The Tragedy Of William Shakespeare 's ' The Comedy Of Errors ' Essay

The Tragedy Of William Shakespeare 's ' The Comedy Of Errors ' Essay

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The purpose of drama is to bring about an order in the audience. In Comedy this is through an account of the characters triumph over adversity. In tragedy, this means an account of the downfall of the main character and it 's aftermath. Basically, they are narratives of incredible fortune, divided by whether the fortune is good or bad.

Syracusan Dromio exclaims in the Comedy of Errors:" O, for my beads! I cross me for a sinner./ This is the fairyland. O spite of spites,/ We talk with goblins, owls, and sprites!" [The Comedy of Errors, ] In the midst of Ephesus ' urban tumult, one character has hinted at a more enchanted world. this comment is easy to ignore as an expression of consternation, but it 's .
The balance between dreamland and real life and the function of fantasy in Shakespeare. By allowing ourselves to posit that impossibilities are at play in our cosmos awakens us to the reality that our world is in fact enchanted. The most unbelievable part of Midsummer Night 's Dream Is not Bottom 's transformation: We laugh and agree to suspend our disbelief of the cockeyed imbalance there . But it is this absurdity that stretches our minds into readiness for the real climax of the story; its resolution. Shakespeare uses our enjoyment in imagining the fanciful to overcome our incredulity over the fortunate. Is it not easier for us to imagine the catastrophic argument of Oberon and titania with all its aftermath, than credit their sudden revival of romance? We are readier for a man to have an ass 's head than a party where every member is content. Because Comedy IS fantasy, it depends on the fantastic. When the plot is itself too good to be true we are distracted by the ...

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...are no immaculate protagonists. Edmund is not all evil and Cordelia is not pure perfection. He is devilish but relatable. She is angelic, but fiery too.

Every art has its medium which provides the limitations and the indefinite possibilities for expression. A Painting can only be so minutely detailed before the colors blur together. Music can only get so high or low, so loud or soft. Singers have their range, canvases their edges, just so actors and directors have their horizons and can only get so close to them. But just as Bach and Mozart took the risk of writing taxing music, Shakespeare risks being misunderstood in his art too. Drama has always been a heaping great trust exercise. From Playwright to director to actors to audience, everyone is gambling that the heart of the story will make it from one end of the artistic assembly line to the other.

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