Aspects of comedy: example student response and examiner commentary

Here's an example student response to a Section A question in the sample assessment materials, followed by an examiner commentary on the response. This resource is designed to support you in teaching the 'Aspects of comedy' component of A-level English Literature B.

Paper 1B, Section A

Question

Read the extract below and then answer the question.

Explore the significance of this extract in relation to the comedy of the play as a whole.

Remember to include in your answer relevant analysis of Shakespeare's dramatic methods.

Band 5 response

Shakespeare sets this scene in the Duke's palace which contrasts with the setting of Olivia's house of the previous scene. Viola's appearance dressed as a boy would potentially create an immediate sense of comedy and dramatic confusion given the fact that the role would have been played by a male actor in the sixteenth century. The use of disguise also contributes to the thematic concern of mistaken identity which perhaps reaches its apex when Olivia marries Sebastian and when Sir Andrew duels with him (both believing Sebastian is Cesario). Viola was last seen telling the captain that she would serve the duke 'as an eunuch' and her disguise now shows that time has passed and that she is determined and resourceful. There is an element of humour in Valentine's initial comments concerning the 'favours' that the Duke has already shown Viola that could well imply Orsino's fascination with her, (something that is perhaps confirmed by the trust he now places in her as his amorous messenger). Moreover, the intimacy of the dialogue between Viola and Orsino, despite the presence of others on stage who are comically ignored, and despite the personal nature of the topic under discussion, could well suggest a romantic affection on the part of the Duke. This is only strengthened by his complimentary description of her lips as 'smooth and rubious', which in their romantic and flattering connotations, all hint at his underlying attraction as do his regular use of terms of endearment such as 'dear lad' and 'good youth'. This is a source of humour given Viola's semblance as a boy as well as the fact she is Orsino's servant, which would perhaps make such feelings humorously inappropriate to an Elizabethan audience. However, this prepares us for Orsino's swift shift of affections from Olivia to Viola in the final act thus bringing about the comic resolution of the play.

At the start of the scene it could also be suggested that Shakespeare forewarns us of Viola's affections (revealed at the end), which create a further layer of comedy given her inability to openly express her feelings to Orsino. The manner in which she rushes to respond to his call when he first enters could suggest a romantic eagerness. Likewise, the fact she continues to subtly question him as to what she should do in order to win over Olivia, asking 'what then?' could imply her desire to hear more words of affection from the man she loves. The fact her affections are expressed in a more subtle way than either Orsino's or later characters, such as Aguecheek and Malvolio, heightens our impression of the central female character as more intelligent and rational than her male counterparts, which, certainly for a modern audience, is potentially a source of comedy.

There is also an element of comedy in the way in which Orsino behaves so capriciously, which hardly seems fitting for a man of his station though in the comic world of the play is entirely apt. Viola's initial question to Valentine, 'is he constant?' reveals the changeability of Orsino's emotions that we have already witnessed in the opening scenes when he demands music and then immediately has 'enough, no more'. Thus his fluctuating emotions, (which may be seen as effeminate and ridiculous), are a source of humour. Likewise, his desperation for a wife and thus presumably company, is contradicted by his later claim 'I myself am best/ When least in company', suggesting his desires are shallow and liable to change as he clearly has little understanding of the nature of marriage or of himself. This is then verified by the excessive nature of his declarations of love for Olivia despite her repeated rejections of him in the past. His commands to 'be clamorous' at the doors of a house in mourning are utterly inappropriate according to Elizabethan mourning conventions, (although his self-absorption prevents him from recognising this). Similarly, his hyperbolic proclamations of love, which he refers to as 'passion' which bring him such 'woes', seem excessive and thus in their ridiculous effulgence present him as a figure of fun. What is yet more humorous is the fact that he believes a young man would be more successful than 'a nuncio's of more grave aspect.' Not only does this show a fundamental lack of understanding of the woman whom he is trying to win over (who has chosen as a steward a man of 'grave aspect') but it is ironic that he believes another could express his affections more convincingly.

