Act 1 Scene 3

Critical Analysis

"The play is centrally concerned with the social nature of language - with the power of language & with language as an articulation of power." - Camille Wells Slights, Comic Commonwealths 1993

"By characterizing (sic) Beatrice's discourse as emasculating aggression, Benedick accuses her of inverting the hierarchy of the sexes." - Camille Wells Slights, Comic Commonwealths 1993

Act 1, Scene 3

Line 23 -24 - "It is needful that you frame the season for your own harvest." Shows the desire and need to shape own future, goals, outcomes through choice.

Lines 25 - 34. Whole speech about feeling trapped, restricted, voiceless. "I am trusted with a muzzle and enfranchised with a clog." The inability to speak felt by Don John, making him unable to socialise or articulate what he has to say/feel. ("If I had my mouth, I would bark.") leaving him feeling bitter.  "I have decreed not to sing." Don John refuses to entertain, in turn refusing to comform/become subservient.

Throughout 1.3, Don John is quick to identify his differences and his inability to conform. This leaves him bitter, noted by Hero in 2.1, "He is of a very melancholy disposition." 

How does Act 1, Scene 1 establish the play as a comedy? (Attempt)

Wit is used to establish the comedic style of the play in Act 1, Scene 1. The fast-paced insults exchanged between Beatrice and Benedick, "You are a rare parrot teacher." "A bird of my tongue is better than a beast of yours." The humorous sparring suggests a history between them, and their personal attacks against one another challenege the institutionalized love expected during the Shakespearean Era. Beatrice's characteristics also challenge the expectations of women of the time, who should be "weak, frail, [...] feeble." according to John Knox, a juxtaposition to Beatrice's fiery behaviour.

Criticism

David Stenson

'They are everywhere presented as completely aware of the act that they are playing roles with and for each other - Beatrice as shrew, Benedick as misogynist - and enjoying the playing.' (Dramatic convention)

MAAN 

• rebels against institutionalized love, distaste for idealised romance. Goes against cliches.

Men and Women (Social Context)

Men and Women

The Book of the Courtier (Castiglione)

I have also seen a most fervent love spring in the heart of a woman who seemed at first not to bear him the least affection in the world, only for that they had heard say it was the opinion of many that they loved together.

Exploring Comedy (Lesson 1)

Lysistra Extract

• Bawdy, crude
• Sexual innuendos/double entendre

Country Wife

• Increased subtlety in comparison with Lysistra, but same jokes
• Starts off hating london, discussed "naughty town woman" and changes mind.

Much Ado

• Witty, quick retorts, fairly viscious and abusive

SEX IS FUNNY, SO IS EMBARRASSMENT

COMEDY IS CONSTRUCTED, CAN BREAK THE 4TH WALL AND OFTEN WANTS YOU TO KNOW YOU'RE WATCHING A COMEDY. SUSPENSION OF DISBELIEF. 

Lesson 1 (That Joke Isn't Funny Anymore) [A04]

Comedy isn't necessarily funny/comical.

Old Comedy 

•  BC, Greek origins
• Bawdy (extreme,sexual,crude)
• Scatalogical (fart gags, shit)
• No narrative, set pieces and sketches

New Comedy

• BC, but not as old as Old
• Romance
• Reunions
• Plot
• Happy ending
• Fast paced
• Witty
• Stock characters (Love struck young man, cunning yet cowardly slave, angry father, bragging soldier, kind-hearted soldier)

Shakespearean Comedy (1580 onwards)

• Young love overcomes obstacles
• Marriages solve everything
• Doesn't have to be funny
• Mixed bawdy, slapstick with serious for different people in audiences