The Misanthrope- Structural, Fourth-Wall Humor

     In a typical comedy one might find a very obvious set of humor, jokes and funnies. Usually in these works there might exist certain funnies built into the structure and layout of the text itself. In The Misanthrope, there exist at least two of these constructs, found in the transitions from scene to scene, whose intention surely must have been to solicit laughter in the audience. At the very least, it is likely that these traits, even if perhaps not intended to be used in such a way, have potential to be adapted for a modern rendition of the play. The usage of scene (and probably also therefore set/stage) transitions, as well as the various asides found in the text, though they won’t be discussed here, can serve to break the “fourth-wall,” a dynamic change that has been known to induce comedy via intrigue in other works (Metal Gear Solid, StarCraft  for example).

     One of the most noteworthy transitions to be noticed is the recurring theme of Alceste being called off in a hurry, only to have Oronte with Celimene upon the beginning of the next scene. While this obviously drives the plot, the transition from scene to scene could be used to create a funny portrait of Oronte’s knavish deeds in trying to win the hand of Celimene, making it obvious to the audience that he was directly involved in Alceste’s distractions, where in the text it would take logic and discernment to see this. This happens to Alceste twice, and surely the repetition of the event creates more humor the second time around, as the audience has an idea what’s coming at this point. Textbook dramatic irony is used as a comedic tool here.

     Secondly, one trait of the work that might strike one as strange is the relative length (or lack thereof) of some of the intermittent scenes. While it would be difficult to say with certainty that the short scenes were themselves comedic in performances of the play in the age in which it was written, they could at least be adapted to be so today. It would be easy to imagine the laughter of an audience when the stage-lights come on, the players walk out and begin their dialogue, only for the interruption of other characters, and the immediate re-dimming of the lights. If done with taste, this would certainly make for a good laugh, because it breaks the norm of a “typical” modern play performance.

     Whether or not these two constructs were originally intended to be humorous in the manners which were described, it cannot be said without further research. However, nothing their potential in the modern day as an additional funny bit would serve to make any performance of this play that-much-more memorable.