Farce and Satire in The Comedy of Errors
All is not as it seems in The Comedy of Errors. Some have the notion that The Comedy of Errors is a classical and relatively un-Shakespearean play. The plot is, in fact, based largely on Plautus's Menaechmi, a light-hearted comedy in which twins are mistaken for each other. Shakespeare's addition of twin servants is borrowed from Amphitruo, another play by Plautus. Like its classical predecessors, The Comedy of Errors mixes farce and satire and (to a degree) presents us with stock characters.
Besides being based on classical models, is it really fair to call The Comedy of Errors a serious play? I'm not sure it is. Three-quarters of the play is a fast-paced comedy based on mistaken identity and wordplay, and often descending to crude physical humor. The framing plot changes the total impression the play makes, mixing pathos, wonder, and joy with the hilarity. But it doesn't turn an essentially funny play into an essentially serious one. Still, there are serious elements in the play, and these may stay with us longer than the light ones. These serious elements are not limited to the framing plot, though they often depend on it. In fact, what is serious and thought-provoking in the play is often the source of laughter, too. Usually the laughter comes first, and then, if we're attentive, we'll notice that Shakespeare has given us something to think about. Let me offer some examples. First, the play treats with some seriousness issues related to marriage:
jealousy, loyalty, love, misunderstanding, the need for patience, the "troubles of the marriage-bed," and the "joy" and "kind embracements" that can come with marriage (II.i.27; I.i.39, 43).
Second, the...
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... to describe marriage. Adriana claims that marriage has made herself and her husband "one," "undividable incorporate": "For know, my love, as easy mayst thou fall/ A drop of water in the breaking gulf,/ And take unmingled thence that drop again,/ Without addition or diminishing,/ As take from me thyself and not me too" (II.ii.142, 122, 125-29). Shakespeare doesn't pretend that such a union is easily achieved. He is quite aware that to offer oneself to another is to risk oneself.
Works Cited
* Fitch, Robert Elliot. Odyssey of the Self-Centered Self. New York: Harcourt, 1961.
* Shakespeare, William. The Riverside Shakespeare. Ed. G. Blakemore Evans et al. Boston: Houghton Mifflin, 1974.
* Wilbur, Richard. Introduction. Tartuffe. By Jean Baptiste Poquelin de Moliere. Trans. Richard Wilbur. San Diego: Harvest-Harcourt Brace Jovanovich, 1963.
Henry is given a choice to destroy the village or get fired from his job working at the
Henry for himself is when he is alone. He seems to stop acting and let
Molière, Jean-Baptiste. “Tartuffe.” The Northern Anthology of World Literature. Gem. ed. Martin Puchner. 3rd ed. Vol F. New York; Northern, 2012. 144-97. Print.
Shakespeare's comedies A Midsummers Night's Dream and Much Ado About Nothing have many parallels while Measure for Measure is a problem play with a completely different tone. Comparing and contrasting these three plays provides insights into the views of Shakespeare concerning comedy.
In I Henry IV and II Henry IV, William Shakespeare brings together drama and comedy to create two of the most compelling history plays ever written. Many of Shakespeare's other works are nearly absolute in their adherence to either the comic or tragic traditions, but in the two Henry IV plays Shakespeare combines comedy and drama in ways that seem to bring a certain realism to his characters, and thus the plays. The present essay is an examination of the various and significant effects that Shakespeare's comedic scenes have on I Henry IV and II Henry IV. The Diversity of Society
... and ambiguity. Shakespeare uses the ironies found in the play so that we will remember his play's limits. It cannot produce an ideal, nor can we as an audience.
Wadsworth, Frank W. "Shakespeare, William." World Book Online American Edition. Online Edition. Online. Netzero. 26 Mar 2002.
Clark, W. G. and Wright, W. Aldis , ed. The Complete Works of William Shakespeare. Vol. 1. New York: Nelson-Doubleday
Shakespeare, William. The Norton Shakespeare. Edited Stephen Greenblatt et al. New York: W. W. Norton & Company, 1997.
In stark contrast to the dark and tragic "Othello," is one of Shakespeare’s lightest and funniest comedies, "Twelfth Night." The theme of love is presented in a highly comical manner. Shakespeare, however, once again proves himself a master by interweaving serious elements into humorous situations. "Twelfth Night" consists of many love triangles, however many of the characters who are tangled up in the web of love are blind to see that their emotions and feelings toward other characters are untrue. They are being deceived by themselves and/or the others around them.
Shakespeare, William. The Tempest. The Riverside Shakespeare. Ed. G. Blakemore Evans, et. al. Boston: Houghton Mifflin Company, 1974.
What is comedy? Funk and Wagnalls New Encyclopedia says: "A comedy depicts the follies and absurdities of human beings." Webster's Dictionary defines comedy as: "A drama or narrative with a happy ending." Shakespeare's play, Measure for Measure, fits both of these descriptions. Follies and absurdities are present in the play: Lucio slanders the Duke, not realizing that his crude remarks are being spoken to the Duke himself; Angelo abuses his power thinking that the Duke is not present to know; and Ragozine happens to die in prison the day a head is needed to substitute for Claudio's. The play also ends on several merry notes, consistent with the definition of comedy. For example, Angelo's life is spared and he is forgiven; Mariana is married to Angelo; the Duke punishes Lucio humorously with marriage; Barnardine is pardoned; and Claudio is saved. The parallels between Measure for Measure and three other Shakespearean comedies, The Merchant of Venice, As You Like It, and Twelfth Night, also help to classify Measure for Measure as a comedy. In Measure for Measure, like in The Merchant of Venice, As You Like It, and Twelfth Night, an arbitrary law or obstacle is eventually overcome; a disguised character affects the outcome of the play; a clown adds humor to the plot; a female character bears a large responsibility for the final resolution; and forgiveness and reconciliation mark the conclusion of the action.
nbsp;   ; Humour plays a very significant part in the play as it allows Shakespeare creates a lot of contrasts and moods, as and when he wants to. In Romeo and Juliet, humour occurs in three forms. The first being, humour. by the use of puns, irony and jokes.
Evans, G. Blakemore. Ed. The Riverside Shakespeare. by William Shakespeare. 1552- 1616. Boston: Houghton Mifflin Company, 1974.
William Shakespeare's plays come in many forms. There are histories, tragedies, comedies and tragic comedies. Among the most popular are the comedies which are full of laughter, irony, satire and wordplay. Many times the question is asked: what makes a play a comedy instead of a tragedy. Shakespeare's comedies often use puns, metaphors and insults to provoke 'thoughtful laughter'. The action is often strained by artificiality, especially elaborate and contrived endings. Disguises and mistaken identities are often very common. Opposed to that are the tragedies, where the reader would find death, heartbreak, and more serious plots and motives. The plot is very important in Shakespeare's comedies. It is often very convoluted, twisted and confusing, and extremely hard to follow. Other characteristics of Shakespearean comedy are the themes of love and friendship, played within a courtly society. Songs often sung by a jester or a fool, parallel the events of the plot. Minor characters, which add flavor to the plot, are often inserted into the storyline. Love provides the main ingredient. If the lovers are unmarried when the play opens, they either have not met or there is some obstacle to their relationship. Examples of these obstacles are familiar to every reader of Shakespeare: the slanderous tongues which nearly wreck love in "Much Ado About Nothing", the father insistent upon his daughter marrying his choice, as in "A Midsummer Nights Dream", or the confusion of husbands in "The Comedy of Errors".