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Features of shakespearean comedy
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In The Taming of the Shrew, Shakespeare creates humour through his characters by creating false realities (as demonstrated by Petruchio’s behaviour and attire in the scene of his wedding) and by the use of subterfuge and mistaken identity (shown in the final scenes with the transformation of Kate and Bianca’s respective personas). He also uses irony quite extensively, especially towards the end of the play (as can be seen in the final ‘wager’ scene). The concept that ‘things are not always as they seem’ is quite evident in the events surrounding, and including, Petruchio’s wedding ceremony. This particular scene in the play demonstrates how the use of false realities (a real situation falsely presented in order to deliberately deceive) can be used to create humour. Biondello describes Petruchio’s appearance to Baptista, and by doing so sets up the expectations of the audience. He says that Petruchio comes wearing: New hat and old jerkin; a pair of old breeches thrice turned; a pair of boots that have been candle-cases, one buckled another laced; an old rusty sworde…with a broken hilt and chapeless; his horse hipped…with an old mothy saddle (Act III Scene II) This depiction of Petruchio conforms to Shakespeare’s technique of using false realities, in order to create humour. This can also be seen in the false identity that Petruchio puts forth in his quest for dominion over Kate (that of the eccentric egomaniac). However, these false realities are not enough by themselves, as the audience has nothing to go by but what they see before them, and so they are not to know that this is not Petruchio’s true personality, and so Shakespeare employs another essential element of humour: he lets the audience know what is truly transpiring, while the characters themselves remain oblivious to the truth. He does this using a soliloquy, in which Petruchio states the strategies he shall use in order to tame Kate: She ate no meat today nor none shall she eat…and as with the meat some undeserved fault I’ll find about the making of the bed… This is the way to kill a wife with kindness…he that knows better how to tame a shrew, not let him speak (Act IV Scene I) This soliloquy serves to reinforce the fact that ‘things are not always as they seem’. So the knowledge gleaned from this soliloquy means that we find the other events involving Kate and Petruchio even more amusing, as we can see that it is nothing more than an elaborate game of chess, instigated by Petruchio.
Paul as well as those of Erasmus that bring to focus various dimensions that are aligned around Shakespeare’s perception of comic faith in the play. The characters of Bottom, Theseus and lovers give out an insight to epistle paradoxes on religious faith coupled with a slight touch of romantic faith which is set out in thee wholesome imaginative experience. Celebration of limitations sits as the precursor for comic happiness in the play; there is an epistemological appeal that focuses on the mannerisms of characters. Most obvious of all allusions of comic faith in the play is Pauline and sets out the central attention that is meant to be captures. Upon waking up from his dream, Bottom has a delightful monologue that sets out a clear difference between ridicule and the sublime of the play, “I have had a most rare vision. I have had a dream, past the wit of man to say what dream it was. Man is but an ass of he go about to expound this dream. Methought I was – there is no man can tell what. Methought …I had – But man is but a patched fool if he will offer to say what methought I had. The eye of man hath not heard, the ear of man hath not seen, man’s hand is not able to taste, his tongue to conceive, nor his heart to report what my dream was (Shakespeare and Foakes 203).” Herein we see Bottom considering himself as an ass and he fails to expound further on the meaning of his dream whole his hands
Conflict with reality and appearance brings to surface the elements of the traditional commedia dell’arte in the form of mistaken identity, which enriches the farcical plot-lines that occur in the play. The very embodiment of mistaken identity establishes that what may be seem real could be quite the opposite, however the characters in the play are unable to distinguish this as their vision becomes distorted by their fall into the deception of appearance. It is this very comedic device that enables the conflict between Roscoe (Rachel) and Alan, or Charlie and Alan’s father to occur which is a significant part of the comedic nature of the play as the unproportional situation is what sparks laughter from the audience, and so it is the presence of mistaken identity alone that conveys the play into a light-hearted comedy. Furthermore, Peter O'Neill quotes that ‘using humour can provide a degree of safety for expressing difficult ideas or opinions which could be particularly effective…’. In the circumstances of the quotation Richard Bean effectively c...
Examine the different ways in which Shakespeare presents the attitude towards marriage in the play, ‘The Taming of the Shrew.’
An exploration of Shakespeare’s presentation of trickery and deception in his play ‘Much Ado about Nothing.’
The second being through the actions. of characters and by their behaviour and the third by the incidents of the play. I will be there. Shakespeare uses characters like Mercutio and the Nurse to bring out the comical element of the play, and each character does this in a different way of doing things. & nbsp; One of Shakespeare's tools used to evoke humour is the mockery that is aimed at a particular character. Some of the funniest moments are when one character is sarcastic to another.
