8Th Grade English: Activity Intro to Comedy -Happy Monday, May 18Th

Total Page:16

File Type:pdf, Size:1020Kb

8Th Grade English: Activity Intro to Comedy -Happy Monday, May 18Th 8th grade English: Activity Intro to Comedy -Happy Monday, May 18th, 2020, everyone. I hope that you are doing well. We only have 5 weeks left! We are going to end the year with our Introduction to Comedy unit. Spring Board explains, “If laughter is truly the best medicine, then a study of challenges would not be complete without a close examination of the unique elements of comedy. Overcoming challenges is often easier when we are able to look at the humorous side of life. However, finding humor is not always easy; it can be a challenge in itself. In this unit, you will learn how authors create humor and how they use humor to reveal a universal truth (theme).” Currently, we are facing many challenges due to COVID-19 and the impact it is having on school, so let’s try to enjoy some comedy and find humor in our day to day lives. Over the next 5 weeks, we want to read, analyze and enjoy humorous texts and encourage you to write your own humorous text. As we work through the unit, think about the question: Assignment: Monday: How do writers and speakers use humor to convey truth? This week we will begin by having you think about your own interpretations of what’s funny. Create a visual to show some things that you find funny. You can make a chart with words or pictures, a powerpoint or draw something by hand and upload a picture to share with your teacher/class. Here is an example from Mrs. Shields: Once you’ve completed your funny things visual, you will need to learn some new vocabulary that is related to comedy, so you can identify the type of humor being used in the stories, poems or videos you watch. Please start by accessing the Comedy Quizlet and read through each of the words and definitions. You can play the games too, but remember you need to really get to know these words! Tuesday: Read and watch the videos below. Comedy occurs in different ways. However, it typically falls into one of two categories: High and Low comedy. As you read, think about your list of what’s funny. Are the things you find funny more high or low comedy? Or a mix of both? Low comedy refers to the type of humor that is focused primarily on the situation or series of events. It includes such things as physical mishaps, humor concerning the human body and its functions, coincidences, and humorous situations. With low comedy, the humor is straightforward and generally easy to follow and understand. Since the primary purpose of most low comedy is to entertain, the action is frequently seen as hilarious or hysterical and the effect is often side-splitting laughter and guffaws. Many times, the characters are exaggerated caricatures rather than fully developed characters. These caricatures are often caught in unlikely situations or they become victims of circumstances seemingly beyond their control. Thus, the plot takes priority over the characters. Examples of low comedy might include Madea’s Family Reunion, Meet the Parents, and America’s Funniest Home Videos. Shakespeare’s comedies, such as A Midsummer Night’s Dream and Twelfth Night, are full of low comedy. Watch this example of Low Comedy from Dumb and Dumber! Other examples of Low Comedy: High comedy refers to the type of humor that is focused primarily on characters, dialogue, or ideas. It includes such things as clever wordplay, wit, and pointed remarks regarding larger issues. Many times, high comedy takes an irreverent or unconventional look at serious issues. Sometimes the humor of high comedy is not immediately obvious; it can take a bit of reflection in order to realize the humorous intent. Frequently, the purpose of high comedy is to express an opinion, to persuade, or to promote deeper consideration of an idea. Often described as amusing, clever, or witty, high comedy typically results in chuckles, grins, and smiles rather than loud laughter. Clever use of language and interesting characters receive more attention than the circumstances that surround them. Examples of high comedy include Modern Family, The Middle, and, at times, The Simpsons. Shakespeare’s tragedies, such as Hamlet and Romeo and Juliet, also include instances of high comedy. Watch this example of High Comedy from Saturday Night Live: Plagiarism! Another example of High Comedy: Comedy also looks different depending on your age and maturity: Fill out the chart below. Audience Often Likes Classify it: High or Low Comedy? young children Slapstick or silly physical humor elementary-school Puns, simple jokes that play off the children sound rather than the meaning of a word, such as “lettuce all go to the salad bar” teens