Benedick reveals that Claudio is in love with Hero. Don Pedro tells him that he will see Benedick in love before he dies. He then sends Benedick away to Leonato. Claudio asks Don Pedro is Leonato has any sons and learns that Hero alone is his heir. Don Pedro promises to speak with Leonato about arranging a match between them, but Claudio is afraid to speak to Hero and tell her he loves her.
From the very beginning of the play, Benedick and Beatrice’s attitude toward each other is a superb representation of this theme of deceit. The two menacingly fight with each other; both determined to better the other. In this “merry war” of witty insults, they are both deceiving themselves into believing they feel nothing for one another. This self-deception becomes even more obvious in masked ball scene, Act 2, Scene 1, in which Shakespeare uses physical deception by having Benedick disguise himself at the party. Benedick’s desire to know what Beatrice truly thinks of him is a sign of the love he feels for her, yet has chosen to not yet acknowledge it, even to himself.
This, to the audience, will seem ridiculous and unnecessary creating a subtle sense of humour. Nearing the end of Act 2 we learn about Viola’s plans for her disguise in order to appear less vulnerable. She then goes on to say ‘thou shalt present me as an Eunuch to him’ which will yet again appear an overdramatic act to the audience. In act 3, Sir Toby Belch is introduced into the play. Shakespeare’s wit and word play used even for simply just the names of the characters can build up laughter.
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.
How does Shakespeares use of disguise and misinterpretation of human nature link to comedy? In Much Ado about Nothing; Shakespeare uses disguise and misinterpretation through comedy to present human nature in different aspects. Shakespeare’s use of misinterpretations shapes the play and makes it pleasurable for the audience as well as entertaining. There is perplexity between lovers, the encounter of sexes, and the restoration of love and marriage. Shakespeare uses incessant word play, and constant mockery between key characters to portray the comedic effect.
Mistaken identity, dramatic irony and disguise serve a large role in making this play, Twelfth Night comedic. Malvolio is convinced Olivia is in love with him because of Maria’s letter. Sir Andrew is completely oblivious to the fact that Sir Toby Belch is befriending him to use him for his wealth. As Viola decides to disguise herself as a young man to keep safe, the potential for mistaken identity arises between her and her twin brother Sebastian. Meaning to embarrass and fool Malvolio, Maria, with the help of Sir Toby Belch and Sir Andrew, writes a mysterious love letter to Malvolio.
In effect this makes a true friend, however some believe it was the Fool's constant remarks that drove Lear to madness. Some critics argue that The Fool actually is Cordelia or a representative of her. Others consider him to be an aspect of Lear's alter ego. Technically Shakespeare seems to use the Fool as a vehicle for pity or as a dramatic chorus. The Fools songs, riddles and jokes are a source of comic relief, used to break up the intensity of scenes.
Comedy in Twelfth Night. Summary: Explores how William Shakespeare creates comedy in the first two acts of his play Twelfth Night. Analyzes the use of pun, comic characters, sub-plot, misunderstood conversations and dramatic irony. Comedy means something farcical that can make people laugh. It is usually done for the purpose of entertainment.
Claudio falls immediately in love with Hero while Benedick spars verbally with Beatrice. Don John is still bitter about his half-brother’s better lot in life and tries various schemes to break up Claudio and Hero. He does succeed to some extent when he convinces Claudio to publicly shame Hero, but in the end the two lovers are reunited and Don John is given his just desserts. Meanwhile, through a well-meaning scheme, Benedick and Beatrice are pushed together into a romantic relationship and find that they’re compatible. While the play’s plot focuses in on Claudio and Hero, the character development centers around Beatrice and Benedick, the only two characters who are fully realized.
Leonato is the governor of Messina, the protagonist of this passage, and his purpose in this scene is to portray parental love for his only child, young Hero, who is another innocent victim of Don John’s malicious scheme and has been falsely accused of sleeping with another man a day before her wedding. Don John is the antagonist and the mastermind behind the nasty plan to destroy Hero’s special day, her wedding. He is the bastard brother of Don Pedro, who is the Prince of Aragon. Don Pedro is a very respected character in this play, as he is a soldier and the Prince, so he is looked upon as a very strong and reliable character, so much so that whenever someone has a problem or a dilemma, they always consult Don Pedro. Other characters present in this scene are Antonio, Leonato’s brother, the naïve Hero’s uncle, whose purpose in this scene is to comfort and convince Leonato to stop feeling guilty about the false accusation on Hero and to instead condemn the people who blamed Hero; and Claudio, who is a shy gentleman in love with Hero but falls for Don John’s trick and insults Hero in public on the day of their wedding.