Comedy of Manners and Comedy of Humour are two distinct genres of comedy in English literature, each characterized by different themes, structures, and approaches to humor.
Comedy of Manners emerged in the late 17th century, particularly during the Restoration period. It is characterized by its focus on the behavior, manners, and social conventions of the upper class and aristocracy. The genre satirizes the values and foibles of society, often highlighting the artificiality and hypocrisy of social interactions. Notable playwrights associated with this genre include William Congreve, George Etherege, and Richard Brinsley Sheridan.
The plots of comedies of manners typically revolve around romantic entanglements, misunderstandings, and the pursuit of love, all set against a backdrop of social critique. Characters are often witty, sophisticated, and concerned with their status and reputation. The humor in these plays arises from clever dialogue, irony, and the contrast between appearance and reality. A prime example is Congreve's The Way of the World, where the characters navigate the complexities of love and social expectations, ultimately exposing the superficiality of their world.
Comedy of Humour, on the other hand, originated in the late 16th and early 17th centuries, with notable practitioners such as Ben Jonson. This genre focuses on the eccentricities and idiosyncrasies of individual characters, often referred to as "humours." According to classical theory, these humours correspond to the four bodily fluids (blood, phlegm, yellow bile, and black bile), which were believed to influence personality traits. In this context, each character is typically defined by a single dominating trait or humor, leading to exaggerated and comic situations.
In contrast to the social focus of comedy of manners, comedy of humour delves into the psychology of characters, exploring their motivations, quirks, and flaws. The humor arises from the absurdity and exaggeration of these traits, often leading to humorous conflicts and situations. Jonson’s Every Man in His Humour serves as a classic example, where characters embody specific humours, resulting in comedic interactions that highlight their eccentricities.
In summary, the distinction between Comedy of Manners and Comedy of Humour lies in their thematic focus and characterization. Comedy of Manners critiques social norms and behaviors of the upper class, while Comedy of Humour emphasizes individual eccentricities and psychological traits. Both genres, however, utilize humor to engage audiences and reflect on the complexities of human nature and society.
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