the meaning and the consequences of actions. To once again take the example of Oedipus, several people die as a result of his inability to escape his fate. He however accepts this and does what he feels is necessary to once again balance the elements. This, in an extreme way, gives meaning to Oedipus' tragedy and provides him with a sort of peace. Comedy approaches life from a different angle but also with the basic search for meaning in life. The obstacles before the glory in the end can be related to the obstacles in tragedy, all of which need to be overcome to reach the appropriate end of the play. The common element therefore is the search for meaning and peace through the turmoil of the obstacles provided by means of either tragic or comic elements in the ancient Greek play."
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Tragedy and Comedy, 2004.
This paper discusses that the genres of drama, tragedy and comedy, are not always exclusive; many plays and films fit into both categories simultaneously.
2,510 words (approx. 10.0 pages), 9 sources, MLA, $ 76.95
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Abstract
This paper identifies one characteristic of comedy and two characteristics of tragedy and demonstrates their application to scenes from four plays considered some of the greatest tragedies ever penned, Shakespeare?s ?Oedipus Rex?, ?Macbeth?, ?Romeo and Juliet?, and ?Hamlet?; and from two films, the comedy, ?Pretty Woman?, and tragedy, ?The Path to War?. The author explains that one characteristic of comedy is the exaggerated or wry manner in which human folly or foolishness is underscored, and two characteristics of tragedy are the struggles or suffering of the protagonist over moral issues and the raising of questions about the meaning of human existence. The paper states that the ?Path to War? and ?Oedipus Rex? are pure tragedy based on circumstances and errors in judgment; whereas, ?Pretty Woman? is a film that is a comedy because its light heartedness and innocence completely overshadow its tragic characteristics.
From the Paper
"Perhaps the most appropriate starting point for demonstrating that a comedy and tragedy are not necessarily mutually exclusive, though they have long been considered the main divisions of drama is "Romeo and Juliet". Indeed, although "Romeo and Juliet" is hailed as one of the greatest love tragedies ever written, it, almost deceptively, appears to be a comedy for the most part. In fact, had Shakespeare not used the prologue to announce that the play was about star-crossed lovers; the audience may well have been completely deceived in expecting or hoping for a happy ending, particularly since the opening scene itself is a witty one that mocks human foolishness through a dialogue between Sampson and Gregory from the house of Capulets."
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Tragedy and Comedy, 2003.
This paper explores the nature of drama as seen through tragedy and comedy.
690 words (approx. 2.8 pages), 6 sources, $ 23.95
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Abstract
This paper argues that both tragedy and comedy are about the human condition versus the human being. The author uses Sophocles' "Oedipus, the King" and Chekhov's "The Bear" are used to support this position.
From the Paper
"In drama, tragedy and comedy are often considered polar opposites. It is often suggested that tragedy is more about a human being while comedy pertains mostly to the human condition. In other words, the tragic character is specific while the comedic character ..."
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Women in Ancient Tragedy and Comedy, 2005.
Examines the way women were portrayed in ancient Greek theatre by looking at the plays "Medea" (Euripides) and "Lysistrata" (Aristophanes).
1,224 words (approx. 4.9 pages), 4 sources, MLA, $ 41.95
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Abstract
Both the drama of Euripides' "Medea" and the comedy of Aristophanes' "Lysistrata" seem unique upon a level of even surface characterization, to even the most casual students of Classical Greek drama and culture. The paper shows that both are female-dominated plays that were produced by male-dominated societies and written by men. Both the drama and the comedy feature strong women as their central protagonists, whom are depicted under extreme circumstances, in relatively positive lights. The paper also shows that both plays, despite their very different tones, also have an additional, unique feature in that they show 'the enemy'-or the non-Greek or non-Athenian, in a fairly positive and humane fashion.
From the Paper
"Medea's act of infanticide is far more shocking than any allegations in Aristophanes about the positive aspects of Greek unity. Unlike the withholding of sexual favors in the private sphere, Medea's act is a public act, in a world such as Greece where "women had no power: they were excluded from politics; from the army, navy, and war; from the law courts; from the Olympic and other Games; from agriculture and trade. In short, women were excluded from the male agonistic world of challenge and response, from what," was often seen as the "real world." (Arkins, 1997) Medea makes a claim as a woman for her status, now denied in the domestic sphere, as a cast off wife, in the public discourse of ruling the land."
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Comedy and Tragedy, 2002.
A literary review of Molier's comedy "Tartuffe" and Racine's tragedy "Phaedra".
