3HUMOR AND SATIRE IN W. SHAKESPEARE'S COMEDIES.
Khusnora Abduvohid qizi Ergashova
Student of CSPU The English language theory and practice Department e-mail: xusnoraergashova6@gmail .com
Scientific advisor: Mukhlisa Bakhodir kizi Kenjayeva
email: mukhlisa_kenj aeva96@gmail .com
ABSTRACT
The article deals with humor and satire in W. Shakespeare's comedies. Shakespeare play styles are traditionally divided into four categories: comedy, tragedy, history, and romance. Over time, other classifications have also been suggested. Shakespeare comedies, or rather the plays of Shakespeare that fall into this category, are typically recognized as comedies because they are loaded with sarcasm, wit, and brilliant wordplay. They also include a lot of disguises and assumed identities, complicated narratives that are hard to follow, and incredibly fabricated endings.
Keywords: Shakespeare's comedy, satire, humor, A Midsummer Nights Dream, romantic comedy
INTRODUCTION
Shakespeare's plays are divided into four genres: comedy, history, tragedy, and Rome. Over time, other categories have also been suggested. The contents page of the earliest Folio, the earliest collection of Shakespeare's plays, categorized the plays into three groups: comedies, histories, and tragedies, and it was released in 1623. Measure for Measure and The Merchant of Venice, plays that contemporary audiences and readers have not deemed very "comic," were included in the list of comedies. The Tempest and The Winter's Tale, two late pieces that critics today frequently categorize as "Romances," were also included. The answer to the question of what these four plays have in common with plays that we are used to labeling "comedies," like As You Like It or Twelfth Night, which we are accustomed to referring to as "comedies," the response provides insight into what many of Shakespeare's well-educated contemporaries understood by the term "comedy." They are all married, or at least engaged. Shakespeare comedies, or rather the plays of Shakespeare that fall under this category, are typically recognized as comedies because they are funny, sardonic, and full of clever wordplay. They also include a lot of disguises and assumed identities, complicated narratives that are hard to follow, and incredibly fabricated endings.
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Shakespeare's comedies can be identified by their storyline, structure, and characters. We can observe that Shakespearean comedies all follow the same structural pattern, with a fundamental plot that serves as the foundation for the play. For example, all comedies rely on the resolution of their stories. However, Shakespeare's comedies are distinct, with some classified as comic dramas and others as romantic comedies. In comedic drama, there is frequently a motif of a place where reality and the unreal collide, people' roles are reversed, and identities are confused or forgotten. This place may take the shape of a feast or celebration, or it may be presented as a place isolated from normal society, such as the wood. A Midsummer Night's Dream. When scenes are staged in this location, the usual laws of life and society do not apply. There is always an element of disorder that must be handled before the play can be considered a true comedy. William Shakespeare's plays take several forms. There are historical dramas, comedies, and tragic comedies. Among the most popular are comedies, which are filled with laughter, sarcasm, satire, and wordplay. Many people wonder what distinguishes a play as a comedy rather than a tragedy. Shakespeare's comedies frequently employ puns, analogies, and insults to elicit 'thoughtful laughter'. The action is frequently hampered by artificiality, particularly complex and contrived finales. Disguises and mistaken identities are fairly common. As opposed to that, are the tragedies, which provide death, pain, and deeper storylines and motivations for the reader. Shakespeare's comedies rely heavily on their plots. It is frequently incredibly difficult to understand, twisted, and complicated. Shakespearean comedy is also characterized by themes of friendship and love within a courtly culture.