Jokes about topics that authority figures would consider rebellious, a way to use humor to deal with nerve- racking subjects adults, particularly Satire, which makes fun of the well-educated ones weaknesses of people and society Here’s a chart to help review the differences between high and low comedy: Low Comedy Purpose Common Subjects Emphasis on Descriptions Intended Responses To entertain Physical mishaps Situation or plot Humor is Guffaws (series of events) straightforward/easy to follow action is seen as hilarious or To make the Bodily functions hysterical laughter: Outbursts audience laugh hysterical, ludicrous without having to think about the humor Coincidences riotous, loud, side-splitting laughter Humorous situations (unlikely events) High Comedy Purpose Common Emphasis on Descriptions Intended Subjects Responses To express an Larger social Characters and Wordplay Chuckles opinion issues Dialogue Witty/clever/amusing Grins To persuade Current events Clever use of language Satire/irony Smiles To promote a Characters take deeper priority over plot consideration of Irreverent Smirks an idea Social/political Not obvious: requires (not loud To entertain thinking laughter) Wednesday: -Think about comedy and be prepared to discuss during the Zoom meeting at 1:00. Before Reading: Respond to the following journal prompt by answering each of the corresponding questions. Think of someone who has been a “class clown” in one of your classes. 1. What assumptions do you think other students make about this kind of person? 2. What assumptions do you think teachers make? 3. Why do you think most “class clowns” act the way they do? -Optional Assignment: Covid 19 journal: Write a journal entry that answers the questions: Do you think humor is less important, equally important, or more important now, as it was before we were all required to stay at home? Why? Thursday: During Reading: Click the link>>>>>The Clown by Patrick McManus to read the story! If you’d rather follow along and listen to it, we have a special reader for you! Click the Audio of Mrs. Shields reading the story! After Reading Answer 4 of the questions below. 1. Who was the character that used bear grease on his hair? 2. What is the literary device that the author primarily used in The Clown? 3. When did Pat crack with laughter in class? 4. Where was Pat and Slick sent by Miss Bindle? 5. Why may the author use the literary device of exaggeration? 6. How was Pat surprised by Miss Bindle’s actions at the end of the story? 7. Explain one difference between Pat and Slick’s character? 8. Explain in detail one thing that Slick did for a laugh. Friday: Enjoy the Holiday! Turn-in: -Turn in your assignments by email to Mr. Guptill [email protected]. You can also turn it in through Blackboard. Click on Submit assignments and turn it into 3.12. Tips: Make sure that you use text evidence and cite it as applicable to the questions. -example: “Why isn’t my mother here?” (pg.130). If you have any questions, contact me Monday-Friday 9:00 to 3:30.My number is 509-220-5468. Mr. Guptill .
Recommended publications
  • The Importance of Being Earnest SEETHU BABY MANGALAM 2020-2021 the Importance of Being Earnest Comedy of Manners
    SUBJECT: BRITISH LITERATURE 19TH CENTURY TOPIC: The Importance of being Earnest SEETHU BABY MANGALAM 2020-2021 The Importance of being Earnest Comedy of Manners A Comedy of Manners is a play concerned with satirising society’s manners A manner is the method in which everyday duties are performed, conditions of society, or a way of speaking. It implies a polite and well-bred behaviour. Comedy of Manners is known as high comedy because it involves a sophisticated wit and talent in the writing of the script. In this sense it is both intellectual and very much the opposite of slapstick. Comedy of Manners In a Comedy of Manners however, there is often minimal physical action and the play may involve heavy use of dialogue. A Comedy of Manners usually employs an equal amount of both satire and farce resulting in a hilarious send-up of a particular social group. This was usually the middle to upper classes in society. The satire tended to focus on their materialistic nature, never-ending desire to gossip and hypocritical existence. Comedy of Manners The plot of such a comedy, usually concerned with an illicit love affair or similarly scandalous matter, is subordinate to the play’s brittle atmosphere, witty dialogue, and pungent commentary on human foibles. This genre is characterized by realism (art), social analysis and satire. These comedies held a mirror to the finer society of their age. These comedies are thus true pictures of the noble society of the age. This genre held a mirror to the high society of the Restoration Age.