650 words (approx. 2.6 pages), 3 sources, $ 26.95
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Abstract
This paper aims to show the themes of passion and reason as portrayed in Molier's comedy, "Tartuffe" and Racine's tragedy "Phaedra".
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Ego: Its Role in Characters of Shakespeare from Comedy to Tragedy, 2000.
A paper analyzing Shakespeare's use of Jungian-like psychology in the creation of his flawed characters.
2,035 words (approx. 8.1 pages), 6 sources, MLA, $ 64.95
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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 ."
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Comedy in ?King Lear?, 2004.
Examines elements of comedy in William Shakespeare's tragic play.
1,300 words (approx. 5.2 pages), 3 sources, MLA, $ 43.95
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Abstract
On its surface, "King Lear" by William Shakespeare, stands as an excellent example of one of his tragedies and, in certain senses, it is the most obviously ?classical? of Shakespeare's plays in terms of tragedy. This paper examines how there can be room for comedy in the play and shows how Shakespeare blends the two elements of tragedy and comedy successfully throughout the text. The paper also borrows examples from several of Shakespeare's other plays to illustrate this blending of concepts.
From the Paper
"Indeed, at this moment, King Lear comes to realize for the first time the folly of his policy and the treachery of his daughters and in this moment, we, as an audience might begin to have some sympathy for his earnest expression of grief. The Fool, however, responds to Lear?s heartfelt outpouring with a witty remark that provokes laughter rather than sympathy, creating a strange moment for the viewer who is caught between the depths of Lear?s suffering and the hysterics of The Fool?s remark:"
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Greek Comedy, 2002.
An examination of the origins of Greek comedy and the work of the playwright Aristophanes.
965 words (approx. 3.9 pages), 2 sources, MLA, $ 34.95
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Abstract
This paper briefly discusses the origins of the Greek theatre and how Greek comedy was distinctive in Athens and became an official part of the Dionysian festivals about 50 years after tragedy did. It looks at how Greek comedy is represented by Aristophanes, the only playwright from the period of Old Greek Comedy whose works survive. It shows how Aristophanes' works were satires directed at specific people in Athenian society. He attacked many political figures in his plays, but he also directed attacks at other cultural figures in Athenian society. It also analyzes how Aristophanes satire was carried in to the Roman era by the works of Plautus.
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."
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Comedy In Los Angeles, 1995.
Discusses the business of comedy; specifically, comedy clubs. Focuses on three Los Angeles clubs: The Comedy Store, the Laugh Factory and the Improvisation.
3,375 words (approx. 13.5 pages), 6 sources, $ 119.95
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From the Paper
"INTRODUCTION
Comedy has become a major business over the last 20 years or so, and the proliferation of comedy clubs in major cities is a testament to this fact. Three of the seminal and more successful comedy clubs are found in Los Angeles--The Comedy Store on Sunset Boulevard, the Laugh Factory on the same street, and the Improvisation on Melrose Avenue. These clubs are known for featuring new talent, as places where established talent tests material, and as magnets for celebrities in the audience as well as on stage. Each has also been well-served by their respective owners' dedication to promotion. The venues have somewhat different approaches to the presentation of comedy acts and target somewhat different audiences. They have also been buffeted recently by a downturn in the comedy business, though they have ..."
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"Divine Comedy" and "King Lear", 2004.
A look at the theme of dark humor and satirical comedy in ?Divine Comedy? by Dante and ?King Lear? by William Shakespeare.
887 words (approx. 3.5 pages), 0 sources, $ 31.95
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Abstract
This paper discusses how, in these literary works, a notable characteristic is the authors? ability to weave in the aspect of dark humor, aptly using satirical comedy in order to criticize the rulers and leaders of their societies during their time. It explains how, in ?King Lear,? Shakespeare uses character profiles that fit the description of the antagonists and protagonists in political conflicts that were happening in Shakespeare?s society. It also describes how Dante?s work served as revelation to the people to witness the anomalies going on in their society.
From the Paper
"In Inferno/Hell, Dante is accompanied by Virgil as they go through the inner circles, called bolgia, where different offenders of the sins of humankind are suffering and are being punished for their sins. There are nine bolgias inside, where the first circle is the limbo, described as a place where people experience ?gentle sadness.? Inside the bolgias are people suffering from the sins of humankind: lust, gluttony, the avaricious and prodigal, sullen, heretics, violent people against the tyrants, gods, or goods, fraudulent people in love, flatterers, simonists, diviners, barrators, hypocrites, thieves, fraudulent counselors, sowers of scandals and schism, falsifiers, rebels, and traitors against kin, homeland, guests, and benefactors."