Songs frequently performed by a fool or jester follow the plot's developments. Minor characters are frequently incorporated into the storyline to enhance the flavor of the narrative. Love provides the main ingredient. If the lovers are unmarried when the play opens, they either have not met or there is some obstacle to their relationship. Examples of these obstacles are familiar to every reader of Shakespeare: the slanderous tongues which nearly wreck love in "Much Ado About Nothing", the father insistent upon his daughter marrying his choice, as in "A Midsummer Nights Dream", or the confusion of husbands in "The Comedy of Errors". Comedies head towards marriage. This is a useful place to start thinking about the typical shape of comedies. Marriages conventionally represent the realization of bliss and the assurance of renewal. Shakespeare places such a high value on marriage's symbolic power that some people get married more than once. Three is how both Twelfth Night and A Midsummer Night's Dream conclude. The god of marriage, Hymen, appears on stage in the last scene of As You Like It to oversee four marriages and sing a song celebrating "High wedlock" (5.4.144). Every relationship in the drama has found happiness as a
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result of miscommunication. Orlando has been making pretend to court Rosalind, not understanding how unfortunate Aliena is or that she is Rosalind's friend Celia. The shepherdess Phebe had mistakenly chosen Ganymede—who was actually Rosalind in disguise—over Silvius, the devoted but lowly Silvius. Audrey has been won by Touchstone. He made a faux courtly impression on the country girl, almost casually. Compared to the other three, this final coupling, which is based on ignorance and conceit, appears much less fulfilling. In fact, even in this lighthearted Shakespearean comedy, we are encouraged to have doubts about every marriage. Some of the final unions in other Shakespearean comedies, such as the Duke and Isabella in Measure for Measure and Claudio and Hero in Much Ado about Nothing, appear to be staged to look practical rather than loving. Much of the humor in Shakespearean comedies stems from the romantic misperceptions of each other. The associates of Benedick, who we have seen insulting Beatrice and disdaining love, set up a conversation in Much Ado about Nothing wherein they discuss how much Beatrice really does love him. The When he sees Beatrice again and firmly perceives her harshness as hidden adoration, the trick is happily justified. However, the trick advances us. Following Beatrice's similar deception by her friends, these two characters—who had before disapproved of the foolishness of courtship—are headed toward love and marriage. If we were not sure that all of this deceit would result in a happy ending, it would not be funny. In a subplot of the play, Don John's deception of Claudio suggests how a tricked lover could be heading toward catastrophe in a different kind of play. The story of Benedick and Beatrice's romance is entwined with the tragedy of pretending to be in love (Claudio for Hero) but ending up in a deadly relationship. Even though the previous courtship was fulfilling, the spiteful, mistrustful Claudio casts a shadow over it. Shakespeare's comedies typically rely on innocent misinterpretation and trickery. Because of this, they value dramatic irony when we are able to provide more insight than the bewildered lovers. A Midsummer Night's Dream is a perfect example, as it explains the magic of the love potion that Puck accidentally administered to Lysander's eyes. It also allows us to enjoy not just the romantic banter he gives Helena, but also her confusion. We hear how effortlessly and beautifully men might believe they love one lady over another when Puck, trying to make up for his error, squeezes the juice into Demetrius's eyes and he wakes up to see Helena and also professes his love for her. Helena is certain that there is a plot to trick Hermia, while Hermia is enragedly envious that Lysander loves her.
We giggle at their confusion, knowing that the magic that created it will eventually make sense of it and guarantee a joyful conclusion. From the forest, that site of bewilderment and transgression, the lovers will return to the structure of marriage.
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Shakespeare was unique in that he always chose exotic (but classic) settings for his comedies. Back then, theatrical comedies usually took place in a modern, English (mostly London) environment. Comedies happened closer to home, whereas tragedies happened in France, Spain, or Italy. Ben Jonson, the most well-known competitor dramatist to Shakespeare, originally set his play Every Man in His Humor in Italy (1598), but he later changed it and moved it to London, in part because of changes in popular culture. Later Jonson comedies, like Bartholomew Fair and The Alchemist, were likewise situated in London and belonged to a subgenre of "city comedies" that drew the attention of other notable playwrights like John Marston and Thomas Midd-leton.
