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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2000.3
- 수록면
- 31 - 55 (25page)
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The Comedy of Errors has an external structure of romance in which members of a family separate and finally meet again, but the internal structure of it may be said farcical, because the main action of it consists of a series of tumults caused by the two pairs of twins. That is, this is a comedy of double structures. This play has a structure of romance including a farce in it, but the main action of it may be said that of a mere farce, because no conflict of values can be found in it. One of the essential qualities of farce is that there is no conflict of values either between groups or between individuals. Even some of the main characters show both aspects of romance and farce although they do not have any individual personalities as those in his later comedies.
In Elizabethan age romance was popular to the general public while academic people prefer Roman farces to the traditional interludes and romances. Shakespeare, just a beginner as playwright, tried to satisfy the tastes of them both with a comedy in which he combines the different genres into one. At that time he did not have a patron yet, and therefore, he could write plays without any ideological bias. The fact that Shakespeare's audience might think The Comedy of Errors was a romance, even though it was a typical farce in its main action reveals Shakespeare's capability as a playwright. A father, separated from his wife and sons, is sentenced to death in a strange city, and one of his sons undertakes his father's adventure for the reunion of his families. In this play a series of comic tumults replaces the dangerous adventures of romance.
Medieval romance sought to the embodiment of Christian ideal, but towards the end of 1580's the ideal was challenged from every field of society. In a transitional period in which the structures of value and authority changed so radically, the strong relationship among family members was cherished more than ever. Shakespeare knew that his audience would like to laugh at the farce played by two pairs of twins and to be satisfied with the reunion of a family at the same time. The comic effect of this play is not derived from the final triumph of an ideal value as in his romantic comedies, but from mere errors of the twins and the reunion of family. And therefore this play may be called as 'a comedy neutral in values'.
In Elizabethan age romance was popular to the general public while academic people prefer Roman farces to the traditional interludes and romances. Shakespeare, just a beginner as playwright, tried to satisfy the tastes of them both with a comedy in which he combines the different genres into one. At that time he did not have a patron yet, and therefore, he could write plays without any ideological bias. The fact that Shakespeare's audience might think The Comedy of Errors was a romance, even though it was a typical farce in its main action reveals Shakespeare's capability as a playwright. A father, separated from his wife and sons, is sentenced to death in a strange city, and one of his sons undertakes his father's adventure for the reunion of his families. In this play a series of comic tumults replaces the dangerous adventures of romance.
Medieval romance sought to the embodiment of Christian ideal, but towards the end of 1580's the ideal was challenged from every field of society. In a transitional period in which the structures of value and authority changed so radically, the strong relationship among family members was cherished more than ever. Shakespeare knew that his audience would like to laugh at the farce played by two pairs of twins and to be satisfied with the reunion of a family at the same time. The comic effect of this play is not derived from the final triumph of an ideal value as in his romantic comedies, but from mere errors of the twins and the reunion of family. And therefore this play may be called as 'a comedy neutral in values'.
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