SHAKESPEAREAN COMEDY

A Shakespearean comedy has a happy ending, usually involving marriages between the unmarried characters, and a tone and style that is more light-hearted than Shakespeare’s other plays. Shakespeare started to write comedies by the year 1600. Shakespeare wrote more comedies than any other kind of play. Shakespeare comedies (or rather the plays of Shakespeare that are usually categorised as comedies) are generally identifiable as plays full of fun, irony and dazzling wordplay. They also abound in disguises and mistaken identities, with very convoluted plots that are difficult to follow with very contrived endings. But Shakespeare’s plays are not in the rigorous sense either pure tragedies or pure comedies.

Shakespeare’s comedies represented a significant departure from the classical comedy that had dominated the stage before he arrived in London. Whereas classical comedies were fairly straightforward, Shakespearean comedies introduced several elements that made for more complicated plots. Classical comedies typically opened with an already established pair of lovers, and they told of how these lovers had to overcome some obstacle or another to confirm the legitimacy of their union. Shakespeare, however, did not write comedies with already established lovers, and instead emphasized the plot on the process of wooing itself.

Some of the chief characteristics of Shakespearean comedy:

Love and Marriage as motif:

Love and marriage are the main themes in Shakespeare’s comedies. The preoccupation of the noble characters is love. Sometimes love leads to intrigue but is happily resolved at the end. The course of true love never runs smooth and thus conflict arises. But sighers and lovers live side by side. Love is mingled with sighs and even sorrow in some cases, but finally it converges into laughter. Love is treated as a divine passion and life is a pilgrimage towards its realisation.

Supernatural:

Shakespeare uses the supernatural in some of his comedies like ‘A Midsummer Night’s Dream’. However, the supernatural acts as a foil to human actions and errors.

Women Characters:

Shakespeare’s comedies are dominated by women characters. As Gordon says “his comedies are a riot of feminine supremacy, a feminine revel”. Shakespeare’s men love and remain idle; his women characters use their brain, wit, and grace to enlarge the progress of love. Such are Rosalind, Viola, Portia, and Beatrice. They are guided by a certain clear-headedness and frankness in facing facts.

Clown:

Clowns and fools are a part of Shakespeare’s comedies. They provide fun and laughter. they are the satiric commentators on life and correctors of the excesses of the urbane characters. Falstaff, Malvolio, and Jaques provide laughter of a high order whereas characters like Dogberry, Verges, Bottom, and Touchstone provide a good deal of farcical mirth by their vanity, stupidly and complacency.

Realism and Fantasy:

In Shakespeare’s comedy, there is a fine blending of observation and imagination, fact and fiction, realism and fantasy. The story and the plot move between the real and the illusory. The forest of Arden assumes a realistic existence due to Shakespeare’s imagination and fancy. In his comedies, the base is real but the superstructure deal.

Laughter:

Shakespeare’s philosophy of laughter is tolerance. His comedies bring together different points of view and contrasts. The end is the realization of perfect order through laughter. Dowden says “Shakespeare made laughter wise and taught seriousness how to be winning and gracious”.

Music:

Shakespeare uses music in most of his comedies. As Orsino says, music is the food of love. It enhances the romantic atmosphere of the play and relieves the tension. There is music in As You Like It, Twelfth Night, A Midsummer Night”s Dream, and The Merchant of Venice.

Disguise:

In most comedies, Shakespeare has used disguise. This takes the action to several funny situations and complications as in As You Like It, Twelfth Night, and The Merchant of Venice. Disguise brings to focus the incongruities and irrationalities of life’s endeavors.