o what extent is Measure For Measure a conventional comedy?

none For standard, to all intents and purposes, is not a comedy akin to Much hustle About Nothing or As You Like It. However, I desire it is still a comedy for the simple reason it does not eat up enough defining features of a tragedy hardly nearly surely heralds the end of Shakespeargons comedic run.Traditional Shakespe aran comedy includes aspects such as marriage, dramatic irony and largely inconsequential acts by the villain(s) of the play. In Measure For Measure we see all three.Marriage is both a resultant role and a punishment in this play. Claudio and Juliet ar to be wed by the end of the play, finally able to continue their relationship this is a absolute happily ever after sort of ending that the sense of hearing were hoping for if not expecting. However, this is the only marriage we as the audience are certain is repayable to love. The separate two, possibly three, are the results of the Dukes doing Angelo is to marry his jilted rooter and Lucio is to marry a whore. The Duke himself asks for Isabels hand in marriage but it is an unresolved aspect of the play. Nevertheless, these are still marriages so do action my expectations.There is heavy use of wit in this play, the Duke and Lucio often are the source though there are other gibes, for instance Escalus remarking that Pompey in a beastly way is Pompey the Great. This pokes fun at the Roman land political and military leader Gnaeus Pompeius Magnus a small yet very witty, very select joke.Deception and disguise are key elements in this play The Dukes concealment of himself via the persona of mendicant Lodowick, Mariana staining Angelo into idea she is Isabel and the use of Ragozines head for Claudios. These rely on heavy simile for the most discussion section which justifies them as comedic features extending the disbelief. Interestingly, Ragozine is the only death of the play. His total insignificance even so means that the audience has no emotional or moral appurte nance to him and thus he is forgotten somewhat quickly he is to a greater extent than of a plot device than a character. Indeed, Ragozine head, not Ragozine himself is the key part of his involvement. This lack of meaningful death means that death and tragedy are not on the minds of the audience.This also links in with forgiveness the other pirate, Barnadine, is pardoned by a reinstated Duke regardless of his prior actions and Isabel effectively forgives Angelo, for the sake of support Mariana yet still forgiveness nonetheless. There are also no reprimands for Escalus for the way he spoke to the Duke under disguise as Friar Lodowick main(prenominal)ly because Escalus is not a main character. However, the Duke does not forgive Lucio though his predicament is a humourous one so does not engage the soft touch of reconciliation.As touched upon above, the punishments at the end are somewhat unorthodox and fairly incongruous marriage as a punishment is both an amusing commentary by Shakespeare and soft. For instance, Lucio at starting signal is told that he is set to die, then the tension is released when it is revealed he will not and will instead be married (released tension for the audience at least).During the final view, all is unravelled and Claudio is reunited with Isabel this reunification of family is a key feature of Shakespeares comedy, seen before in Twelth Night most famously.As mentioned above, Pompey provides humour for the audience and is the fool of the play. Though he is not the only fool. There is elbow joint as well and even Lucio to an extent is a fool. In agreement with this, Measure For Measure has the largest portion of fools in its character list of some(prenominal) comedy perhaps this is balance out the darkness that hangs over most of the play. Regardless, they are still fools and fools are allies of comedy.Lucio as a fool is a brilliant case as almost every scene he is involved with after the inital visit to Angelo is betw een him and the Duke disguised as the Friar. There is a huge amount of dramatic irony wherein Lucio slanders the Duke unwittingly to the Duke the audience knows what a terrible mistake hes devising that its such delicious irony but the things he says are extremely slanderous, making it all the more amusing for the audience acute that eventually Lucio will get his comeuppance. Dramatic irony is a classical expectation Id have of comedy.However, it is understandable why Measure For Measure causes such debate. It was definitely not the same exact genre as frivolity Of Errors with its farcical and outrageous tone. Measure For Measure is an extremely dark play. Its main themes are vice, power and judgement these are not easily set as comedic features.There is also no safe place standardized other comedies have the entire city of Vienna is under the reign over of Angelo and none can hide from him. In this play there is no change in where the characters are like in A midsummer Nights Dream where they flee the city and enter a wood.Interestingly Angelo wrestles with his scruples through a series of soliliquies, which are supposedly more resemblant of a tragedy. Hamlet has one of the most famous Shakespeare soliloquies but Id argue that benedick in Much flap About Nothing has soliliquies and Much Ado is a far brighter play.In conclusion, Measure For Measure should be exposit as a tragicomedy, as it is not definitively either comedy or tragedy. But in terms of comedy or tragedy alone, it is more a comedy than a tragedy and meets my expectations of such far more due to the more numerous comedic features listed above.