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Comedy in lysistrata
The nature of Greek comedy and tragedy
The nature of comedy in lysistrata
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Both Plautus and Terence are highly renowned playwrights, whose work has been passed on as an example of comedy in Roman culture. Plautus and Terence both pulled from the Greeks as inspiration, and although both authors’ work is humorous, they take different form. Plautus’ work is extreme, light-hearted and comical, while Terence’s work is more witty and realistic. This can be seen in Plautus’ play Double Bind and Terence’s work The Brothers. In both plays the authors have the same theme of moderation and use extremes to convey this message. Also both plays illustrate general confusion to create humor within the play. However, Plautus does not develop characters within his play, sticking with stock characters throughout the play. Instead Terence …show more content…
Although it is obvious to the audience that Clueless II isn’t crazy, Plautus continues his theme of disobeying the modus and ineptiae within his stock characters. For instance, in Act I, Scene 3, Clueless I shows ignorance for the common norms by treating Loveykins, the prostitute, as an acceptable love interest. Diddley also disobeys the modus by being a beggar but not knowing his place, like a servos fallax, even to the point where he acts as a patron to Dovey, when confronting her husband. When Dovey accuses her husband for stealing, Diddley tells Clueless, “I say no more. I leave the rest to my client,” and continues to coach her during the confrontation (Act IV, Scene 2). In scenes like these in the play that emphasis and make light of things that go against the modus or Roman culture norms.
Also within the play these characters do not change or develop, unlike in Terence’s play The Brothers. Within the play the characters stay the same, meaning they stay ignorant, even until the very end of the play. When Smug, Clueless I and II are together they all still are very confused. “No, you take my word: I am,” Clueless I basically says while Clueless II refutes, asking, “What flimsy fiction is this? You’re Clueless?” (Act V, Scene 6). This debate continues until Smug figures they are twins, showing that neither Clueless I or Clueless II had changed their nature throughout the entirety of the
The characters in Much Ado About Nothing are easily fooled into inadequate situations that could easily be prevented by a little investigation. We can only imagine how simple their lives would be if Claudio simply inquired to Hero about her supposed actions the night before the wedding. On the other hand, Beatrice and Benedick may never have fallen in love if it were not for the trickery that entangled them. Yet again, if their friends come right out and suggest that it might be a possibility, they could grow fond of the idea and embrace it none the less. Shakespeare convinces us that it is easier to uncover the truth rather than to clean up a mess from premature actions based on an illusion.
The idea of ignorance, and the belief of a false faith, turns this noble man into a vulgar grave, with virtuous notions. Brutus’ ignorance creates an expectation that develops a path that leads him awry. When Brutus mentions, “I would not love Cassius; yet I love him well” (1.2.81-88 ), he portrays his internal conflict. Brutus depicts the struggle between Cassius’ acquisitions and Caesar’s actions.
Kurt Vonnegut uses a combination of dark humor and irony in Slaughterhouse-Five. As a result, the novel enables the reader to realize the horrors of war while simultaneously laughing at some of the absurd situations it can generate. Mostly, Vonnegut wants the reader to recognize the fact that one has to accept things as they happen because no one can change the inevitable.
Without Act 2 Scene 2 the whole play makes no sense. This is the scene
Everyone says, everywhere you go, that everything is about sex. Wars and films were no different. The “screwball comedy” was a movie making style popular in the 1940’s. This style was created so filmmakers could put more risqué moments in their films while still abiding by the censorship laws. These movies were “sex comedies without the sex” (Andrew Sarria, film critic discussing screwball comedies). Stanley Kubrick used this idea to fuel a satire about the idealistic Cold War in 1964 to supposedly fight communism. Dr. Strangelove debunks the myth of American moral superiority through the constant sexual undertones and over masculinity throughout the film and instead portrays the Cold War as groups of testosterone fueled, sex driven men compensating for inferiority complexes.
A lot of people want to know about the writing of Mark Twain. Mark Twain’s writings are widely known around the world. ” English teachers are always saying that Mark Twain is the greatest author in American literature.” Stated Dr. Engel in his lecture called “The Genius of Mark Twain.” Mark Twain has been criticized a lot by people about his writings. Especially his novel called The Adventures of huckleberry Finn. The only reason he received as much criticism as he did for that novel was because one specific word. That word is powerful too. This word can be used by one person in the wrong way and shut down a community, a family, and maybe even a life. That word is the word “nigger.” We are not even going to get into that subject right now because that is not what we are here to talk about. People always
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
Shakespeare uses soliloquy as a dramatic tool to unveil the man behind the disguise. The true nature of the protagonist, Hamlet, is riddled by false appearances and deliberate attempts to deceive characters within the play, mainly characterised by his conscious intention “To put on an antic disposition”. Whilst the audience is disorientated by Hamlet’s erratic moods and inconsistent behaviour – the alternation between passive inaction, failing to act when he has an opportunity to avenge and kill Claudius whilst he prays, and volatile linguistic attacks in Gertrude’s chamber – the soliloquies provide consistency. They are intimate, private, confessional accounts in which Hamlet does not have to ‘act’ as he does around other characters. Therefore they serve to distinguish the original Hamlet from the specious character he plays within the play itself. Similarly in The Revenger’s Tragedy, Middleton attempts to separate Vindice from the role he adopts as the pander. However, the consequences of these revelations of truth are divergent. Whilst in The Revenger’s Tragedy, Vindice is able to disconnect genuine feeling from necessary action, and acts contrary to the emotions revealed in his asides, Hamlet’s soliloquies indicate his course of action. The reluctance to act that Hamlet expresses in his soliloquies translates to his ineffectuality at revenging his father’s death. Throughout the play, Shakespeare’s use of soliloquies provides commentary and insight for the audience so that they can decipher between false impressions and the real Hamlet behind the disguise.
