The Comic Resolution Is Intrinsically Imperfect’ How Does This Statement Apply in Much Ado About Nothing
In Elizabethan comedies comic resolution is typically used as a device to address the problems faced by characters throughout the play, offering the audience their ‘happy ending’. As Alexander Leggatt states a comedy “... ends in resolution and order normally symbolised by marriage.” Resolution is used by Shakespeare in his comedies to reinstate social order after turning it on its head for the duration of the play.
By definition a comedy can no be classified a comedy without certain aspects making it, one of these being the comic resolution, which ‘much ado about nothing’ does offer. Throughout the play however, the story seems as if it is heading down the ‘tragic’ route of drama. So in much ado about nothing can be said that comic resolution is intrinsically imperfect? Or does comic resolution serve its purpose as a comedic device? Leaving questions for the audience to think about once they have left the theatre, ensuring the play has a legacy?
The comic resolution is intrinsically imperfect on a massive scale. ‘Much ado about nothing’ as a modern performance is usually seen as tightly plotted romantic comedy, but the portrayal of marriage as fragile and traumatic masks the theme of disgrace. This is particularly apparent in Jeremy Herrin’s production at the globe theatre or Josie Rourke’s production at Wyndham’s just across the Thames. The characters of Benedick and Beatrice who almost open the play set the tone from their first encounter. The subplot of Beatrice and Benedick’s relationship demonstrates pessimism towards love and clear dislike for one another, Beatrice makes this clear stating ‘Scratching could not make it worse’ in quick wit with regard to Benedick’s face. The ordeal screams ambiguity when at the close of the play they get married to one another, how two individuals who clearly despise one another are so easily are persuaded into marriage is twisted. Leonato himself views the possibility of the two together as preposterous when suggested by
By definition a comedy can no be classified a comedy without certain aspects making it, one of these being the comic resolution, which ‘much ado about nothing’ does offer. Throughout the play however, the story seems as if it is heading down the ‘tragic’ route of drama. So in much ado about nothing can be said that comic resolution is intrinsically imperfect? Or does comic resolution serve its purpose as a comedic device? Leaving questions for the audience to think about once they have left the theatre, ensuring the play has a legacy?
The comic resolution is intrinsically imperfect on a massive scale. ‘Much ado about nothing’ as a modern performance is usually seen as tightly plotted romantic comedy, but the portrayal of marriage as fragile and traumatic masks the theme of disgrace. This is particularly apparent in Jeremy Herrin’s production at the globe theatre or Josie Rourke’s production at Wyndham’s just across the Thames. The characters of Benedick and Beatrice who almost open the play set the tone from their first encounter. The subplot of Beatrice and Benedick’s relationship demonstrates pessimism towards love and clear dislike for one another, Beatrice makes this clear stating ‘Scratching could not make it worse’ in quick wit with regard to Benedick’s face. The ordeal screams ambiguity when at the close of the play they get married to one another, how two individuals who clearly despise one another are so easily are persuaded into marriage is twisted. Leonato himself views the possibility of the two together as preposterous when suggested by