Critics have traditionally referred to them as "romances," and it seems like a handy way to distinguish them from comedies. However, while having humorous miscommunication passages and betrothal endings, certain older plays—like Measure for Measure, All's Well that Ends Well, Troilus and Cressida, and possibly The Merchant of Venice—have somber themes at their core that they defy our conventional notion of comedy. At the very end of the 1800s, this collection was given the moniker "problem plays." Although there has been much debate among critics regarding this designation, it does highlight a significant aspect of Shakespeare's growth as a playwright. He pushed against comedy's bounds even as he enjoyed it. In the 16th century, comedic plays were a huge hit in England and served to humorously convey common sentiments. This accomplished two goals at once. The audience understands the message and doesn't take offense at anyone who could be impacted by the play's lesson. If you've ever attended a play or watched a movie, you're surely aware that occasionally the lesson is a little too relatable. This is especially true for plays by William Shakespeare, which is the case with many of them. Shakespeare's A Midsummer Night's Dream is full of belly-laugh-inducing moments. Shakespeare's play about love and marriage is rife with satire, a literary style that combines comedy and jokes to make a statement about a person's ideas. The play is a satire on the notion of love over its whole duration. Shakespeare parodies the essence of love in numerous instances throughout the book, including an impolite performance and humanity's conceit as demonstrated by Bottom's metamorphosis. Satire Examples from "A Midsummer Night's Dream "Has there ever been a dull movie you saw, yet something ironic about it managed to keep your interest? Most writers employ this technique to defuse tense situations and draw a crucial parallel to relevant subjects. Satire is used frequently in A Midsummer Night's Dream. The play's sarcastic tone is essential, even while the satire's social commentary is a great method to get people interested. Shakespeare uses satire to communicate the true lesson of the play. The play's satire
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is multi-layered, mocking the concept of love with a blend of high and low comedy. Shakespeare made excellent use of high comedy, or comedy meant to satirically ridicule the upper class, in this play. You are certainly aware with satires directed against politicians and celebrities in today's culture. Shakespeare's most well-known comedy is thought to be A Midsummer Night's Dream. The drama, according to the Royal Shakespeare Company, is set in an enchanted forest with fairies, lovers in a scuffle, and amateur actors performing a play.
A Midsummer Night's Dream by William Shakespeare was written precisely when? The drama was mentioned in 1598, and its earliest known printing dates from 1600, when bookseller Thomas Fisher placed it into the Stationers' Company Register. It's not completely known when exactly it was written. To ascertain the year when the play is set, academics and historians have combed through almanacs and Elizabethan history. A large portion of their study was predicated on a single paragraph that tells of the Queen of Fairyland's harsh summer and poor crop. But basically, this is a guessing game because weather in plays isn't usually indicative of the period in which they were written. It is generally agreed upon that A Midsummer Night's Dream was probably written about 1595-1596 due to the stylistic similarities. This is because Love's Labour Lost, Richard II, Romeo and Juliet, and The Merchant of Venice—all written around the middle of the 1590s—all have poetic styles similar to the play's. Both Production and Performance
It was certain that the first production of A Midsummer Night's Dream took place at Court on January 1st, 1605.
The cast used simple props and no scenery during the original performances. This made it possible for the audience to concentrate on the play's words, music, and costumes rather than the background or superfluous props.
During these early performances, it was the norm for a group of gifted boy players to take the female roles. William Shakespeare was known for writing his plays with specific players in mind for the parts, so it's no wonder that he meant for the performances to focus on the strengths and talents of the players. In the following centuries, the original play was adapted several times. It was an adapted form of the play that found its first commercial success: Henry Purcell's spectacular 1692 operatic version called The Fairy Queen. In total, William Shakespeare wrote over thirty plays and they are generally divided into three genres: comedy, tragedy, and history. There are slightly more plays in the comedy category than the other two, but there are at least ten plays that fall into each category.
It was customary for a group of talented boy actors to play the feminine roles in these early performances. It makes sense that William Shakespeare intended for the
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performances to highlight the individual skills and qualities of the performers, as he was well-known for assigning particular individuals to roles in his plays. The play's initial version saw multiple adaptations throughout the ensuing centuries. The play's first commercial hit was an adaptation—Henry Purcell's magnificent opera The Fairy Queen, which debuted in 1692.Shakespeare penned more than thirty plays in all, which are typically categorized into three genres: history, tragedy, and comedy. There are at least ten plays in each category, with a somewhat higher number of plays in the comedy category than the other two. Every genre has distinct traits that aren't usually what you'd think they would be, particularly in the case of comedies. Comedy is typically associated with humor in today's culture, and any amusing book or film can be classified as a comedy. Shakespearean comedies are distinguished by their marriageable endings, even if the majority of them are humorous, wordplay-filled, and feature innocent identity misunderstanding. This could now be classified as a "romantic comedy."
REFERENCES
1.https://www.bl.uk/shakespeare/articles/an-introduction toshakespearesomedy/ JohnMullan
2. https: //slideplayer.com/slide/10738946/
3.https://www.123helpme.com/essay/The-Humor-in-William-Shakespeares-Twelfth-Night-117300
4.https://study.com/academy/lesson/satire-in-a-midsummer-nights-dream.html
5. https: //en.m.wikipedia. org/wiki/Shakespearean_come
6.https://www.newberry.org/literature-reference-sources © 2019 Luke Edley
7.Available under the Thanet Writers Education Policy
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