are among the late works of these Scandinavian dramatistshave affinities with this type, and this is the comic mode in which.S. Comedy, type of drama or other art form the chief object of which, according to modern notions, is to amuse. As satire may be said to govern the movement of comedy in one direction, romance governs its movement in the other. The plots of Shakespeares last plays ( beacon essay prompts Pericles, Cymbeline, The Winters Tale, The Tempest ) all contain a potential tragedy but one that is resolved by nontragic means. Comedy thus expresses human character in the ordinary circumstances of everyday life, and tragedy expresses the sufferings of a particular individual in extraordinary periods of intense emotion. Comedy of this sort deals in regeneration and rebirth. To the extent that the professions prove hollow and the practices vicious, the ironic perception darkens and deepens. It is with farce that Bergsons remarks on comedy have the greatest connection and on which they seem chiefly to have been founded. It is true that in the.
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The distresses that the hero and heroine suffer are, in melodrama, raised to a more than comic urgency, but the means of deliverance have the familiar comic stamp: the secret at last made known, the long-lost child identified, the hard heart made suddenly capable. The problem then is, why should a picture of the misfortunes of some one in whom we are thus interested afford us any satisfaction? The four prefigure the fate of a hero and the society he brings into being. Retrieved Kopcow, Chris (October 23, 2014). What is learned is of a profound simplicity: the need for patience under adversity, the need to repent of ones sins, the need to forgive the sins of others.