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    FRYE, Northrop. Anatomy of Criticism The Mythos of Spring: Comedy 1) Plot Structure

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    Rodrigo Jappe
    Frye analyzes the structure and conventions of comedy in literature. He outlines the typical plot of comedies as involving a young man desiring a young woman, facing opposition (usually from the father), and overcoming obstacles near the end of the play. This movement replaces an old society dominated by obstructing characters with a new society centered around the hero. The obstacles form the action, while their resolution provides the comic discovery. Comedies tend to reconcile rather than repudiate blocking characters and move toward a happy, socially normative ending that affirms the hero's desires. The main interest is often on the blocking characters, who represent irrational obsessions, while the hero tends to be a neutral wish-fulfillment figure

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    FRYE, Northrop. Anatomy of Criticism The Mythos of Spring: Comedy 1) Plot Structure

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    Rodrigo Jappe
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    Frye analyzes the structure and conventions of comedy in literature. He outlines the typical plot of comedies as involving a young man desiring a young woman, facing opposition (usually from the father), and overcoming obstacles near the end of the play. This movement replaces an old society dominated by obstructing characters with a new society centered around the hero. The obstacles form the action, while their resolution provides the comic discovery. Comedies tend to reconcile rather than repudiate blocking characters and move toward a happy, socially normative ending that affirms the hero's desires. The main interest is often on the blocking characters, who represent irrational obsessions, while the hero tends to be a neutral wish-fulfillment figure

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    Frye analyzes the structure and conventions of comedy in literature. He outlines the typical plot of comedies as involving a young man desiring a young woman, facing opposition (usually from the father), and overcoming obstacles near the end of the play. This movement replaces an old society dominated by obstructing characters with a new society centered around the hero. The obstacles form the action, while their resolution provides the comic discovery. Comedies tend to reconcile rather than repudiate blocking characters and move toward a happy, socially normative ending that affirms the hero's desires. The main interest is often on the blocking characters, who represent irrational obsessions, while the hero tends to be a neutral wish-fulfillment figure

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    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
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    489 views2 pages

    FRYE, Northrop. Anatomy of Criticism The Mythos of Spring: Comedy 1) Plot Structure

    Uploaded by

    Rodrigo Jappe
    Frye analyzes the structure and conventions of comedy in literature. He outlines the typical plot of comedies as involving a young man desiring a young woman, facing opposition (usually from the father), and overcoming obstacles near the end of the play. This movement replaces an old society dominated by obstructing characters with a new society centered around the hero. The obstacles form the action, while their resolution provides the comic discovery. Comedies tend to reconcile rather than repudiate blocking characters and move toward a happy, socially normative ending that affirms the hero's desires. The main interest is often on the blocking characters, who represent irrational obsessions, while the hero tends to be a neutral wish-fulfillment figure

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    FRYE, Northrop.

    Anatomy of Criticism The Mythos of Spring: Comedy 1) Plot Structure


    What normally happens is that a young man wants a young woman, that his desire is resisted by some opposition, usually paternal, and that near the end of the play some twist in the plot enables the hero to have his will. In this simple pattern there are several complex elements. In the first place, the movement of comedy is usually a movement from one kind of society to another. At the beginning of the play the obstructing characters are in charge of the play's society, and the audience recognizes that they are usurpers. At the end of the play the device in the plot that brings hero and heroine together causes a new society to crystallize around the hero, and the moment when this crystallization occurs is the point of resolution in the action, the comic discovery, anagnorisis or cognitio. The appearance of this new society is frequently signalized by some kind of party or festive ritual, which either appears at the end of the play or is assumed to take place immediately afterward. pg.163 The obstacles to the hero's desire, then, form the action of the comedy, and the overcoming of them the comic resolution. The obstacles are usually parental, hence comedy often turns on a clash between a son's and a father's will. Thus the comic dramatist as a rule writes for the younger men in his audience, and the older members of almost any society are apt to feel that comedy has something subversive about it. Pg.164 The tendency of comedy is to include as many people as possible in its final society: the blocking characters are more often reconciled or converted than simply repudiated. Pg.165 Comedy usually moves toward a happy ending, and the normal response of the audience to a happy ending is "this should be," which sounds like a moral judgment. So it is, except that it is not moral in the restricted sense, but social. Its opposite is not the villainous but the absurd, pg.167 The humor in comedy is usually someone with a good deal of social prestige and power, who is able to force much of the play's society into line with his obsession. Thus the humor is intimately connected with the theme of the absurd or irrational law that the action of comedy moves toward breaking. Pg.169

    2) Protagonist There are two ways of developing the form of comedy: one is to throw the main emphasis on the blocking characters; the other is to throw it forward on the scenes of discovery and reconciliation. One is the general tendency of comic irony, satire, realism, and studies of manners; the other is the tendency of Shakespearean and other types of romantic comedy. In the comedy of manners the main ethical interest falls as a rule on the blocking characters. The technical hero and heroine are not often very interesting people: the adulescentes of Plautus and Terence are all alike, as hard to tell apart in the dark as Demetrius and Lysander, who may be parodies of them. Generally the hero's ch?racter has the neutrality that enables him to represent a wish-fulfilment. It is very different with the miserly or ferocious parent, the boastful or foppish rival, or the other characters who stand in the way of the action. In Molicre we have a simple but fully tested formula in which the ethical interest is focussed on a single blocking character, a heavy father, a miser, a misanthrope, a hypocrite, or a hypochondriac. Pg.166, 167

    He is obsessed by his humor, and his function in the play is primarily to repeat his obsession. A sick man is not a humor, but a hypochondriac is, because, qua hypochondriac, he can never admit to good health, and can never do anything in consistent with the role that he has prescribed for himself. A miser can do and say nothing that is not connected with the hiding of gold or saving of money. Pg.168 The society emerging at the conclusion of comedy represents, by contrast, a kind of moral norm, or pragmatically free society. Its ideals are seldom defined or formulated: definition and formulation belong to the humors, who want predictable activity. We are simply given to understand that the newly-married couple will live happily ever after, or that at any rate they will get along in a relatively unhumorous and clear-sighted manner. That is one reason why the character of the successful hero is so often left undeveloped: his real life begins at the end of the play, and we have to believe him to be potentially a more interesting character than he appears to be. Pg.169

    Pathos - it is often associated with emotions, but it is more complex than simply emotions. A better equivalent might be appeal to the audience's sympathies and imagination. An appeal to pathos causes an audience not just to respond emotionally but to identify with the writer's point of view - to feel what the writer feels. Also, it refers to both the emotional and the imaginative impact of the message on an audience, the power with which the writer's message moves the audience to decision or action.

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