    [Show full text]
  • Middle Comedy: Not Only Mythology and Food
    Acta Ant. Hung. 56, 2016, 421–433 DOI: 10.1556/068.2016.56.4.2 VIRGINIA MASTELLARI MIDDLE COMEDY: NOT ONLY MYTHOLOGY AND FOOD View metadata, citation and similar papersTHE at core.ac.ukPOLITICAL AND CONTEMPORARY DIMENSION brought to you by CORE provided by Repository of the Academy's Library Summary: The disappearance of the political and contemporary dimension in the production after Aris- tophanes is a false belief that has been shared for a long time, together with the assumption that Middle Comedy – the transitional period between archaia and nea – was only about mythological burlesque and food. The misleading idea has surely risen because of the main source of the comic fragments: Athenaeus, The Learned Banqueters. However, the contemporary and political aspect emerges again in the 4th c. BC in the creations of a small group of dramatists, among whom Timocles, Mnesimachus and Heniochus stand out (significantly, most of them are concentrated in the time of the Macedonian expansion). Firstly Timocles, in whose fragments the personal mockery, the onomasti komodein, is still present and sharp, often against contemporary political leaders (cf. frr. 17, 19, 27 K.–A.). Then, Mnesimachus (Φίλιππος, frr. 7–10 K.–A.) and Heniochus (fr. 5 K.–A.), who show an anti- and a pro-Macedonian attitude, respec- tively. The present paper analyses the use of the political and contemporary element in Middle Comedy and the main differences between the poets named and Aristophanes, trying to sketch the evolution of the genre, the points of contact and the new tendencies. Key words: Middle Comedy, Politics, Onomasti komodein For many years, what is known as the “food fallacy”1 has been widespread among scholars of Comedy.
    [Show full text]
  • SATIRE, COMEDY and MENTAL HEALTH Coping with the Limits of Critique
    SATIRE, COMEDY AND MENTAL HEALTH This page intentionally left blank SATIRE, COMEDY AND MENTAL HEALTH Coping with the Limits of Critique DIETER DECLERCQ University of Kent, UK United Kingdom – North America – Japan – India Malaysia – China Emerald Publishing Limited Howard House, Wagon Lane, Bingley BD16 1WA, UK First edition 2021 © 2021 Dieter Declercq. Published under an exclusive licence by Emerald Publishing Limited. Reprints and permissions service Contact: [email protected] No part of this book may be reproduced, stored in a retrieval system, transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without either the prior written permission of the publisher or a licence permitting restricted copying issued in the UK by The Copyright Licensing Agency and in the USA by The Copyright Clearance Center. No responsibility is accepted for the accuracy of information contained in the text, illustrations or advertisements. The opinions expressed in these chapters are not necessarily those of the Author or the publisher. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN: 978-1-83909-667-9 (Print) ISBN: 978-1-83909-666-2 (Online) ISBN: 978-1-83909-668-6 (Epub) For my parents and Georgia. This page intentionally left blank CONTENTS About the Author ix Acknowledgements xi Abstract xiii Introduction 1 Aims 1 Method 3 Chapter outline 7 1. What Is Satire? 9 Introduction 9 Variety 9 Genre 10 Critique 13 Entertainment 17 Ambiguity 21 Conclusion 24 2. Satire as Therapy: Curing a Sick World? 25 Introduction 25 Heroic therapy 25 Political impact 28 Satire as magic 30 Satire and Trump 32 Journalism 37 Conclusion 39 3.
    [Show full text]
  • Stand-Up Comedy and the Clash of Gendered Cultural Norms
    Stand-up Comedy and the Clash of Gendered Cultural Norms The Honors Program Honors Thesis Student’s Name: Marlee O’Keefe Faculty Advisor: Amber Day April 2019 Table of Contents ABSTRACT .............................................................................................................................. 1 LITERATURE REVIEW.......................................................................................................... 2 COMEDY THEORY LITERATURE REVIEW .................................................................. 2 GENDER THEORY LITERATURE REVIEW ................................................................... 7 GENDERED CULTURAL NORMS ...................................................................................... 13 COMEDY THEORY BACKGROUND ................................................................................. 13 COMEDIANS ......................................................................................................................... 16 STEREOTYPES ..................................................................................................................... 20 STAND-UP SPECIALS/TYPES OF JOKES ......................................................................... 25 ROLE REVERSAL ............................................................................................................. 25 SARCASAM ....................................................................................................................... 27 CULTURAL COMPARISON: EXPECTATION VERSUS REALITY ...........................