In fact, Orsino's blindness is another source of comedy made evident in his description of Viola. The blindness of love is a recurrent feature of comedy and it is not surprising to see Shakespeare develop it here. Orsino describes her as having lips like 'Diane's' and a voice much like a 'maiden's organ' and in fact 'all is semblative [of] a woman's part' and yet he fails to recognise the truth of his own words. This is of course an example of dramatic irony as the audience is all too aware of Viola's gender. Comedy encourages readers and audiences to feel superior to fictional characters and here that superiority is felt in terms of a noble duke. Interestingly, the notion of feeling 'superior' is also vital to the comedy of the servants fooling their superiors – Malvolio and Olivia - as part of the Twelfth Night carnival.

In contrast to Orsino, Viola's words are far more measured and brief perhaps displaying the sincerity of her feelings. She reasons with him that Olivia may be 'abandoned in her sorrow' for example. The fact that a servant and a female character is more reasoned and logical than the infatuated Duke is another comedic aspect. What is more, Viola's revelation at the end of the scene 'Yet, a barful strife! / Whoe'er I woo, myself would be his wife' in its simplicity and genuine feeling juxtapose Orsino's outlandish claims of affection for a woman he has barely seen. Here, the use of the rhyming couplet and alliteration give her words a playful tone so they seem almost like a tongue-twister that mirrors the confusion that has already been set up in this scene and which dominates the play. The confession is also dramatically surprising and thus creates a further sense of comedy particularly given the fact that Viola has just been tasked with the role of wooer on Orsino's behalf. Shakespeare thereby sets up an element of comic confusion through the creation of a love triangle that will only be resolved in the final scene when Viola's true identity is revealed and she can openly express her love. Moreover, he may also be commenting on the disarming nature of love itself showing that even the practical heroine is unable to escape, (particularly if the object of her affection is seen as unworthy given his ludicrous behaviour and his supposed love for another woman). However, this could also be seen as anticipating Olivia's display of feeling for Viola despite her supposedly sombre character, which is a further source of comedy in the subsequent Act.

Furthermore, it could be argued that Orsino's commands to Viola on how to behave are also a source of comedy given their ridiculousness. He commands her to 'Be not denied access; stand at her doors, / And tell them', where the series of imperatives suggest his determination despite the ironic fact that he will not be acting himself. This all sets up the comedic confusion to come as it is Viola's determination to fulfil her master's wishes that result in Olivia falling in love with her. The absurd nature of his commands is, however, exposed by Viola's simple response, 'I think not so, my lord', which thereby draws the audience's attention to the foolishness of Orsino's desires. A further sense of comic foreshadowing is also conveyed in Orsino's words, 'Prosper well in this, / And thou shalt live as freely as thy lord, / To call his fortunes thine.' Viola's eager reaction of 'I'll do my best' may comically belie her feelings, but more importantly, his words anticipate the fact that she will indeed eventually 'call his fortunes thine' when she becomes his wife as he promises in the final scene where there is a comedic resolution.

Examiner commentary

This candidate clearly knows the play very well and can range around it to develop points in relation to the extract. This is a very secure response though the student does tend to 'go through' the extract rather than standing back and seeing how it operates in a wider sense.

AO1

Ideas are clearly organised and there is some perception in the answer. The candidate's expression is assured and the writing is accurate and entirely appropriate to A level.

AO2

The candidate has a good sense that Shakespeare has constructed the play and the writing about dramatic methods is confident and assured. There are perceptive comments on structure, setting and language, and the candidate has an eye on visual comedy seen in the comment about Viola's appearance. There is some good work on language and the contrast between Orsino's and Viola's utterances.

AO3

A range of contexts are embedded in the response in an assured way; there is perceptive understanding of the significance of relevant contexts including references to mourning conventions, gender relationships and the relationships between different social classes. There are also some sensible comments on Shakespeare's audiences.

AO4

Perceptive points are made about the comedic nature of the scene. The candidate focuses on a range of comedic aspects throughout. In selecting aspects of the comedic genre, the candidate is connecting with other comedies.

AO5

There is confident engagement with significance and the candidate is able to explore meanings in a sophisticated and perceptive way.

Overall

This response seems to comfortably fit into Band 5.

• This resource is part of the Aspects of comedy resource package.