Critical Framework: Comedic Structure

Northrop Fry’s ‘old world, green world, new world’ theory – It has been suggested that Shakespearean comedies are made up of three stages, and three ‘worlds’:

Old world

This is a strict, ordered, traditional world ruled by older people, parents and powerful leaders (kings, dukes etc). There is a strict hierarchy and lots of rules to follow, many of which seem unfair. There is a general sense of a lack of freedom, especially for younger characters. The setting is usually a city with established customs.

Green world

This is an escape from the ‘old world’. It may be a new, rural setting, or it may be a new realm created by some change in atmosphere within the old world (eg. a festival or holiday atmosphere). For whatever reason, people are set free from the restrictive old world. Suddenly, time is no burden, the young are in charge, the social hierarchies no longer matter, and chaos rules. Everything is turned on its head and confusion reigns: there are mix ups, disguises, gender confusion and general disorder. There is also often a sense of magic – expect the unexpected!

New world

The ‘new world’ takes us back to normality and back to civilisation. However, the events seen in the ‘green world’ have brought about a positive change. Issues are resolved (often through marriage) and there is a celebratory mood. Lessons have been learned and characters are re-born. There is a promise of a brighter future and an end to the mistakes of the oppressive ‘old world’.

Vocabulary

sanguine

choleric

melancholic

phlegmatic

extrovert

introvert

optimist

pessimist

hyperbole

pathos

patriarchy

dramatic irony

convoluted

bawdy

folly

satire

hierarchy

domestic

pastoral

revelation

gullible

gull (n; v)

soliloquy

simile

metaphor

personification

alliteration

couplet

Shakespearean Comedy

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Themes and Motifs

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Love is a major ingredient of the plot.

Plots are usually complicated, twisting and confusing; there may be sub-plots too.

There will be plenty of word-play.

Characters are often based on stereotypes. Characters’ names often reveal their characteristics.

Human folly is mocked, especially characters that take themselves too seriously.

There is satire on the foolishness of society's customs, laws and manners.

They feature separation and re-unification.

Normal rules and hierarchies of society may get turned upside down.

Characters find themselves in bizarre situations.

Disguise is a major feature. Often, characters have to dress up – especially a woman dressing up as a man.

There are often cases of mistaken identity. See above (and see dramatic irony in methods)

Young lovers are often pitted against oppressive elders.

There’s often a clever servant and/or a clown/jester

They’re usually domestic – families are important.

There is often a pastoral setting (countryside).

The ending cleverly ties up all of narrative threads. It provides a moment of recognition or a revelation for a main character. The ending often features, or promises, marriage.

Socio-Historical Contexts

The Queen - Elizabeth I was one of the most popular and longest-reigning monarchs in English history (1558-1603).

Shakespeare’s theatre – The Globe, Shakespeare’s own theatre, was opened in 1599. It was an open-air amphitheatre which had a capacity of around 3000. There were no set changes or lighting effects, so the audience had to use the language and their imaginations. And pray for good weather!

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Shakespeare’s players – The Lord Chamberlain’s Men (later, the King’s Men) were Shakespeare’s company of actors, or players. Some actors had to play multiple roles. All roles were played by men (or boys) as women were not allowed on the stage.

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Marriage customs – Weddings often served as business arrangements; families would marry off their children to strengthen their social position or to secure their financial future. Wealthy girls were particularly dependent on marriage for their future wellbeing. They could be married off at the age of 12. The girl’s family would need to provide a dowry (to buy their daughter’s future security).

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Patriarchal society – Despite the fact that there was a woman on the throne, Elizabethan society was dominated by men. The roles for women in life were limited, and they were considered the weaker sex. Women couldn’t go to school or university, and they couldn’t train for a profession. Often, women couldn’t inherit land or titles. Their social position depended on their fathers (and later, their husbands) who could, if they chose to, treat them like possessions. Fathers often gave away their daughters to the husband of their choosing.

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Cuckolds – Shakespeare’s men are flawed with pride. A major source of fear for men was being made a cuckold. This meant a man whose wife was cheating on him. Cuckolds were figures of ridicule in comedies and satire, and were often depicted as having horns on their heads. Children born out of wedlock were called ‘bastards’.

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Gender expectations - in Shakespeare’s society, the ideal female is cherished for her youth, beauty and purity. For a woman, to be accused of adultery was a devastating thing, bringing shame on their family for being labelled a ‘whore’. This would affect a family’s social status. The loss of her reputation would mean that a woman would find it impossible to marry. On the other hand, men’s behaviour was less strictly governed.

Shakespeare’s methods

Blank verse

Used for higher status characters or serious scenes. ‘Blank’ here means that it does not rhyme.

Iambic pentameter

Shakespeare’s favoured verse form. It has a ten beat line, made up of five ‘iambs’ (da-DUM).

Prose

Not verse. Used for lower status characters or bawdy scenes.

Rhyming couplet

A pair of rhymed lines in verse. These are often used to create a sense of order or completion.

Dramatic irony

This occurs when the audience knows something that the characters don't.