Identity
Identity is a key theme in analyzing The Comedy of Errors, going well beyond the obvious theme of mistaken identity. While some critics focus solely on personal identity—often examining the twin brothers Antipholi or Adriana—others delve into how public and private identities intersect.
It is commonly understood that Antipholus of Syracuse arrives in Ephesus seeking to become "whole" by discovering his identity, which he believes will happen when he finds his twin brother. However, his strange interactions, which reflect his social identity, cause him to doubt his own sanity and that of the people who claim to know him. In contrast, Antipholus of Ephesus holds on to his personal identity despite facing inexplicable challenges to it. His wife, Adriana, feels her identity as Antipholus's wife is threatened by the instability in their marriage. Most critics agree that by the end of the play, the characters' "original" identities are restored or renewed, though not without the social order undergoing significant upheaval.
Genre
In many discussions about the play, critics often explore its genre or classification, even if this isn't their main point of analysis. This topic continues to spark interest and debate. Some modern critics view the play as a pure or nearly pure farce, considering it an important part of Shakespeare's work. This contrasts with earlier critics who dismissed it as merely an early piece in Shakespeare's career, not worthy of significant critical attention.
Critics who see tragic and romantic elements in the play frequently cite Aegeon's narrative at the beginning and his looming execution as reasons why the play cannot be classified as pure farce. Additionally, they point to Antipholus of Syracuse's pursuit of Luciana, the conversations between Adriana and Luciana about love and marriage, and the family reunion at the end as other elements that deviate from farce. Those who argue that the play blends comedy with farce highlight that the characters display more depth and complexity than is typical in a farce—they are depicted as genuine individuals rather than mere mechanical figures.
Love and Marriage
The exploration of love and marriage in The Comedy of Errors often revolves around the relationship between Adriana and her husband, Antipholus of Ephesus, as well as the debate on marriage between Adriana and Luciana—or sometimes both aspects. These themes mark significant departures from Plautus's original work. One critic argues that Shakespeare introduced these themes to lay the foundation for the romantic love that features prominently in his later romantic comedies, claiming this was his only aim and dismissing any deeper interpretations. Other critics disagree, pointing out Shakespeare's substantial deviations from the Plautine source material. For example, Adriana's speeches express her dissatisfaction, and she is given a name, unlike in Plautus's play where the wife of Antipholus is simply called "Wife." The emphasis on her marriage, the reduced role of the Courtezan, and the budding affection between Luciana and Antipholus of Syracuse are also noteworthy. Furthermore, some commentators discuss the changing dynamics of male and female relationships in courtship and marriage.
Gender Issues
In The Comedy of Errors, the topic of gender is intricately linked to the themes of love and marriage. Most discussions focus on the female characters, especially Adriana, Luciana, and Aemilia. When critics do examine the male characters, they often do so with less vigor, with Aegeon being a notable exception.
Some scholars highlight the dual nature of the women in the play, pointing out that they display both "masculine" and "feminine" traits. They are "dominant" in the context of courtship but "submissive" within marriage. One critic describes these two "halves" of the "unified feminine principle" as "outlaw" and "inlaw." Another commentator notes the separation between the public (commercial) and private (domestic) worlds depicted in the play, which leads to the conflict between Antipholus of Ephesus and Adriana due to the perceived incompatibility of these realms.
Additionally, critics highlight the significance of Aemilia's appearance at the play's end and the crucial role women have in influencing the story's outcome and resolution.
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