The Comedy of Errors is made up of five Acts of the Apostless, all centering around the subject of misguided individuality. Act three scene is dramatically important ; it is situated in the center of the drama and acts non merely as a amusing alleviation but besides defines the drama within one hundred and eighty three lines. Shakespeare ‘s beds of linguistic communication full of imagination, wordplaies, amour propres, every bit good as altering rime strategies builds up an exciting and humourous scene coercing on the chief subject of misguided individuality.
For person who is reading the text, Shakespeare ‘s phase waies illustrate that Luciana and Antipholus of Syracuse Enter [ from the Phoenix ] . A footer informs the reader that ‘the house of Antipholus of Ephesus, [ is besides ] identified as the Phoenix ‘ . It besides explains that there were likely three doors on the phase one for Antipholus of Ephesus ‘ house, one stand foring the concubine ‘s house and the last stand foring the priory.[ 1 ]The reader can conceive of these houses set on a street in which the histrions would hold performed in forepart of. For audiences, of class they would visually see the set and therefore would acquire a true feel for the Elizabethan scene. I believe there would be a great difference between reading this text and seeing it being performed as the reader can non to the full appreciate the amusing consequence of the drama whilst reading it. For illustration I can conceive of it to be exciting for an audience watching the confusion on Antipholus of Syracuse ‘s face in Act 3 Scene 2.
Act 3 scene 2 immediately begins with misguided individuality ; the audience are presented with Luciana oppugning who she believes is her sister ‘s hubby about his responsibility as a hubby. She asks ‘And may it be that you have quiet forgot/A hubby ‘s office? ‘ ( Act 3 scene 2, l.1 ) She has assumed that because he is a adult male he has been unfaithful and informs him that he can rip off every bit long as he keeps it secret. Shakespeare uses the imagination of ‘blindness ‘ to promote the audience to conceive of the secretiveness ; to conceive of his unfaithful eyes covered up to protect his married woman. Shakespeare ‘s usage of surrogate rime keeps the address powerful and allows the drama to travel frontward rapidly, whilst making dynamic characters. The usage of alternate rimes such a ‘rot ‘ and ‘forgot ‘ creates energy in Luciana ‘s character, as even though she is non as strongly minded as her sister Adriana, she is despairing for Antipholus to love his married woman or at least make-believe to. I would reason that the audience are to the full cognizant at this phase in the drama that Adriana would non hold with her sister ‘s actions of pleading a adult male to remain with his married woman, but would hold that adult male and married woman should non be ‘estranged from thy ego. ‘ ( Act 2, Scene 2, l.120 )
Luciana ‘s address in this Act highlights the contrasting positions between herself and her sister Adriana. In Act 2 scene 1 the audience are presented with the sisters ‘ different point of positions. Adriana believes that there should be no difference in the position of adult male and adult females. She says ‘Why should their autonomy than ours be more? ‘ Luciana answers ‘Because their concern still lies out O ‘ door ‘ . Luciana believes that work forces of course have power over adult females and adult females should accept this. I would propose that Shakespeare has used these different points of position to let some struggle in audience response. Womans were expected to give themselves to their hubbies. In the debut to ‘The Norton Shakespeare ‘ , Stephen Greenblatt describes Sir Thomas Smith ‘s ideas on the societal order in his state. He states “ We do reject adult females, as those whom nature hath made to maintain place and to nurture their household and kids, and non to tamper with affairs abroad, nor to bear office in a metropolis or commonwealth. ”[ 2 ]I think this statement clearly demonstrates a typical Elizabethan position of adult females ‘s function in society. Luciana would hold with the statement, whereas her sister would reason that there should be no divide in the position of male and adult females. This usage of conflicting thoughts allows audiences to besides set across their feelings, promoting different positions.
One must observe that even though the gap of this scene is on a serious subject, Shakespeare ‘s building of the scene allows a amusing reaction as Luciana ‘s address ends up dry because Antipholus of Syracuse is Luciana ‘s possible hubby, unknown to her because of the misguided individuality between the twins. This continues throughout the drama as even though there is an implicit in menace of decease to Egeon, the audience are non systematically worrying about his destiny because of the temper throughout the drama.
This scene encourages the audience to reflect on the value of ‘the ego ‘ , what it means to be non merely an person but besides as portion of a relationship. Antipholus of Syracuse is wrongly identified as his long lost brother Antipholus of Ephesus. There are no camouflages in this drama like some of Shakespeare ‘s other dramas such as Othello[ 3 ]; the drama merely presents misguided individuality. No 1 in the drama tries to be person else, they are all themselves. Shakespeare cleverly utilizations twins to promote us to oppugn the significance of individuality ; and possibly even to show two possible journeys in life through the twins. The differences in the twins life styles are shown at the terminal of Act 3 scene 2 when Antipholus of Syracuse is handed a gold concatenation, meant for his brother. His brother is clearly affluent, and the value of this necklace could likely salvage their male parent. Antipholus of Syracuse feels a sense of loss after being separated from his household, but his brother Antipholus of Ephesus seems to hold filled this loss with material goods. The gold concatenation seems to make a community around Antipholus of Ephesus, maintaining his married woman content and even Angelo ; the goldworker seems to hold a relationship with him. He does non take the ‘money for the concatenation ‘ , he trusts Antipholus adequate to allow him do payment at a ulterior day of the month. I would therefore suggest that Shakespeare is utilizing the concatenation to show that community is possibly built around societal position, instead than the connexion between people.
