This conflict between them causes comedy as there are misunderstandings, which are amusing and the audience feel superiority over the characters who do not understand some of each other’s references. At the start of the play when Rita refers to a poem about “fightin’ death an’ disease”, Frank automatically assumes its “Dylan Thomas” as Thomas’s poem about death is a part of the literary canon. However Rita replies it’s “Roger McGough’s” poem that she’s describing. This misunderstanding conveys to the audience that these characters would not conventionally associate with each other. It could be amusing to the audience as it highlights the absurdity of the situation.
Iago Although Iago is clearly the antagonist throughout the play, Shakespeare cleverly also utilizes the character as a confidante. His soliloquies to the audience lay out his intent and planning of the plot to the audience; to seek revenge on Othello. In addition to helping the audience understand Iago’s twisted thoughts, I believe that Shakespeare’s intent in writing in these brilliant soliloquies was to make the audience feel that they were part of the play and involved in the plot. We learn early on the relationship between Iago and Roderigo. Roderigo discloses his trust for Iago in the opening lines of the play.
Shakespeare on the other hand chooses to primarily “delight” his audience, the processes of “instruction” and “punishment” incurred as a result of this “delight”. Dryden’s critique can be proved to a significant degree through the analysis of both plays, the contrasting attitudes of both playwrights in regards to entertaining their audience proving that “the first end of Comedie is delight” with “instruction” and “punishment” of personal and social faults second to the power of any given comedy. An apt and ingenious choice of setting is imperative to the success of any play, particularly one which belongs to the genre of comedy. Ben Jonson uses Blackfriars as his setting in order to enhance the satirical power of his play whilst Shakespeare uses Messina to punish personal and social faults in an environment which allows his audience to disassociate themselves with the characters of the play, allowing them to take “delight” in a literary fantasy. The aspects of Dryden’s critique suggesting that “the first end of comedy
He exploits the advantages of passive aggressive manipulation, as a means of achieving so called retribution for Othello's overlooking of his promotion as lieutenant. His motive changes throughout the play, and is often controversial, if not indefinite. Iago is able to control and collect information to his advantage. His constant update of news from Othello, Emilia, Roderigo and other characters mean that he will always be a step ahead of other characters. In a story of nobleman, honor and valor, it is almost as if Iago is a breath of fresh air.
It could be argued that Prospero uses his power to benefit all because the play seems like it has a ''happy ending''.Further more, it could be argued that Prospero, having being wronged by many, has gracefully forgiven all. Prospero is also presented as a kind master who takes care of Caliban and educates him until Caliban tries to rape Miranda, Prospero’s daughter. In addition, Prospero also frees Ariel from being imprisoned by Sycorax. Ariel is grateful towards Prospero as a result and calls him ''Great master'' (I,ii,189). Areil further explains his appreciation by saying ''I come to answer they best pleasure ,be ,it to fly, to swim, to dive into the fire, to ride on the curled clouds, to thy strong bedding task '' (l,ii,189-930).
We are taught to understand themes like sight and blindness, and foolishness through the fool’s character. The Fool also helps to involve the audience more, as his speeches reflect a narration, which naturally give the audience more information about the nature of the plot. Before I researched this theme, I predicted that yes the fool does help King Lear to see clearly. The Fool is Lear's own stand-up comedian, but more interestingly, he's the only person that Lear allows to criticize him. The Fool is actually really smart and the only person who tells it like it is, showing that he puts Lear into line when needed.
In many of William Shakespeare’s plays, moments of tragedy and tension are lightened by the interruption of comical characters. These characters are referred to as the “Shakespearean fool”. The reoccurring presence of such personalities captivated the audience of the Elizabethan era as it made them laugh. Shakespeare employed the use of humor as means to avoid a dismal atmosphere. This was most effective when the storyline became too serious, as it provided comic relief.
The Fools songs, riddles and jokes are a source of comic relief, used to break up the intensity of scenes. The Fool appears to have a deceptively simple part in the play when in actual fact his role is of key significance. The Fool and Lear have a fascinating relationship throughout the play. Lear seems to depend on his Fool increasingly to be his voice of reason or his conscience, because he reminds Lear of all his mistakes and manipulates his feelings into realising them. This is a great irony as the King who is supposed to be wise is in-fact a fool, yet the Fool himself is full of
The mechanicals are important in a midsummer night’s dream as they introduce the comedy of the piece. Scene one is extremely dramatic “Full of vexation" and this is juxtaposed by the humour of the mechanicals in scene two "let me not play a woman; I have a beard coming". Until there entrance it seems a romantic tragedy on a par with Romeo and Juliet, in a way the introduction of the mechanicals reassures the audience that it is in fact a comedy and allows them to laugh. The mechinals are Peter Quince, Nick Bottom, Francis Flute, Tom Snout, Robin Starvelling and Snug. Peter quince is one of the illustrious Mechanicals who puts on the play, Pyramus and Thisbe.
The Fool is one of the most alluring characters in Shakespeare’s King Lear. He is a choric commentator whose lines reveal thematic motifs within the play, as well as a character that strategically uses humorous language as comic relief to Lear, but does not diminish the intensity of Lear’s misery. As he alleviates the intensity through humor, he equivocates because he says metaphors that speak the truth like the three witches in Macbeth, but the opposite. The Fool’s role is essential because he is aligned with Cordelia. Like Cordelia, the Fool is honest, but his comical language masks his honesty.