Abstract This paper discusses the way in which ShakespeareanComedy has been formulated by elements of plot that are viewed as typical. It provides a brief outline of ShakespeareanComedy and explores the plot elements of the green world, multiple intertwined plots, disguise, mistaken identity and the conventional young lovers. It shows how many plot sequences, seen as typical to comedy, are demonstrated through Shakespeare's various stock characters. The paper then demonstrates how Shakespeare's "Much Ado About Nothing" is one of his plays that presents slight deviations from this typical structure.
From the Paper "Since its origin, Shakespearian Comedy has developed having specific and identifiable elements viewed as typical, in regards to plot. Much Ado About Nothing contrasts the other comedies. The setting is not in the magical green world and there are two plots. The young lovers do not demand and obtain the role most interesting to the reader and the 'placing of the comic initiative in the hands of its vivacious heroine Beatrice' not a servant. Beatrice and Benedick appear to captivate the comic progression of the play and other than Dogberry present most of the absurd, wit and humour. The basic foundations of Much Ado About Nothing centre on the typical progression from of conflict to a happy resolution that ends with two marriages not just one. Don Pedro, the disturbingly sinister character for a comedy, is expelled, all is forgiven and society is restored to its festive note. 'Strike up, pipers.'"
This paper discusses the problems of classifying Shakespeareancomedies, using "Much Ado about Nothing," "The Tempest," and "Measure for Measure" as examples.
850 words (approx. 3.4 pages), 0 sources, 2004, $ 30.95
Abstract This paper explains that, in Shakespeareancomedies, a specific play can have, at the same time, both a happy ending and a cruel ending, as well as a character being both good and evil. The author contends that "Measure for Measure" can be interpreted as one of the happiest and the scariest endings written by Shakespeare, and yet it is classified as a comedy. The paper concludes that, because there is little solid documentation about many of Shakespeare's ideas, it is nearly impossible to comment on how Shakespeare feels about anything in his plays and to determine if a play, which is listed as a "comedy", is really a comedy.
From the Paper ""Much Ado About Nothing" is an extremely humorous play, mostly about lovers and the obstacles it took to get two couples together. In the end of the play, there is not only one proposal for marriage, but two! All begin to dance and the 'happy' ending is reached, however, the villain of the play that caused these great obstacles has not been punished. He is here, at the 'happy' ending brought to the attention of the characters, so merry in their dancing and their future weddings."
Abstract This paper compares and contrasts Shakespeare's portrayal of connubial bliss in his comedies "Much Ado About Nothing," "Measure for Measure," and "Twelfth Night." The institution of marriage during Shakespeare's time is examined in detail, including how one decided when one should marry, and to whom, and contrasted to today's notion of marriage. Some of the topics examined include finances, a person's reputation, family involvement, love and honor.
From the Paper "However, despite the fact that in early modern England, ?Most people got married, and most people had children,? (McDonald 265), Beatrice and Benedick seem hell-bent against marriage. It is therefore probable that, while it wouldn?t strike modern audiences as particularly odd, Elizabethan theatergoers found both Beatrice and Benedick's adamancy against marriage a source of humor and eccentricity in social behavior. When Claudio makes light of his intention to marry Hero, Benedick's immediate reaction is, "Is"t come to this? In faith, hath not the world one man but he will wear his cap with suspicion? Shall I never see a bachelor of threescore again? Go to, I? faith, and thou wilt needs thrust thy neck into a yoke, wear print of it, and sigh away Sundays,? (Sundays were the day a man was expected to be with his wife), (Shakespeare, MAAN, I, i, 197-202). Likewise, the Prince, Don Pedro, says of Beatrice, ?She cannot endure to hear tell of a husband,? (Shakespeare, MAAN, II, i, 347-8)."
Tags: ado, bibliography, cited, comedy, format, homosexuality, love, marriage, measure, mla, money, much, night, shakespeare, twelfth, works
Abstract The paper argues that Shakespeare's heroines were vital and constructive protagonists; they were fully realized, independent, and capable beings. Through the presentation of such examples of females within the framework of the comic, Shakespeare was able to argue for a re-evaluation of gender norms and stereotypes at a safe distance. The writer explains that the comic framework served as a type of buffer, allowing him to castigate his society without coming under attack for doing so because, in the end, he was writing comedy.
From the Paper "Shakespeare's comedies, possibly due to the unfailing tendency to unfairly contrast them to his tragedies and historical dramas, have never received the critical attention they deserve. His body of comedies, according to Milton Crane, contain some of Shakespeare's most insightful comments regarding human nature and society in addition to some of his most quotable and profound lines (68-69). Nevertheless, and in comparison to the attention given the other Shakespearian works/genres, his comedies have received comparatively scant attention. While Crane forwards explanatory theories, two in particular stand out. According to the first theory, Shakespeare's comedies are underappreciated because they do not subscribe to any set ad established definition of comedy. They rarely elicit laughter and, as Crane contends, are "sensible and serious" even as they are lighthearted (68). What this means is that according to the predominant critical view, as explained by Crane, critics have been unable to truly accept Shakespeare's comedies as comedies because they are not the thoroughly humorous, farcical or satirical works that they tend to categorize comedies as being. Instead, they are, at one and the same time, lighthearted and sensible and, tragic and comic, thereby defying any categorization (68). Consequently, the failure of Shakespearian comedies to fit neatly into predefined conceptions of comedy have enforced their comparison to his other works, with the result being that his comedies end up being dismissed as lightweights within the totality of his works (68-69). It is because of this that Shakespeare's comedies have not received the attention awarded to his other works."