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Tragic Comedy Characters, 2002.
A comparison of the dramatic technique of Bernard Shaw and Anton Chekhov in "The Cherry Orchard" and "Heartbreak House".
2,130 words (approx. 8.5 pages), 7 sources, MLA, $ 66.95
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Abstract
The paper reviews the two plays "The Cherry Orchard" by Bernard Shaw and "Heartbreak House" by Anton Chekhov and examines how the two works are intertwined with each other in theme and structure, the latter inspired by the former. It discusses how both plays are tragi-comedies and how both seem to portray what is right and wrong even though there are no real villains or heroes and how both are seemingly plotless, yet intricately designed to be full of plot detail. It also shows how the similarity between these two plays lies in the techniques employed by the playwrights to achieve this by inserting the tragedy of the everyday into comedy.
From the Paper
"The dramatic techniques apparent in the two plays being discussed branch out from the root definition of the plays as comedies, or perhaps more specifically as tragicomedies. Tragicomedy is essentially comedy that revolves around tragedy, with a key factor being that the action is revolving around real people. Only real people, in the sense of a naturalistic portrayal of people in real life, are capable of moving from one concept to the other in the space of a breath. The archetypal hero disobeys the archetype if he or she moves from sadness to happiness in an irregular, unforeseeable pattern, a feat required in tragicomedy."
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Restoration Comedy, 2005.
Examines the 'comedy of manners' genre, with focus upon William Congreve and Richard B. Sheridan.
2,980 words (approx. 11.9 pages), 9 sources, MLA, $ 87.95
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Abstract
Within the larger framework of the comedic genre, Restoration comedy has suffered more criticism than any other type. Judged as immoral, unrealistic, and artificial by numerous literary critics from Lamb to Macaulay, Restoration comedy has often been misinterpreted as a senseless jumble of clever-sounding sentences and words. This paper shows, however, that just as it had it virulent critics, Restoration comedy also had its own share of defenders, including Walter E. Houghton and Robert D. Hume. Writing thirty years apart, both these literary critics maintained that the rejectionist criticism of Restoration comedy is founded upon the false premise that this particular strain of comedy is meaningless and unrealistic. However, this particular viewpoint is incorrect and emanates from a failure to comprehend the purpose of comedy, on the one hand, and the importance of evaluating artistic works from within the context of their own period, on the other. Therefore, as this research argues, while Restoration comedy, or the 'comedy of manners' genre is largely satirical, as seen through the works of Congreve and Sheridan and characterized by extreme exaggeration in the representation of mannerisms, one may interpret this particular genre as a realistic and serious social criticism, which sought to impact cultural and social values and mannerisms.
From the Paper
"The condensation of vice within characters gives the impression that the play is not rooted in any recognizable reality yet, as Weber argues, this reductio ad absurdum devise is a recognized and legitimate means of exposing these vices and taking them to their ultimate consequence, in an effort to reveal society, as it is, without disguise (Weber). Hence, in taking mannerisms and the exercise of particular vices to their extreme absurd limit, Sheridan is not undermining the realistic foundations of his work per se, but is exposing the amorality of its so-called moral base."
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The Comedy of Errors: Christianity in Shakespearean Era, 2002.
Shows that although it is a comedy, Shakespeare's play, "The Comedy of Errors" contains a great deal of insight into the religious state of Shakespeare's era.
1,542 words (approx. 6.2 pages), 2 sources, MLA, $ 50.95
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Abstract
This paper explains in what ways Shakespeare was quite critical of the practice of Christianity and its hypocrisies. Ephesus, the town where "The Comedy of Errors" is set, contains a great deal of religious history. It is one of the places where St. Paul preached Christianity, as told in Acts of the Apostles in the Biblical New Testament. Ephesus was the source of much witchcraft and sorcery, and subsequently much Christian reform. It shows how through scene setting, Shakespeare had many things to say about Christianity in his play. We see the way in which the characters deal with the Christian hypocrisy of their time. The church focuses power in a patriarchal way; the men abuse this power while the women and servants (Adriana, Dromio) are expected to abide by biblical ideals. The paper addresses all these themes, including detailed adverse effects of the Christian society on the female and lower-class characters. Included are an overabundance of textual quotes, as well as some direct biblical references.
