Neil Simon is arguably one of the greatest American playwrights of the twentieth century. He has brought his unique personality and views to his works. His plays have not only graced Broadway, but many have made it to the screen. Simon uses personal ties in portraying characters familiar to the audience. Simon said once in an interview with Glenn Loney, “Certain types of critics will always look down on comedy.
When Mercutio feels a false sense of honour, it will ironically contribute to the death of his friend. Merutio had seemed to turn the play into a comedy at times: but some can say that it is with his death that we know the play to be a tragedy. He is one of the greatest characters that Shakespeare has ever created and his character is essential to the whole play Romeo and Juliet.
Within each individual play, the protagonist is relatively easy to pick out. The antagonist, or villain, on the other hand, is not always so simple to perceive. Typically the villain in most of Shakespeare’s plays is male, and he will often be close to the protagonist in some form or another. Villains from Shakespeare’s Othello, A Midsummer Night’s Dream, and Hamlet are depicted in much the same way throughout each play; the three most influential villains, and those that will be analyzed are Iago from Othello, Puck out of A Midsummer Night’s Dream and last but not least, Claudius in Hamlet. Iago and Puck initially seem to have nothing in common, as one originates from a tragedy, and the other from a comedy; however, there are certain characteristics that are comparable between the two.
The audience at a comedy is likely to feel itself to be slightly superior to, and therefore distant from, the comic figures, even the romantic leads, if it is to laugh at their follies. Comedy can be defined in three main types; visual, verbal and situational. Visual humour is usually accessible images, pictures and the obvious. Verbal humour is the spoken satire, word-play and stories. Situational humour takes place around a plot created by an author.
In this sense, he has taken advantage of her, for she has unwillingly fallen in love. "He chooses Kate as he would a horse, for her high mettle, and he must use at least as much intelligence and energy in bringing her trust to him, as he would in breaking a horse…" (Greer 40). Shakespeare also uses this recurring theme later in The Comedy of Errors, when Luciana reminds Adriana that " men are masters of their females" (The Comedy Of Errors). ... ... middle of paper ... ... Handbook. 1987.
The Guardian. N.p., n.d. Web. 19 Jan. 2014. culture/2011/jun/17/shakespeare-much-ado-wyndhams-globe>. Friedlander, Ed, M.D.
The presentation of love in this play is wide both in scope and in application, including many relevant ideas. The structure of the play helps convey these, and still maintains it as a comedy. There is a sinister, evil tainted scene, followed by a comic one, balancing the play, but still including all the negative points that Shakespeare wants to convey. It is altogether a hugely impressive piece of playwriting, and Shakespeare deserves the adulation he duly receives.
“From Edward D. Johnson: “The Shaksper Illusion,” chapter: “Francis Bacon's Promus”. http://www.sirbacon.org/links/notebook.html. N.p, n.d. Web. 17 February, 2014.