Abstract

If we think about comedy in terms of stock characters, Shakespeare provides some startling examples. Here, for instance, are two hypothetical casts: A jealous husband, a chaste wife, an irascible father, a clever malicious servant, a gullible friend, a bawdy witty maid; A pair of lovers, their irascible fathers, a bawdy serving woman, a witty friend, a malicious friend, a kindly foolish priest. Both of these groups represent recognizable comic configurations, though in fact they are also the casts of Othello and Romeo and Juliet. Being able to see them in this light, I think, reveals something important about how both these tragedies work. Much of their dramatic force derives from the way they continually tempt us with comic possibilities. We are told in a prologue that Romeo and Juliet are star-crossed, but if inevitability is a requisite of tragedy, neither play will qualify for the genre: they are the most iffy dramas in the Shakespearean canon. At innumerable points in both plays, had anything happened differently, the tragic catastrophe would have been averted. Othello particularly teases the audience in this way—as the famous story about the man who leapt from his seat, furious at the impending murder of Desdemona, and shouted "You fool, can't you see she's innocent?" reveals. The story is no doubt apocryphal , but the point is that it is unique to this play: there are no similar tales of spectators leaping up to rescue Cordelia, to save Gloucester from blinding, to dash the asp from Cleopatra's hand. Stephen Orgel, professor of English at Johns Hopkins University, is the author of The Jonsonian Masque, The Illusion of Power, and the coauthor of Inigo Jones. The editor of Jonson's Complete Masques and of Jonson's Selected Masques , he is currently writing a book on the idea of theatrical genres in the Renaissance