From the Paper
"In moving the location of Plautus?s play, The Brothers Menaechmus, from Epidamium (in Ancient Greece) to the Turkish city of Ephesus, Shakespeare placed the action in a newer and more dramatic religious environment for The Comedy of Errors. The missionary St. Paul, whose travel and imprisonment in Ephesus are recorded in the Christian Bible?s ?Acts of the Apostles,? associated the city with witchcraft and evil sorcery, but also sought to refine it. There are several places in Ephesus whose names hark back to the mythology of Ancient Greece, such as the ?Centaur? (Antipholus of Syracuse?s inn) and the ?Phoenix? (Antipholus of Ephesus?s home). Yet this sets up a religious conflict within the city of Ephesus, for most of the characters indicate themselves to be Christian. Antipholus of Syracuse directly states, ?I am a Christian?? (23), while characters like Luciana and Adriana suggest it in their moral counsel, or even simple exclamations (LUCIANA: ?God for Thy mercy?!? (123)). At the beginning of Act IV, the Second Merchant reminds Angelo the goldsmith, ?You know since Pentecost the sum is due? (87), demonstrating that the Christian calendar is instituted so that it guides even business dealings. However, Shakespeare does not praise Christianity in this play; at times, the manipulation of Christianity is equally as bad (if not worse) than the paganism that St. Paul had originally set out to dispel. It serves as an oppressor to selected characters throughout the play."
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Physical Comedy on Film, 2002.
An interpretation of physical comedy in the movies of Fred Astaire and Ginger Rogers.
2,650 words (approx. 10.6 pages), 10 sources, MLA, $ 79.95
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Abstract
This paper examines how physical comedy does not stop at slapstick and considers how the movies of Fred Astaire and Ginger Rogers could also be defined as physical comedy. Through a review of several of their movies with an emphasis on "Top Hat", it demonstrates how all of their movies, made in the mid-1930s, shortly after sound had been added to films in the previous decade have elements of hilarity which can be attributed to physical comedy.
Outline
Sophisticated, Funny and Physical: The Romances of Astaire and Rogers
Let?s Get Physical, Depression-Era Style
The Namesake Dance as Comedy
Feathers and Fred
A Short Compendium of More Fred and Ginger Physical Comedy
From the Paper
"In the natural comedic way of things, Dale runs into Jerry by chance and they hit it off. But then Jerry sends her flowers billed to Hardwick?s room and a bellman points Jerry out to her, so she?ll have a name to go with the face of the man she?s interested in; he had just called himself ?Adam? since she said she didn?t know him from Adam in an early line. Unfortunately, in that instant, Horace and Jerry trade places and Dale ends up thinking it is her friend Madge?s husband with whom she is falling in love. And, of course, Jerry and Horace know nothing abut this. Neither does Madge at first. When she does hear of it, what she is told is, naturally, also wrong."
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Tragedy, Aristotle and "Death of a Salesman", 2007.
An analysis of how Aristotle defines tragedy and how it is portrayed by Arthur Miller in his play "Death of a Salesman".
4,224 words (approx. 16.9 pages), 9 sources, APA, $ 112.95
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Abstract
Arthur Miller's "Death of a Salesman" has several strong literary and socially disturbing dimensions, but the one that stands most is its tragic dimension. This paper contends that "Death of a Salesman" is in fact tragic, and that within that tragic dimension there are several themes that are apparent and important: financial failure, emotional inadequacy, false pride, sports promise and sports failure, sexual confusion and impropriety, career stumbling, a dysfunctional family, death and madness. Tragedy to varying and diverse degrees is presented as a dynamic that is witnessed in Willy's family, in Willy's failed careers, and of course in his failed relationship with his son and in his marriage. Additionally there are tragic circumstances within the popular American contemporary vernacular of sports. The paper also examines Aristotle's stance on tragedy and how it compares to that of Arthur Miller.
Outline:
Introduction
What Is Tragedy? Miller's Philosophy on Tragedy and His Perspective on the Play
What Is Aristotle's Philosophy Regarding Tragedy?
The Death of a Salesman: The Literature and the Scholarship
Other Tragic Features of the Play
From the Paper
"After going to lengths to point out that Miller sees the central tragic figure in the play as Willy, Hagopian insists that it's Biff Loman, Willy's son, is the one who "ultimately makes things happen, who responds to the great trauma in his life with an emotional and moral paralysis..." That point could be rebutted effectively, but meantime a more pertinent point that Hagopian makes is that, after Biff finds his dad in a hotel room with another woman; "You fake!" he barks. "You phony little fake! You fake!" And now dad has been fired from his job, and Willy fears his son will expose his immoral deeds to mom. But Biff does not, he just wants to rage at his dad, and say "goodbye to you Pop...let's just wrap it up, heh?" The scene that Willy provokes has definite tragic consequences, Hagopian admits on page 40. "
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