In Guy de Maupassant’s story, The Necklace, he utilizes situational irony in order to highlight the theme. He displays this irony in order to reveal several themes that can be observed in the story. One of the major themes in this short story is how appearances can be misleading.
Frequently in literature, humor is added in scenes to make them more interesting and more appealing to readers. Often times underneath the humorous covers lay a much more serious principle. Charles Dickens does exactly this in A Tale of Two Cities, by making slight comedy of issues such as democracy, the lower class, and spousal abuse.
When Hamlet is with a trustworthy friend, he is rational and symptom-free; as soon as those persons appear, however, whom he wants to convince that he is mad, he changes his behavior so as to implant different explanations in their minds for his noticeable irrational behavior. With Rosencrantz and Guildenstern, he makes believe that the reason for it is frustrated ambition; with the Queen and King, that it is their marriage that has upset him; and with Polonius and Ophelia, that it is frustrated love that has driven him mad. These rapid and clumsy changes from rational speech with those he trusts to irrational conversation with those whom he wishes to impress are strong evidence of fraud.
One of Shakespeare's earliest plays (its first recorded performance in December 1594), The Comedy of Errors has frequently been dismissed as pure farce, unrepresentative of the playwright's later efforts. While Errors may very well contain farcical elements, it is a complex, layered work that draws upon and reinterprets Plautine comedy. Shakespeare combines aspects of these Latin plays with biblical source material, chiefly the Acts of the Apostles and the Pauline Epistle to the Ephesians. While Menaechmi is the most frequently cited classical source for Errors, Plautus' Amphitruo is just as relevant an influence; Shakespeare's treatment of identity and its fragility is derived from this latter work. Of course, there are many other structural and thematic resonances between the three texts: each of the plays, to varying degrees, deal with the issues of identity, violence and slavery, while displaying a keen awareness of aspects of performativity, specifically the figure of the playwright, and the role of the audience.
Polonius is over-eager and tries to give unwanted advice, during the play he is tactless and often rude. For instance, Polonius is a comic relief during his conversation with Gertrude and Claudius regarding Hamlet’s madness. Polonius rambling through his conversation contrasts with Gertrude’s seriousness of wanting to find out the reason to Hamlet’s madness. As Polonius begins to deliver to the king and queen the results of his investigation, he makes this statement, “My liege, and madam, to expostulate/ What majesty should be, what duty is,/ What day is day, night is night, and time is time,/ Were nothing but to waste night, day, and time;/ Therefore, since brevity is the soul of wit,/ And tediousness the limbs and outward flourishes,/ I will be brief. Your noble son is mad. . . .”(IIii,86-92) . Polonius’ speech is windy and nonsensical he wastes ti...
To what extent did Kafka use comedy/irony to develop his tragic, cynical view of society and family?Gregor Samsa, a young traveling salesman who lives with and financially supports his parents and younger sister, Grete, wakes up one morning to find "himself changed in his bed into a monstrous vermin" or insect. At first, to my surprise, he is preoccupied with practical, everyday concerns: How to get out of bed and walk with his numerous legs? Can he still make it to the office on time? Most persons would be devastated to find themselves in such a position as Gregor, but he did not seem to care much about himself, but only about his obligations, instead of panicking, he starts cursing his job : "If I did not hold back for my parents’ sake, I would have quit long ago, I would have marched up to the boss and spoken my piece from the bottom of my heart", " Well, I have not given up hope completely; once I’ve gotten the money together to pay off my parents’ debt to him, I’m going to make the big break. But for the time being, I better get up, since my train leaves at five." This is a sort of dry humour; a person in a tragic situation does not seem to notice the predicament he is in.He tries to get out of bed, but his new form does not enable him to do the things he used to do so easily.
If there is one way to bring a smile to someone’s face, it is laughter. Funny jokes, comical stunts, sarcasm- Every person is different when it comes to what makes them laugh. Some find dry humor comical. Others think sarcasm or joke-filled ranting are the best. ‘Comedy’ is such a broad term, broad enough to allow everyone to find something they find comical. In fact, ‘comedy’ includes a specific type of drama, one where the protagonist is joyful and happy endings are expected. Comedy is like a drug; it allows you to escape reality. When we say the word ‘comedy’ in the present, we are generally referring to a type of performance which provides humor. However, in its broadest sense, comedy has only one purpose: comedy makes people smile and