A long time ago, a drunken man fell asleep outside an alehouse. This man, Christopher Sly, was discovered by a mischievous lord who took him into his home. The witty lord then convinced Sly that he was a lord, as well. The lord then put on a play for him. The play, The Taming of the Shrew, was about the two young daughters of Baptista. The youngest daughter, Bianca, wished to wed but her father, Baptista, would not allow this until his eldest daughter, Katherina, was married. Under normal circumstances, it would be easy to find a husband for Katherina with all her beauty, but all her beauty was covered by her shrewd personality. By this time Bianca's suitors were growing very impatient, so they decide to team up and find a husband for Katherina. In jest they mentioned their plan to a friend, Petruchio, who surprisingly agreed to marry Katherina. All her beauty and wealth were enough for him. Katherina reluctantly was wed to Petruchio and she was taken to his home to be tamed. With Katherina out of the way, Bianca was now allowed to marry Lucentio, who offered her father the highest dowry for her. In the final scenes of the play, Katherina proves that she is tamed by winning an obedience contest at a dinner party. Katherina is now even more in accordance with her wifely duties than Bianca. A fare is a type of comedy based on a ridiculous situation. The Taming of the Shrew, an eminent example of a farce, is the first of three farces written by Shakespeare.
By charming her with kind words, Petruchio is able to manipulate Katherine into marriage and woo her, but in an unaccustomed way, as Kate is not used to men being so nice and direct with her. Petruchio is able to achieve this end by manipulating Katherine’s words. He twists what Kate says and makes it seem as if she is coming on to him sexually, while in reality he is the one implying the sexual innuendo. This manipulation can be seen when they have an argument about whether or not the wasp carries his sting on his tail or tongue, and Petruchio says “What, with my tongue in your tail? Nay, come again, good Kate. I am a gentleman—” (II, 1; 230-231). By contorting the words he ...
In conclusion, Shakespeare does it again with Taming of the Shrew. On the surface, there is Kate who seems to be off the wall and kinda crazy but at the end of the play, you realize that by acting this way and learning “life’s little secrets,” she gets the life she always wanted.
Misunderstandings generate conflict and drive stories forward. William Shakespeare’s Much Ado About Nothing is a play filled to the brim with misunderstandings and comedic situations. The constable of Messina, Dogberry, contributes to many such comedic situations with his twisted speech and juxtaposing sobriety. In this essay, Dogberry’s reality, character, and wrongly-used phrases are to be compared to actual reality.
Over the past 400 or so years since Shakespeare wrote _The Taming of the Shrew_, many writers, painters, musicians and directors have adapted and reformed this play of control and subjugation into timeless pieces of art. In _10 Things I Hate About You_ and Kiss Me Kate from two very different times in the twentieth century, and paintings of Katherina and Bianca from the late nineteenth century, the creators of these adaptations have chosen to focus on the role of the two main female characters in the play. The ideas surrounding these women have changed through the years, from Katherina and Bianca simply being young women who deviated from the norm of Shakespeare’s time to women who embody feminist ideals and stereotypes of the more modern world.
Many would perceive madness and corruption to play the most influential role in Hamlet. However, it could be argued that the central theme in the tragedy is Shakespeare's presentation of actors and acting and the way it acts as a framework on which madness and corruption are built. Shakespeare manifests the theme of actors and acting in the disassembly of his characters, the façades that the individuals assume and the presentation of the `play within a play'. This intertwined pretence allows certain characters to manipulate the actions and thoughts of others. For this reason, it could be perceived that Shakespeare views the `Elsinorean' tragedy as one great puppet show, "I could see the puppets dallying".
The second reason the bond survives is that Petruchio is strong enough to accept the fact that Katherine has a mind and, more importantly, he loves her for that reason. Petruchio cleverly weaves the relationship into the framework of society without compromising the integrity of the relationship. Petruchio does this by comparing Katherine’s attitude to repulsive clothing. Carefully and calculatingly, Petruchio forges a relationship that is envied by all who witness it. Called "cursed Kate" throughout the play, Katherine is openly jealous of the attention her sister is receiving, whereas she, because she speaks her mind, is being bypassed and even avoided in the wooing process.
Humor in William Shakespeare's Twelfth Night In Twelfth Night we see different types of humour. There is the witty
The Effectiveness of Shakespeare’s Linguistic Choices in Conveying the Power Struggle Between Katherine and Petruchio
...disguise to add comic effect by encouraging humour of an audience via the ‘theories of laughter’. Comic effect is accurately demonstrated by Shakespeare’s incorporation of confusion, disorder and farce. However, it can be concluded that Shakespeare’s use of mistaken identity and disguise was for the purpose of more than just for comic effect, but to highlight the audience more serious topics and challenge social norms and values of the period. Ironically, it can be inferred that Shakespeare has masked his underlying purpose of mistaken identity and disguise with comedy.