    [Show full text]
  • The Hothouse and Dynamic Equilibrium in the Works of Harold Pinter
    Ben Ferber The Hothouse and Dynamic Equilibrium in the Works of Harold Pinter I have no doubt that history will recognize Harold Pinter as one of the most influential dramatists of all time, a perennial inspiration for the way we look at modern theater. If other playwrights use characters and plots to put life under a microscope for audiences, Pinter hands them a kaleidoscope and says, “Have at it.” He crafts multifaceted plays that speak to the depth of his reality and teases and threatens his audience with dangerous truths. In No Man’s Land, Pinter has Hirst attack Spooner, who may or may not be his old friend: “This is outrageous! Who are you? What are you doing in my house?”1 Hirst then launches into a monologue beginning: “I might even show you my photograph album. You might even see a face in it which might remind you of your own, of what you once were.”2 Pinter never fully resolves Spooner’s identity, but the mens’ actions towards each other are perfectly clear: with exacting language and wit, Pinter has constructed a magnificent struggle between the two for power and identity. In 1958, early in his career, Pinter wrote The Hothouse, an incredibly funny play based on a traumatic personal experience as a lab rat at London’s Maudsley Hospital, proudly founded as a modern psychiatric institution, rather than an asylum. The story of The Hothouse, set in a mental hospital of some sort, is centered around the death of one patient, “6457,” and the unexplained pregnancy of another, “6459.” Details around both incidents are very murky, but varying amounts of culpability for both seem to fall on the institution’s leader, Roote, and his second-in- command, Gibbs.
    [Show full text]
  • Stand-Up Comedy in Theory, Or, Abjection in America John Limon 6030 Limon / STAND up COMEDY / Sheet 1 of 160
    Stand-up Comedy in Theory, or, Abjection in America John Limon Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 1 of 160 Stand-up Comedy in Theory, or, Abjection in America 6030 Limon / STAND UP COMEDY / sheet 2 of 160 New Americanists A series edited by Donald E. Pease Tseng 2000.4.3 18:27 Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 3 of 160 John Limon Duke University Press Stand-up Comedy in Theory, or, Abjection in America Durham and London 2000 6030 Limon / STAND UP COMEDY / sheet 4 of 160 The chapter ‘‘Analytic of the Ridiculous’’ is based on an essay that first appeared in Raritan: A Quarterly Review 14, no. 3 (winter 1997). The chapter ‘‘Journey to the End of the Night’’ is based on an essay that first appeared in Jx: A Journal in Culture and Criticism 1, no. 1 (autumn 1996). The chapter ‘‘Nectarines’’ is based on an essay that first appeared in the Yale Journal of Criticism 10, no. 1 (spring 1997). © 2000 Duke University Press All rights reserved Printed in the United States of America on acid-free paper ! Typeset in Melior by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 5 of 160 Contents Introduction. Approximations, Apologies, Acknowledgments 1 1. Inrage: A Lenny Bruce Joke and the Topography of Stand-Up 11 2. Nectarines: Carl Reiner and Mel Brooks 28 3.
    [Show full text]
  • ROMANTIC COMEDY Laughter and Culture Comedy, Repression, And
    ROMANTIC COMEDY Laughter and Culture Comedy, Repression, and Cultural Dreamwork Sigmund Freud jokes function a form of liberation; whatever a society represses frequently returns in the form of comedy to taunt it. This often occurs quite literally in the figure of the Shakespearean- like fool who tells a truth that others dare not utter. Several likely prospects on the street but does a double take and hurries away when one of this would-be brides turns out to be black and another Jewish. For the Marx Brothers, nothing is sacred. From Racism to Social Integration Immigrants: Chaplin to Depardieu Chaplin, whose “Tramp” character embodies an essential ambivalence toward society. Thus, Chaplin comedies often play against the genre’s expectations, striking a note of pathos. The film’s attack on phoniness and its celebration of authentic feeling moves it, however, toward Chaplinesque pathos rather than comic triumph: Depardieu’s rediscovered integrity forces him to abandon his initial, self-centered goal of getting citizenship by whatever means possible. Integration and the Regeneration of Society Hundreds of other comedies in which an individual struggles to enter society. Through the theme of comic integration, American screen comedies demonstrate the flexibility of our democracy social structure through its ability to absorb new members and integrate them into a new social order, whose unity and diversity exceeds that of the old order. It Happened One Night (1934) , for example, begins with a ‘”bad’ marriage between an heiress (Claudette Colbert) and a playboy- socialite. The final marriage is “right’ not only because Colbert and Gable really love one another but also because it heals the divisions within society, establishing a new order through the symbolic marriage of representatives of different social classes.
