This adds humor to the otherwise serious situation. With this technique, a tense situation is made lighter as well as other problems take a back seat for some time and the atmosphere starts to feel less dramatic. The serious situation is changed to a less serious or even funny scene by a particular comment or whole entire scene completely apart from all the drama. In this particular play he uses the characters and situations to create the break in the tension. It is a somewhat serious play having a touching romance, a form colonialism, a psychological drama but there is no doubt that with a director who wanted to give it a comic touch The Tempest contains the material to be highly amusing on a number of
The reason it is so it greatly influenced by Aristotle’s, as most novels where in the 18th century. Pride and Prejudice fits Aristotle’s requirements to be a classical novel. First off, what makes a comedy a classical comedy? Well according to Aristotle it has to be an imitation of characters from a lower class, people shouldn’t take what happens to the characters seriously, and it always starts from bad fortune and ends with good fortune for
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).
This clearly shows that Benvolio is a cautious, sensible and rational person who cherishes the idea of peace. Shakespeare’s choice of words and the fact that Benvolio can recognize the servants’ behaviour as foolish and irrational shows that Benvolio has a higher moral understanding than the servants. In this scene, we also get introduced to Tybalt for the first time. Tybalt is portrayed as a hot-headed man with a bad temper, which can be seen when Tybalt says “…and talk of peace? I hate the word, As I hate hell, all Montagues and thee” (1.1.61-63).
Cesario’s response clearly identifies his cleverness, skill and how he is a natural poet. Olivia is so drawn in because Cesario’s type of poetry is new and spontaneous in comparison to Orsino’s cliched poetry (once again referring to the idea that Orsino is misguided in love). Here Shakespeare has used comic relief in this scene as Orsino himself would never live in a makeshift hut as he is ‘above’ that. Once Cesario leaves Olivia wants to know how one “so quickly may catch the plague?” This metaphor contains an element of violence, further painting the idea that it physically hurts Olivia to love and in an extreme case it may make her want to die. Overall, Shakespeare has presented love as a complex theme throughout Act 1 by consistently showing how love can either end in happiness or hurt.
Aime Cesaire’s reimagining of The Tempest by William Shakespeare serves to challenge the original version by making changes to the ending scene so that we can see the harsh reality that occurs when empire and resistance clash with one another by making changes to characters like Caliban and Prospero while also drastically altering the final scene from a scene of peace to a clash between two ideals. William Shakespeare made The Tempest in the 17th century which was unique from his other plays since this play has a somewhat happy ending where many of his other plays, such as Romeo and Juliet, Hamlet, and Julius Caesar, have tragic endings. Aime Cesaire’s A Tempest was an adaptation of the original play that was made primarily for a black theater
The play therapeutically elucidates the mischief that may theoretically derive from a life of solemnity and thoughtlessness. The play appears to be a simplistic comedy, and indeed it may be, featuring the typical characters and conventions expected. Moreover, Twelfth Night follows the traditional structure and form of a comedy with its pleasant resolution. In contrast, Malvolio assures the audience that the complexity of the play is much greater then what first meets the eye. It promises spectators that the theme of hierarchy is purposefully intertwined in the plot to elevate knowledge of the disturbing reminder of
In two of Shakespeare's most notable historical plays, namely, Julius Caesar and Henry V it can be observed that the characters with the most power, or the greatest potential to obtain and exploit the power they yield, are also the most idealistic characters in the play. In other words, there is a correlation between the decisional power and influence a character has and the level of idealism with which they see their surroundings. Idealism is the unrealistic belief in or pursuit of perfection. Often, the fall of a play’s tragic hero is due to hubris, however in Julius Caesar it is rather his disproportionate amount of idealism that eventually brings Brutus to downfall. This directly contrasts with Henry V because, although being an idealist
While Dickens looks at things in a very realistic manner, Burney seems to look at things from an almost idealistic viewpoint. However, they both do a good job of showing the positives and negatives of both the lower and the upper classes, but in Oliver Twist the lower-class characters are given a humanity that the ones in Evelina are not. Still, both novels can be looked at as examples of the differences between social classes in England during the nineteenth
In the theatre, symbolism was examined to be a response opposed to the plays that personified naturalism and realism at the turn of the 20th Century. The dialogue and style of the theatre in symbolist plays was greatly stylised and non-naturalistic. As theatre is frequently a mix of the visual and performing arts working in harmony, many of the sets and props in symbolist plays were also anti realistic/non-naturalistic and were often used to symbolise emotions or values in society. The Ghost Stonata by August Strindberg and The Wild Duck by Henrik Ibsen are excellent samples of