Abstract The paper comments that the play, "The Comedy of Errors" is much more than a simple comedy or farce as it is usually seen; it is rather a profound meditation on human life, and the way in which errors blind men and keep them from the truth. The paper concludes that Shakespeare's play is a profound meditation on the human condition as a progression from error, illusion and confusion, towards ultimate truth and enlightenment.
From the Paper "The passage thus contains a few key elements for the interpretation of the play: first of all, the words "transformation", "error", "deceit" and the phrase "earthy-gross conceit" all hint at the main theme of the play: the plane of the human life is seen as a farcical game, in which the mortals are generally erring and confusing the truth with illusion. The play is thus much more than a simple comedy or farce as it is usually seen; it is rather a profound meditation on human life, and the way in which errors blind men and keep them from the truth. Men are generally "smothered in errors", "feeble" and "weak", in the hands of the divine will."
Abstract This paper is written about comedy found in Christopher Durang works. In an effort to explore these three thematic elements within this playwright's work, two of his plays will be looked at very thoroughly. Sister Mary Ignatius Explains It All for You, a play first produced in 1979, will provide a look at these motifs in his early work; and Betty's Summer Vacation, a play that premiered in 1999, will balance this out with a look at his later work. However, examples from work throughout Mr. Durang's career will also be presented within the context of this paper.
Abstract This paper examines the role of women in Restoration comedy and what it expresses about the relations between men and women of the era and in modern society.
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 ..."
Tags: tragedy, comedy, drama, Chekhov, Sophocles, character, fate, free will
Abstract The paper examines both the structure and poetic symbols in Dante's epic poem "The Divine Comedy." The paper explains how he utilizes both in expressing the poem's themes.
From the Paper "Dante's masterpiece, "The Divine Comedy" is an epic poem which traces man's quest to reach God and discover a true world order. Indeed as Dante travels through Hell, Purgatory and Heaven he undergoes a spiritual transformation as a result of his journey and finds answers to the moral questions that have nagged him. The poem functions as an allegory as it allows Dante to express both his political and religious views while teaching his readers a lesson in spiritual and moral matters."
This paper discusses that the genres of drama, tragedy and comedy, are not always exclusive; many plays and films fit into both categories simultaneously.
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."
Tags: romeo, macbeth, foolishness, suffering, existence
Abstract Women had no status in Elizabethan society; their main function was as fertile breeders, and their role in society was simply not viewed as important. This paper shows how the unimportance and taking for granted of women is clearly reflected in Shakespeare's plays. Although their roles are not viewed as contributing to society, the dramatic function of women in Shakespeare plays is anything but not contributory. The paper shows that the female lead's role is crucial to the restoration of order that occurs in the play. As Shakespeareancomedies are cyclical, the ultimate goal of a comedy is to travel from disorder to resolution. This paper examines three plays, "As You Like It", "All's Well Ends Well", and "Twelfth Night".
From the Paper "Similarly, Viola in Twelfth Night, goes through a loss of identity by disguising herself as Cesario in order to find work with Duke Orsino. She disguises herself as a man because society believed females to be incapable of handling work. When Viola becomes Cesario, she instantly becomes one of Orsino's favourite workers and is rewarded with the position as his page. The positioning of Viola as Orsino's page asserts Viola's working capabilities, and thus shows the audience that women can do a job as well, perhaps even better, than men."
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.
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."
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."
Abstract This research paper compares the character of Iago in William Shakespeare's tragedy "Othello" and in Ann-Marie MacDonald's 1988 comedy "Goodnight Desdemona (Good Morning Juliet)." To better understand the similarities and differences in both plays, a brief description of each character is given first. The writer claims that there is no doubt that "Othello" is a tragedy of intrigue in spite of the fact that it contains many of the elements of Shakespeareancomedies -- the central theme of love, the conflicts between men and women, and the handkerchief, of course, may be seen as a comedic prop. In MacDonald's work, the author uses Shakespeare's work to reflect on her own relationships.
From the Paper "In MacDonald's play the central character is Constance Ledbelly, an associate professor whose research involves trying to decipher an arcane text that she believes may have been the source for Shakespeare's "Othello" and "Romeo and Juliet." Constance's passion for her literary theory is only surpassed by the crush she has on Professor Claude Night, for whom she has become a factotum, ghostwriting his speeches and papers and doing his research."
Abstract In this paper the author discusses whether the "Merchant of Venice" is a fairy tale, as exemplified by the romantic comedy genre, or a problem play. The author looks at the three themes he suggests run through the play: Prejudice, Loyalty and Love. He looks closely at the character of Shylock and how he has been depicted over time, from villain to someone who should be pitied and at the hypocrisy shown by the Christian characters; he examines the relationships between Antonio, Bassanio, Portia, Gratiano, Nerissa, Lorenzo, and Jessica and the resulting marriages and love is examined with respect to the platonic loyalty between friends and in the romantic exchanges between suitors and spouses.
From the paper:
?The theme of loyalty in the play comes out through the interactions of several sets of characters. First, there is Bassanio, who is close friends with Antonio --? friendship which survives many stressful situations in the play. The loyalty between Bassanio and Antonio becomes evident I the first act of the play when Antonio loans Bassanio a large sum of money and takes him on his word that he will repay it.?