    [Show full text]
  • Laughing at Power, Fascism, and Authoritarianism: Satire, Humor, Irony, and Interrogating Their Political Efficacy
    Laughing at Power, Fascism, and Authoritarianism: Satire, Humor, Irony, and Interrogating Their Political Efficacy April 8-10, 2018 Center for Jewish History New York City Abstract deadline: September 1, 2017 Response by: October 1, 2017 Projects to be workshopped deadline: March 1, 2018 Satire, humor, and irony have served as powerful weapons against totalitarianism and other forms of authoritarianism and authoritarian leaders. Before Hitler was scary, he was considered a joke, someone to be laughed at. During World War II, journalists, artists, writers and film-makers around the globe, used their golden pens, cameras, and paintbrushes to create powerful weapons against fascism. Some of them lived in the relative safety of United States or China, others were in the midst of it all, in Polish ghettos, occupied parts of the Soviet Union, or hiding in French villages. Today we understand these works both as effective forms of resistance and powerful means of making sense of the incomprehensive historical events. Studying satirical films, cabarets, comedy routines, music, cartoons, caricatures, and jokes as historical sources reveals details of the zeitgeist of the time, simply unavailable from other sources. At the same time, humor is limited in its ability to effect politics. While someone could laugh at Hitler, Hitler could not be stopped only through laughter. The workshop, jointly hosted by the journal East European Jewish Affairs and the Center for Jewish History and sponsored by the University of Colorado’s Singer Fund for Jewish Studies, proposes a new way of thinking about humor and resistance by bringing together scholars, artists, musicians, and comedians, and use both scholarly methods of textual analysis and artistic imagination to work on uncovering how fascism was fought not with the sword, but with laughter, satire, and irony and a healthy dose of political organizing.
    [Show full text]
  • THIS ISSUE: Comedy
    2014-2015 September ISSUE 1 scene. THE JOURNAL OF THE INTERNATIONAL SCHOOLS THEATRE ASSOCIATION THIS ISSUE: Comedy www.ista.co.uk WHO’S WHO @ ISTA… CONTENTS Patron 2 Connections Professor Jonothan Neelands, by Rebecca Kohler National Teaching Fellow, Chair of Drama and Theatre Education in the Institute of Education 3 Comedy d’un jour and Chair of Creative Education in the Warwick Business School (WBS) at the University of by Francois Zanini Warwick. 4 Learning through humour Board of trustees by Mike Pasternak Iain Stirling (chair), Scotland Formerly Superintendent, Advanced Learning Schools, Riyadh. Recently retired. 8 Desperately seeking the laughs Jen Tickle (vice chair), Jamaica by Peter Michael Marino Head of Visual & Performing Arts and Theory of Knowledge at The Hillel Academy, Jamaica. 9 “Chou” – the comic actor in Chinese opera Dinos Aristidou, UK by Chris Ng Freelance writer, director, consultant. 11 Directing comedy Alan Hayes, Belgium by Sacha Kyle Theatre teacher International School Brussels. Sherri Sutton, Switzerland 12 Videotape everything, change and be Comic, director and chief examiner for IB DP Theatre. Theatre teacher at La Chataigneraie. grateful Jess Thorpe, Scotland by Dorothy Bishop Co Artistic Director of Glas(s) Performance and award winning young people’s company 13 Seriously funny Junction 25. Visiting. Lecturer in the Arts in Social Justice at the Royal Conservatoire of Scotland. by Stephen Finegold Honorary life members 15 How I got the best job in the world! Dinos Aristidou, UK Being a clown, being a
    [Show full text]
  • Historians' Analysis of Gilbert and Sullivan's Impact on the Development of the American Musical Theatre
    Winthrop University From the SelectedWorks of Andrew Vorder Bruegge, Ph.D. June, 2011 A Dull Engima: Historians’ Analysis of Gilbert and Sullivan’s Impact on the Development of the American Musical Theatre Andrew Vorder Bruegge, Winthrop University Available at: https://works.bepress.com/andrew_vorder_bruegge/20/ A Dull Engima: Historians’ Analysis of Gilbert and Sullivan’s Impact on the Development of the American Musical Theatre Theatre scholars generally give short shrift to Gilbert, Sullivan, and D’Oyly Carte in narrating the historical development of the American musical theatre, and it’s worth investigating this phenomenon and its causes. By glossing over D’Oyly Carte, Gilbert, and Sullivan scholars have overlooked the historical significance of the Savoy triumvirate for American musical theatre—they developed a formula for producing successful musical theatre productions that Broadway showmakers ultimately embraced in later decades. That formula included the following components: a long-term, symbiotic collaboration between librettist and composer who crafted the book first and wrote music to complement it; a theatrical product that integrated story, music, character, and lyrics into a cohesive whole; the crafting of a product for middlebrow appeal; marketing practices now identified as “retail theatre;” and delegating specialized artistic tasks to an extensive, professionalized, artistic staff under firm directorial leadership. Unquestionably, Gilbert and Sullivan proved that operetta could generate big profits, and American theatricians copied them (Kislan 98). Gilbert and Sullivan’s rollicking trans-Atlantic success in 1879 motivated the American composer, Julius Eichberg, to revise his 1862 operetta, The Doctor of Alcantara, and publish a new version in 1879 with two new songs that closely imitated the Gilbert patter song and some distinctive Sullivanesque musical elements (Kaufman xviii).
