How does the use of comic relief best contrast the tragedy of Hamlet? In great works of literature a comic relief is used as contrast to a serious scene to intensify the overall tragic nature of the play or to relieve tension. As illustrated in Shakespeare’s tragedy Hamlet, intense scenes are joined with character’s banter and vacuous actions as to add a comic relief. In Hamlet, Polonius acts as a comic relief by his dull and windy personality, Hamlet uses his intelligence and his negativity toward the king and queen to create humor, while on the other hand Rosencrantz and Guildenstern are a comic relief by their senseless actions and naïve natures. Polonius, Hamlet, Rosencrantz and Guildenstern are all used as a comic relief to increase the ultimate tragic nature of the play.
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.
Hamlet’s sharp words, while providing humor, lets the audience understand the odious feelings Hamlet possesses for his uncle. The comedy in Hamlet turns raunchy when Hamlet’s two close friends Rosencrantz and Guildenstern visit Hamlet from Wittenberg. Upon sight of his friends, Hamlet is able to turn a mundane greeting into a vulgar dialogue: GUILDENSTERN. Happy in that we are n... ... middle of paper ... ...n a tragedy; however without it the play seems lacking. Comedy is necessary to break the unbearable tension in tragedies like Hamlet.
In one instance when Hamlet speaks to Polonius, Hamlet states, “Slanders, sir; for the satirical rogue says here that old men have gray beards; that their faces wrinkled; their eyes purging thick amber and plum-tree gum” (2.2.197). In this interaction, Hamlet uses his feigned madness to his advantage to insult Polonius. Hamlet’s wit clearly shows that he has not yet lost his reason and is not mad. In this act, Polonius begins to believe that Hamlet has indeed gone mad, and he believes that the reason for his madness is Ophelia. Polonius explains to Claudius how he had advised Ophelia to “lock herself from his resort, admit no messengers, receive no tokens…into the
This further highlights that Malvolio is one representation of deception in the play. In conclusion, William Shakespeare’s “Twelfth Night” or “What You Will” is one of Shakespeare’s many comedic plays. The passage in Act 1, Scene 5 focused predominately on a conversation between Feste and Olivia about the mourning of her brother. It was through Feste and Olivia’s word games that contributed to the play as a whole because it added humour to the play. The passage also helped to reveal an underlining theme of the play, which is deception as shown through the character of Malvolio.
This usually happens, when for example, a character reacts in an inappropriate or foolish way or when a character lacks self-awareness and acts on false assumptions. The play “Much Ado about Nothing” conveys the utilization of dramatic irony found throughout Shakespeare’s writing. This enables the audience to know facts about the character’s ignorance, thereby creating suspense, comedy, and more entertainment as the plot intensifies throughout the play. The most notable use of dramatic irony in the play is the misleading of Benedick and Beatrice, Hero’s infidelity and her death. The first sign of dramatic irony occurs during the masked ball when both Benedick and Claudio each believe they have tricked each other into believing they were someone else.
The way Shakespeare uses the setting and characters in the plays is different. In one instance, he uses some characters to make the plot. The magic and mystery that he includes, adds intrigue and they are the ‘legs’ of which he uses to make the story stand. The central theme, love, is the basis where the theme branches out to other problems, especially among the characters. His words and themes make the stories vivid and easily appealing to the imagination.
Theatre and Language in the Soliloquies of Hamlet The first Folio is prefaced with an address to the reader to "Read him again and again". In terms of words and action, Hamlet is the most self conscious play about its own theatricality. Words and actions throughout the play are inextricably linked, as is the notion of "playing" a part. From the outset of the play we see evidence of the external show compared with the underlying reality. In Act One, Hamlet's speech to Gertrude (Nay seems...etc) shows us the Prince talking about actions that a man "might play" and also about what is "inside" him which "passes show".
The farce is enhanced by comments made by the onlookers who insult Malvolio, "Pistol him, pistol him!" Sir Andrew makes this comment, as he himself desires Olivia's hand in marriage. Malvolio lets his imagination go wild creating further humor when he imagines that his "kinsman Toby" will approach and curtsy in front of him. Malvolio finds the letter and notices that it is Olivia's handwriting. Shakespeare creates comedy with his play on words, Malvolio comments on how it is almost certainly Olivia's writing "these be her very C's, her U's, and her T's and thus makes she her great Ps" The use of the sexual innuendo referring to the female genitalia and urination is very clear when spoken aloud which is very amusing.
Shakespeare uses the problems of illusion, deception and subjectivity of perception to examine the Elizabethan patriarchy, and he shows how adhering to convention can distort the views of society’s leaders. Plot development and comedy in Much Ado rely heavily on the use of noting. The play appears to have a simple plot; the romantic couple, Claudio and Hero, are denied marital joy by the evil Don John while the sub-plot, Beatrice’s and Benedick’s resisted but growing love, provides us with some humour until order and happiness are re-established in Messina. However, Shakespeare cleverly employs the many forms of noting (observation, misunderstanding, misreporting) to move the dramatic action forward. The main plot and the sub-plots are laced together with this device and, to emphasise the importance of noting, the audience is denied viewing the vital episode where Claudio and Don Pedro witness what they think is Hero’s debauchery – we observe the watch eavesdropping on Borachio recounting the event to Conrade.