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The use of humor in literature
Humour in literature
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Richard Bean’s ‘One Man, Two Guvnors’ is an adaptation of Carlo Goldoni’s ‘The Servant of Two Masters’. The adaptation relocates the setting for the events to 1963 Brighton, a time which allowed Richard Bean to incorporate a range of dramatic functions to enhance the play’s comedic nature and to modernise it to fit with the the newfound audience of the 21st century. Richard Bean retains many of the elements of traditional commedia dell’arte in his characters and his production of the play. However, he has placed a twist in that there is an absence of masked characters who instead conceal their true identity through language. The plays consists of various conflicts which convey comedy. Conflict with reality and appearance brings to surface the elements of the traditional commedia dell’arte in the form of mistaken identity, which enriches the farcical plot-lines that occur in the play. The very embodiment of mistaken identity establishes that what may be seem real could be quite the opposite, however the characters in the play are unable to distinguish this as their vision becomes distorted by their fall into the deception of appearance. It is this very comedic device that enables the conflict between Roscoe (Rachel) and Alan, or Charlie and Alan’s father to occur which is a significant part of the comedic nature of the play as the unproportional situation is what sparks laughter from the audience, and so it is the presence of mistaken identity alone that conveys the play into a light-hearted comedy. Furthermore, Peter O'Neill quotes that ‘using humour can provide a degree of safety for expressing difficult ideas or opinions which could be particularly effective…’. In the circumstances of the quotation Richard Bean effectively c... ... middle of paper ... ...es serious issues to be comical, the ability for Francis to fool and deceive both his guvnors up till the end of play seems almost humorous, arousing the comedic nature of the play. However, it is the mistreatment of Alfie that limits the comedy in the play from conflict, the more mature audience would feel outraged by the treatment of the 80 year old war veteran who is smacked over the head with an 'autographed cricket bat'. This is insensitive as it shows an elder being treated like an object to whack, and thus many may find some aspects of conflict in a severity light instead of in comedic nature. To conclude, the comedy in One Man, Two Guvnors is centered around conflict to a great extent, in that the conflict that is established in the play exposes the comical nature of the characters who collide with each other and who easily fall into deception and confusion.
To an extent, the characters in the play represent aspects of the Australian identity and experience. However, Rayson's vivid grasp of speech patterns to evoke character, and her ability to manipulate the audience with humour and pathos move the text beyond mere polemic and stereotype. In an almost Brechtian way, she positions us to analyse as we are entertained and moved.
Firstly let us consider conflict. In each act of the play, we see the overpowering desire to belong leading to a climax of conflict amongst the characters, which has the consequence of exclusion. Conflict is a successful literary technique, as it engages the audience and focuses our attention on the issue of conflict and exclusion, brought about by the characters’ desires to be accepted by their community.
Complete with lessons of courage and honor this play demonstrates with humor the lengths one man will go to in order to fulfill his dutiful and unusually contracted obligation.
I. Conflicts in the Play - There are many types of conflict evident in this play. Some are as follows:
The first main area of art and reality colliding in the play is the existence of characters who are referred to as Characters. Pirandello stretches the bounds of meta-theater by having actors portray Characters who swear they are not actors, when faced with other actors playing actual actors and a Director. The layers of unraveling of reality are astounding. The Characters must try and convince not only the Actors and the Producer of their true nature, but also the audience. Pirandello must convey his beliefs about the essence of art through the mouths of Characters seemingly unattached to the actuality of the theater around them. In the play, the Producer acts on stage in place of the author, questioning the sincerity and the true nature of the Characters, who become his r...
Beaumont's failed comedy, 'The Knight of the Burning Pestle', is a unique play that seeks to satirise and burlesque the theatrical and social domain. Crucial to this satire is the collision of two concurrent plots that vie for the audience’s attention. These collisions allow the audience to see opposing ideologies in contrast through the dramatic effect of the breakdown in the boundaries of theatre. It is arguable that this play encourages one to question hierarchy and tradition through exploration of ideology, disputed genres, and Rafe's potential rebellion.
The first instance of ambiguity between comedy/drama begins directly at the beginning credits of the film, with the brilliant shot of a uniform waltzing party, in carousel motion, or a perfect circle. From my perspective, I was unable to recognize w...