In this scene at that place besides seems to be a function reversal between adult male and adult females. Antipholus of Syracuse asks Luciana to ‘Teach me, beloved animal, how to believe and talk. ‘ ( Act 3 scene 2, l.33 ) Here he is inquiring a female to learn him, possibly showing the power of love ; he is willing to alter for Luciana. This is heightened by the imagination of H2O in Antipholus of Syracuse ‘s answer to Luciana. He refers to her as a ‘sweet mermaid ‘ bespeaking her to distribute her ‘golden hairs ‘ over the ‘silver moving ridges ‘ . This animal imagination gives Luciana a sense of power over Antipholus of Scryacuse exemplifying the power of love. The footer in ‘The Norton Shakespeare ‘ farther informs readers that ‘in Grecian fable, mermaids ‘ vocalizing lured crewmans to their decease ‘[ 4 ], as Shakespeare went to a grammar school we can presume he would hold been taught Greek mythology and therefore has intentionally used the imagination of a mermaid to heighten the imagination of a weak male. However one must observe that non all audiences would understand this mention, but would tie in a mermaid with the sea, to which Antipholus of Scryacuse was separated from his loved 1s.
The usage of H2O in this scene besides reminds audiences of the fortunes in which the twins were originally separated during a ship wreck. Antipholus of Syracuse describes how Luciana is seeking ‘To drown [ him ] … in thy sister ‘s inundation of cryings 46 ‘ . The usage of ‘flood ‘ is immediately associated with H2O reminding audiences of the twins ‘ separation. This imagination besides relates back to old scenes ; in Act 1 Scene 2 audiences may retrieve Antipholus of Syracuse saying ‘I to the universe am like a bead of water/That in the ocean seeks another bead. ‘ ( 1, 2 cubic decimeter 35/36 ) . This amour propre describes a feeling of loss at being separated from his female parent and brother ; the audience are able to conceive of a bead destructing itself, due to neglecting in its hunt to happen another bead. Water hence seems to symbolize the separation between loved 1s every bit good as ego devastation. Antipholus of Syracuse appears ‘drowned ‘ ( cubic decimeter ) in his emotions. However even though readers of the drama and an audience watching the drama can aline with Antipholus ‘ emotion, the confusion of Luciana creates a amusing reaction which revokes the understanding we feel for him ; puting the drama in the comedy genre as oppose to tragedy.
The rime strategy so changes here from alternate rime, to riming pairs. This creates a sense of repeat reenforcing the confusion between these two characters. Luciana so quickly leaves the phase, go forthing the audience inquiring how Adriana is traveling to respond.
Shakespeare so heightens the amusing consequence in this scene by presenting another baffled character, Dromio of Syracuse. He enters oppugning his individuality ; ‘Do you know me, sir? Am I Dromio? Am I your adult male? Am I myself? ‘ ( 73 ) These inquiries engage the audience or readers into scene as if they are alining with a new state of affairs. Dromio of Syracuse goes on to depict himself as an ‘ass ‘ ( 77 ) evidently associating to stupidity and folly, but can move as a wordplay for the modern twenty-four hours term ‘arse ‘ .
He believes he has been owned by a adult female and that she would hold him ‘as a animal ‘ ( 86 ) . This thought contradicts Luciana ‘s treatment with her sister in Act 2 Scene 1 when she says that ‘Man, [ is ] more godly ‘ ( ) than any animal, and all animals are under control of the males in their species. In Act 3 Scene 2 the reader or audience are presented with two state of affairss of work forces experiencing overpowered by adult females, Antipholus of Syracuse by Luciana and Dromio of Syracuse by the ‘kitchen dame ‘ ( 94 ) . Dromio of Syracuse nevertheless believes the ‘kitchen dame ‘ to be a ‘witch ‘ ; he is non over powered by love like his maestro. The fact he thinks she is a enchantress suggests his character may be foolish, as he does non see the fact he has a twin brother and that there may be a instance of misguided individuality.
The audience are so introduced to a amusing treatment between the two work forces, Dromio begins by depicting the amah as ‘all lubricating oil ‘ ( 95 ) , he creates a humourous image of utilizing the lubricating oil from her to fuel a lamp. He so goes on to depict her skin color as ‘Swart like my shoe ‘ ( 101 ) . I would propose that she may hold black tegument. This would suit in with his descriptions of her being a ‘witch ‘ as ‘Elizabethans often regarded inkiness as a physical defect ‘ and were said to handle them as ‘exotic wonders ‘[ 5 ]. We are so informed she is a big adult female, ‘spherical, like a Earth ‘ ( 113 ) . This portion of the drama is a perfect illustration of the comedy genre, as one time once more the audience bury the underlying decease menace, whilst they laugh at Dromio ‘s amusing linguistic communication. He so plays on the image slightly more, by associating her organic structure parts to states. He describes how her ‘buttocks ‘ are found in Ireland ‘by the bogs ‘ ; ‘bog ‘s ‘ associating to a ‘peat fen ‘ as the footer explains, but besides acts as wordplay for lavatory. This portion of the scene takes off the audience ‘s attending to what else is traveling on in the drama, it acts a alleviation from promoting us to believe of the significance of the ego, and offers pure amusement ; which I believe was Shakespeare ‘s purpose.
The rime strategy besides changes in this portion of the scene from riming pairs to no rime at all.