There is satire, which is used to pinpoint the specific personality traits that give off how superficial these characters really are. Dramatic irony is also essential during the whole novel, as the reader often knows what is really happening in the novel, and has a better understanding and knowledge of the situations than the characters. Lady Bracknell’s is a seemingly uncaring and hypocritical person, and her personality contributes greatly to the humour within the scene. Wilde reinforces her frivolousness and carelessness with several quotes throughout the scene. Characters in this novel are materialistic and Lady Bracknell is no exception to the rule, they find feelings obnoxious, “I’m sorry we are a little late, Algernon, but I was obliged… And one of those
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 essential figure in that picture is a beautiful society girl, and the other characters are a young man, a foolish dandy and a few mannered women. The subject matters in both of the epic poems are grand. Like the epic poems, the poem “The Rape of the Lock” opens with the intention of the subject matter and invocation to the Muses. Such a grand action of a trivial subject like the cutting of the lock of Belinda provokes laughter. The action opens with a mock heroic manner with the awakening of Belinda.
A clear example of this can be found in Claudio and Hero’s love for one another and how it varies as deceptive acts are undertaken. Upon his arrival at Leonato’s house, Claudio immediately falls in love with Leonato’s daughter, Hero, who he claims to be; “the sweetest lady that ever [he] looked on.” The significance of Shakespeare’s choice of words ‘looked on’ is evident: Claudio has fallen for a woman about whom he knows little and this demonstrates the importance of appearances - a vital theme during the play. Their love, which began under false pretences, through Don Pedro assuming Claudio’s disguise, continues to be subject to various deceptive acts. Claudio’s “love” for Hero is challenged when he accuses Hero of disloyalty and shames her in front of the whole congregation. “There, Leonato, take her back again.
Today’s ever-progressive society is constantly updating the standards of all sorts of intangible, subjective ideals like love and what makes a man “masculine.” Although Shakespeare lived in the times where those ideas seemed to be pretty concrete and easily judged, his romantic comedies like Much Ado About Nothing challenged the standards of his time and paved the way for a more open-minded attitude towards these ideals. In this play full of trickery, farces and plenty of malapropisms, Shakespeare sends the character Benedick through a whirlwind of comedic situations that are finally resolved when he sacrifices his argumentative, “masculine” behavior and critical view of the world in favor of becoming whole through love because he, deep down, just wants to love and be loved in return- regardless of how “manly” he appears to be. Benedick values and cherishes those close to him, which allows him to renounce his bachelor ways and become a better man and lover because of it. At the beginning of the play, Benedick blindly acts in accordance to the “masculinity” he was raised to have without a second thought. His idea of what makes up a man does not exist independently from what makes up “masculinity.” Benedick believes that in order to be a real man, he has to be in control of himself and others- both physically and emotionally.
Shaw’s plays were a new lease of life and breakthrough in honesty between playwright and their audience. ‘Man and Superman’ written in 1903, sees Shaw tackle the Don Juan legend, of course in his own Shavian way. Shaw inverts the story from a man’s quest for love, to a man (Jack Tanner) having to ward off the female (Ann Whitefield), the seductress. The Play, as with most of Shaw’s works, acts once more as the soap-box he requires to preach his ideologies and philosophies onto society. Here he can discuss his ideas regarding the ‘life-force’ he observes, that is pushing humanity towards its ultimate evolution and birth of the ‘Supermen-race’.
B. J. Sokol studies this poem from the point of view of logical argument thereby revealing “a very witty play of logic and illogic in the poem” (243). Roberts John Hawley on the other hand finds a well known theme carpe diem and argues that “The central intention of the poem is to persuade the speaker 's beloved to yield herself to him. His argument is that they have no time to wait. The constant consideration of the time problem gives unity to the whole” (19). Harold Tolliver studies this poem from yet another point of view and writes, “Marvell 's sensibility…frequently produces a more radical juxtaposi-tion of objects” where “Marvell combines two such distinct spheres (one animal and passionate, the other vegeta-tive, passive, and expanding) that he gives them and
He also managed to create the new type of drama while at the same time staying true to its traditional form and means of problems discussion. The conventions used by the author in A Doll 's House are reflected in the behaviors of the characters and in the manner of the author 's writing. For example, characteristic for any drama are the action and the conflict. Due to the inner struggle, Nora appears not only lovable, but also “a vain, unloving egoist who abandons her family in a paroxysm of selfishness” (Templeton, 1989, p. 29). Henrik Ibsen comprises the aspects of action and inaction in his play, and important are not only the phrases of the characters, but also what they do at the moment, which is identified by the author.
The Importance of Being Earnest (1895) by Oscar Wilde, conforms to a traditional comedy of manners including its use of verbal wit spoken by stock characters that hardly have any depth to them. This allows Wilde to poke fun at the Victorian upper classes by exposing their ridiculous and hypocritical views on society. A typical trait in a comedy of manners is exploring the theme of love and marriage which inevitably leads to conflict between the characters2. In The Importance of Being Earnest, the otherwise slow moving plot is accelerated by various scenes of conflict, for example Lady Bracknell’s consistent disapproval of Jack. During her interview with Jack held in the first act, Lady Bracknell is quick to ridicule herself as a result of her obvious hypocrisy in not
Introduction Comedy of Manners is regarded as high comedy because it consists of a sophisticated wit and talent in the writing of the script. The comedy of manners is an entertainment form which satirizes the manners and affectations of a social classes, often represented by stereotypical stock characters. This study is to identify the similarities and differences between comedy of manners in English and in Vietnamese.