Comedy In Twelfth Night

The minor characters side stories that weave dramatic irony throughout the play makes the story line all the more fascinating. Malvolio, who is Olivia’s attendant, has the meanest of tricks played on him, and the trick is made considerably more amusing due the nearness of emotional incongruity. The sensational incongruity is made when Malvolio gets a note sent in penmanship that has all the earmarks of being Olivia's. The gathering of people, in any case, realizes that the note was rather composed by Olivia's worker, yet Malvolio trusts it to be composed by Olivia herself. The note gives Malvolio particular directions to win Olivia's adoration, and is loaded with things that are abnormal for Malvolio.

The two characters are meant to balance each other out, but Iago gets too deep in Othello’s head, leaving him susceptible to lash out. Shakespeare wants to bring attention to the fact that no matter how hard one tries, the darkness creeps on eventually and wins. By this point in the play, all the character’s true colors have been shown. “Othello is forced to recognize that he lives in a tragic world, and he pays the price” which causes him to have his tragic downfall(Harbage). Othello saw the good in people, until his peers lied to him and betrayed him.

The Taming of the Shrew is a romantic comedy. If comedic devices were not there The Taming of the Shrew would be just a normal romance. Comedic devices do work to develop the plot in The Taming of the Shrew. The are several comedic devices in this story: unexpected plot twists, witty language, disguises or costumes, young love with a struggle, and unity and harmony. These all contribute different comedic aspects to the plot and push the plot forward.

I would suggest that Shakespeare, ever the masterful strategist, is using this title to draw attention to the chaos of the “much ado,” which is ultimately born from his characters ' liberal use of deceit. If the plot begins and ends with “nothing", then we must depend entirely upon the “much ado” created by deceit in the middle, to discover the meaning in this play. In my reading of Much Ado About Nothing, I identify three types of deception: deception of others for benevolent reasons, deception of others for malicious reasons, and self-deception. Of the three, I argue that the last is the most dangerous.

As he takes reference to this comment: “Excellent wretch! Perdition catch my soul But I do love thee! And when I love thee not Chaos is come again.”

Chris Wiley, in his essay, “Fooling Around: The Court Jesters of Shakespeare” divides the fools into three categories: ‘Clowns’, who turn farce into precise science, ‘Dunces’, who use their lack of intelligence as the medium of human and the princes of fooling, and ‘court jesters’ who turn fooling around into a respectable position. He calls the jester, a ‘restrained down” and an “educated dunces”. Critic Roger Ellis has observed that the fools were frequently given the reign to comment on society and their action changes the social view, Shakespearean fools demonstrate a subversive potential. Critic Roberta Mullini argued that such characters can be constructed as disrupting the traditional

Tartuffe: A Tale of Bitter Deception Charles Baudelaire once said, “The devil's finest trick is to persuade you that he does not exist” (Baudelaire). Within the vast world of the theatre, one will irrefutably find that deception lies at the heart of evil. Despite whether or not one believes in the devil, he or she can pinpoint deception at the root of all evil. Molière’s well-known drama Tartuffe, which was first premiered in 1664, provides a captivating glimpse into the world of evil and deception.

He tried to take piety on himself by bashing himself so that Orgon would feel bad. “ Yes, my brother, I’m wicked through and through. The most miserable of sinners, I. Filled with iniquity, I should just die. Each moment of my life’s so dirty, soiled, Whatever I come near is quickly spoiled. I’m nothing but a heap of filth and crime.

To Cheat or Not to Cheat? The Merriam-Webster Dictionary defines the act of deceiving to be false to or to cheat. This is done when the truth is being obscured. All throughout Shakespeare’s classic tragedy, Hamlet, full of misfortune and fate, conveys to the audience that appearance can be deceptive and everything cannot be taken at face value.

Arguably, Tartuffe is not only a hypocritical buffoon, but also a delusional cult leader who has somehow bent his claimed morals into excusing his irrational behavior. In Act I, Scene I of Tartuffe, Dorine asserts one of the first characterizations of Tartuffe, which is “everything [Tartuffe] does is hypocrisy” (35). Before Tartuffe even enters the stage, the audience can already infer what type of man he would be, one that presents himself as a pious saint while behaving sinfully. Tartuffe warns of the dangers of the flesh, and the mere sight of Dorine’s uncovered chest offends him to the point of asking her to cover up, but he is more than willing to engage in unholy activities with Elmire’s flesh. Simply put, Tartuffe would make a religious claim, which would be accurate in nature, implement it strictly to the point of being overly prudent,

Satire is unforgiving; realism is all-forgiving; and David Williamson has always attempted to merge the two, portraying people as wicked but pardonable. The more you get to know the baseness of the motives of each character, the more empathy you are intended to feel for them, as you come to realise that all people, even ourselves, despite all actions, generally mean well. As far as it goes, the good guys aren’t very good and the bad guys always fall short of the true evilness which they, in theory, are capable of. Many of Williamson’s plays start out as toughly satirical but end up merging into roughly sentimental, with even his basest, most deviant characters always having a comfortable, revealing scene; Even his nicest characters will admit to unworthy thoughts and ignoble desires.

Viewing the letters’ censorship in such a way creates a sense of humor through a contrast of the reader’s light-hearted expectations with the meaningless of war. Bolstering this parallel between war and the protagonist, Yossarian sustains an eccentric stance against “modifiers.” This is oddly reminiscent of WWII, or any war, in which a group of people who differ from the majority become the targets of mass discrimination. Relating a grammatical structure to an oppressed race stands cold, yet sadistically comedic. Through his literal acts, Heller’s juxtaposition, and parallelism, Yossarian’s immorality reveals the humor of

This leaves Malvolio with no way to prove his sanity, as he can either agree the room is bright and contradict reality, or he can stick to the belief that the room is dark and be deemed insane by Sir Topas. Sir Topas is just demonstrating the contradictory nature of determining sanity, and the fact that it is a vicious circle, as no matter what Malvolio say’s Sir Topas can say he is mad. He immediately after gives an example of this confliction between sanity and reality, “Why, it hath bay windows transparent as barricoes, and the [clerestories] toward the south-north are as lustrous as ebony; and yet complainest thou of obstruction?” (iv.ii.38-41). These lines are full of contradictions, such as, bay windows as transparent as barriers, and high windows as

Thus, in William Shakespeare’s classic play Macbeth, the author suggests that an individual’s identity is often an illusion voiced by crippling desire and the influence of others. As creators of turmoil by nature, the witches catalyze changes in Macbeth that enable his transformation from a righteous military general into a committed megalomaniac. Furthermore, they inspire the awakening of Macbeth’s ambition and fool him by providing a false sense of security. This exploitation is expected from the dark and sinister creatures as they firmly believe that “Fair is foul, and foul is fair.” (Shakespeare, trans. 2012, 1.1.12).

The relationship between Beatrice and Benedick exposes the truth in a manner that removes the significance of the lies. Whereas Claudio and Hero’s connection still relies on the treacheries as a crucial property to flourish. These juxtaposing relationships illustrate how varied human relations can be when fabrications are at the center. As the play matures the relationships developed at different degrees into opposing situations: one growing stronger while the other was weakened due to the deceptions. In these final lines, Shakespeare is exposing how circumstances can contrast even amongst comparable conditions.