Some example of this is Shylock’s desire for the alternate mode of payment on the debt, the pound of flesh from Antonio. Because of this various elements, attempting to categorize The Merchant of Venice into just one genre can get a little confusing. First, what is comedy and what is tragedy. According to TurtorVision.com, “comedy is a type of drama that is intended to amuse, usually with a happy ending. The central character of a comedy is usually an ordinary character that faces conflicts that arise from misunderstandings or mistaken identities but overcomes them, and the play ends with a happy resolution.” (TutorVision) and tragedy is “a drama that ends in the downfall of its main character… The hero’s downfall is meant to inspire audiences to examine their own lives, to define their beliefs, and to cleanse their emotions of pity and terror through compassion for the character.” (TutorVista).
Thus, by contrasting demonic imagery with Othello’s true nature, Shakespeare develops the theme of how impressions can be deceptive. This is further emphasized by Brabantio’s impressions of Othello. After Othello’s noble nature is first revealed to the audience, he politely addresses Brabantio, stating “Good signior, you shall more command with years/Than with your weapons” (I.ii.___). Brabantio responds insultingly, utilizing hellish imagery when addressing Othello, stating “Damn'd as thou art, thou hast enchanted her” (I.ii.___). In this scene, the demonic imagery Brabantio uses serves as a harsh contrast between his impression of Othello as “Damn’d” and Othello’s actual calm and noble nature.
Using the characters’ relationships against them, the play reveals the power of deception and misinformation to destroy trust and loyalty. Othello was published in the early sixteenth century. Commedia dell’arte, a popular comedy in Italian theatres, persuaded Shakespeare’s motives when writing Othello. Shakespeare writes this play with a “disturbing, tragic ending, not the traditional romantic tragedy that has puzzled commentators” (Whalen). The deceitful motives of the characters in Othello derived from popular comedy of early Italians in the sixteenth century.
The sentimental comedy is that Tellheim must overcome his moral trials which include bribing the saxons and feeling he is unworthy of Minna 's love. It is for this reason that the play falls into line with the comedies of the Deutsche Schaubȕhne and can ultimately be categorized as a comedy. Minna von Barnhelm has been hailed by the Goethe institution as “ein glänzendes Meteor” and has been claimed as the greatest comedy in the German Language. In accordance to this information, it has also been disputed whether or not the humor lies within the characters or the plot. One may argue that, as the reader studies this play is becomes increasingly difficult to ignore the humorous scenes through the interaction of the characters.
An interesting fact is that many Nazis actually embraced the play Antigone. In contradiction, the German superiors attempted their best to limit any works that implied anti-Fascism. "Antigone" is perceived as an enduring metaphor for the Nazis and someone who collaborates with an enemy occupying force which can also be referred to as treason. In World War II the collaborationist was the Vichy regime. What is extremely interesting is through the war the play was being staged all over Europe from 1941 until the end of the war.
In Nazi Germany, the idea that Jews were responsible for the horrible reparations after the Great War was common. It was thought that negroes in the 20th century were lazy panhandlers. The bourgeoisie seeked to rid France of their current politicians because it was assumed that anyone with political power during the king’s reign seeked to overthrow the new government. The term “witch hunt” best describes these scenarios, and it is no coincidence that Arthur Miller writes about the inspiration for the term when he describes McCarthyism in The Crucible. It is through this use of hysteria that influential people gain more power.
Sir Phillip Sydney defines comedy in the case of ‘Twelfth Night’ as “an imitation of the common errors of our life, which Malvolio representeth in the most ridiculous and scornful sort that may be so as it is impossible that any beholder can content to be such a one.” There is no denying that ‘Twelfth Night’ is a comedic play directed at Malvolio’s flaws, made clear through his gulling, mockery and imprisonment with the intent of exposing his “precisely identified moral failings” (Butler 3). It is these moral failings and his refusal to acknowledge them or grow that ultimately justifies his treatment and exclusion from the happy ending. Despite his austere manner, Elizabethan spectators viewed Malvolio as a comedic construct, purely created for the purpose of ridicule. He is a kill joy from start to end, made evident in his naming. ‘Malvolio’, (‘Mal’ meaning ill & Volio meaning will/ evil-wishing in Latin) suggests
The Nazis believed in anti-semitism and spread it throughout Germany to convince the non-jewish Germans that anti-semitism was okay. The Nazi Party spread that belief as well as their other beliefs and ideas using propaganda which was a powerful tool that was used during World War Two. Genocide, a mass killing of people, is what happened next when the Nazis start rounding up the Jews and putting them into ghettos and concentration camps. These 3 things were added up together and made the Holocaust, a genocide of mostly Jews that was caused by propaganda. “The Holocaust, the state-sponsored persecution and murder of European Jews by Nazi Germany and its collaborators between 1933 and 1945, is history’s most extreme example of antisemitism.”(United States Holocaust Memorial Museum,
In Madame Bovary, Gustave Flaubert blatantly ridicules Romanticism, by making a parody of it and hinting that Realism derives as an answer to Romanticism. This parody criticises and recognises the comical side of romantic fantasy, but also offers a realistic view. Realism depicted in such a form offers criticism and is provoked by Romanticism itself. The two thereby appear together and Realism undermines Romanticism. A character such as Rodolphe, who is a parody that borders the illusory side of Romanticism, is an example.
In defiance of Shakespeare’s typical comedies, the most dramatically intense love relationship in The Merchant of Venice is not one between a man and a woman, but between two men: Antonio, the merchant of Venice, and his friend Bassanio. It is unquestionable that Shakespeare thought long and hard about the issues that he raises in his works and projects an equally wide range of attitudes to both love and sex through the situations and characters of his plays. The Merchant of Venice, as stated, breaks from the typical mode, yet remains a member of Shakespeare’s romantic comedies: romantic in the sense that it deals in an ideal view of love which places the lover on a pedestal—known as petrarchan love—in which the lover feels an idealized, spiritualized