    [Show full text]
  • Comic Actors and Comic Acting on the 19Th Century American Stage
    "Those That Play Your Clowns:" Comic Actors and Comic Acting on the 19th Century American Stage Barnard Hewitt (Barnard Hewitt's Fellows Address was delivered at the ATA Convention in Chicago, August 16, 1977.) It seems to me that critics and historians of theatre have neglected comedians and the acting of comedy, and I ask myself why should this be so? Nearly everyone enjoys the acting of comedy. As the box office has regularly demonstrated, more people enjoy comedy than enjoy serious drama. I suspect that comedy and comedians are neglected because critics and scholars feel, no doubt unconsciously that because they arouse laughter rather than pity and fear, they don't deserve serious study. Whatever the reason for this neglect, it seems to me unjust. In choosing the subject for this paper, I thought I might do something to redress that injustice. I hoped to identify early styles of comic acting on our stage, discover their origins in England, note mutations caused by their new environment, and take note of their evolution into new styles. I don't need to tell you how difficult it is to reconstruct with confidence the acting style of any period before acting was recorded on film. One must depend on what can be learned about representative individuals: about the individual's background, early training and experience, principal roles, what he said about acting and about his roles, pictures of him in character, and reports by his contemporaries - critics and ordinary theatregoers - of what he did and how he spoke. First-hand descriptions of an actor's performance in one or more roles are far and away the most enlightening evidence, but nothing approaching Charles Clarke's detailed description of Edwin Booth's Hamlet is available for an American comic actor.1 Comedians have written little about their art.2 What evidence I found is scattered and ambiguous when it is not contradictory.
    [Show full text]
  • Comedy of Manners
    Compiled and designed by Milan Mondal, Assistant Professor in English, Narajole Raj College Background Reading Comedy of Manners ENGLISH(CC); SEM-II;PAPER-C3T; COMEDY OF MANNERS (BACKGROUND READING) Compiled and designed by Milan Mondal, Assistant Professor in English, Narajole Raj College Overview • A comedy of Manners is a play concerned with satirising the society’s manners. A manner is the method in which everyday duties are performed, conditions of society, or way of speaking. It implies a polite and well-bred behaviour. • The Comedy of manners, also called anti-sentimental comedy, is a form of comedy that satirizes the manners and affections of contemporary society and questions social standards. Social class stereotypes are often represented through stock characters(a stereotypical fictional person or type of person in a literary work). • A Comedy of Manners often sacrifices the plot, which usually centres on some scandal, to witty dialogues ans sharp social commentary . ENGLISH(CC); SEM-II;PAPER-C3T;RESTORATIION COMEDY OF MANNERS (BACKGROUND READING) Compiled and designed by Milan Mondal, Assistant Professor in English, Narajole Raj College • Satirizes the manners and affections of a social class • Often represented by stereotypical stock characters • Restoration Comedy is the highpoint of Comedy of Manners • It deals with the relations and intrigues of men and women living in sophisticated upper class society • It is light, deft and vivacious in tone • Unlike satire, Comedy of Manners tends to reward its cleverly unscrupulous characters rather than punish their immorality. • The plot of the comedy is often concerned with scandal • A middle-class reaction against the courtly Restoration comedy resulted in the sentimental comedy of the 18th Century .
    [Show full text]