In Oscar Wilde’s play, “The Importance of Being Earnest,” is an early Victorian melodramatic play. This play is very honest and frank. It is a satire, comedy of errors, and an intellectual farce. There are two main characters, Algernon and Jack. Jack Worthing, is known by Jack when he is living at his own country estate, but when he goes into city, London; he creates a fictional character called ‘Earnest.’ Algernon has created a fictional character named ‘Bunbury.’ Algernon uses Bunbury to get him out of prior engagements. This helps him get out of the house and clear his head whenever he wants. Although their both the characters situations are different, both created an “alter-ego” to help them get away from their own lives and also to live another life. They are best friends; both have the same social background, class and taste. Between Jack and Algernon, Jack is more serious about his life; he creates a fictional character to help him keep his image of being humble and respectable intact but in truth is vain. On the other hand, Algernon is truthful about himself and he goes against the Victorian values. But society loves him anyway as he accepts that he is not formal or conservative, or proper and he is rough around the edges but he’s funny, witty and smart. Although Wilde creates two characters in Jack and Algernon who are similar in social class, age, tastes, etc., he also carefully creates subtle character differences between them that create conflict and humor in the play.
Jack’s persona ‘Earnest’ has been described by Miss Prism as “irretrievably weak and vacillating” (701.35). Not only that, but Jack uses his persona of Earnest to make it seem like Jack adheres to notions of duty, honor and respectability all the while getting into mischief in London as his fake brother Ernest. Jack has shown that he will even lie to his loved ones his persona in order to get away with misbehaving and be seen as upright and moral. Later into the play Jack and his double life collide when the woman he loves starts to love his alter ego Earnest, although Ernest was an escape Jack used for his personal life but when his personal life and his real life collide he has to embrace his deception to get the life that he truly
...ly progressed from a way to tell stories about kings and gods to a way to tell stories about ordinary human beings. By moving our focus off of nobility, the language of plays became the language of every individual, and eventually, due to America’s “melting pot” culture, the language itself became individual. The unique language of American dramatic characters represents not only the diversity of the American people, but also the diversity of all human beings. These dramatically dissimilar differences were not typical of older plays when they were written, but now, they are what make American drama so valuable. Our acceptance and love for characters with different values than ours is representative of the love we can develop for those who are different from us. It represents the worldview that our current culture idealizes and strives to achieve: acceptance for all.
Black comedy discusses and integrates controversial and often taboo topics such as pain, loss, and grief providing a confronting and cathartic experience for the audience. Martin McDonagh’s ‘The Lieutenant of Inishmore’ is a play that humorously deals with the serious nature of the Irish struggle for independence. It juxtaposes the mundane with the extreme political violence, which is a common aspect of black comedy, presenting an issue in a new perspective. The act of pointless violence presented through characterisation, sharp dialogue and the symbol of the cat, is a strong mechanism for laughter. Similarly Neil Labute’s ‘The Shape of Things’ presents manipulation, superficiality and the nature of art in a humorous way. ‘The Shape of Things’
The differences of these two plays, gives one a sense that any general idea can be broken into a distinct one and not sway away from its intended idea. This means, a comedy can be made into a tragedy, romance, and other themes, and yet still maintain the purpose of providing laughter to the audience. This shows the development of literature over the years, as many more subcategories result because of the contrasts.
To conclude I don’t think the play “The Importance of Being Ernest” should be taken seriously as Wild was interested in art for artsake and beauty. Wilde satirises Victorian Society by inverting serious matters and vise versa. This allows Wilde to comment on to nature of Victorians values and traditional morals by making the audience see them as superficial. The subtitle of the play is "a trivial comedy for serious people." Overall sums up that the play should not be taken seriously and instead enjoyed for its humour.
In conclusion, we can see that despite heavy emphasis on the comedy of the play through the use of classic comedic devices, that have enchanted modern and Victorian audiences through the stage. There is a somewhat serious underlying message delivered in the way that Wilde writes the play. We are being suggested throughout, that the Victorian high classes are dysfunctional due to the high expectations and vanity of the class. Therefore I can only see that this play is a harsh comment on the Victorian society in which it is set even though it is delivered in a highly comical shell.
Such comedy emphasizes wit, whether true or false…” (Bacon). As a comedy of manners, the play accomplishes its goal of revealing the shallow mindset of the Victorian high society through satirical, yet critical, tone. In his book, Oscar Wilde, Erickson refers to the play as “Wilde’s comic masterpiece” (Ericksen, 145). When critiquing the play, the Times correctly noted a quality in the language of The Importance of Being Earnest that foiled every expectation: “Mr. Oscar Wilde’s peculiar vein of epigram does not accord too well with flippant action. Its proper vein is among serious people, or so we have been taught to think. In a farce it gives one the sensation of drinking wine out of the wrong sort of glass: it conveys to the palate a new sensation, which in the end, however, is discovered to be not unpleasing” (Powell, 119). It seems that the reason for Wilde’s incredible success with his satirical play is due to the fact that it contradicts the purpose of a farce, so where “a typical farce dissolves into bland conventionality, Wilde strikes at the root of accepted standards” (Powell,