The Verbal and Physical Comic Devices

The literal and Physical Comic DevicesMacDonald employs both verbal and natural comic devices in this scene. The two verbal devices she has enforced are sexual innuendo and hoax and the two physical devices which have been quotationd are the rise of palsy-walsy brutality and persistence of Romeo and Juliet in getting physical with Constance and her constant assay to avoid them.Use of sexual innuendo is chaffern throughout the scene Id squelch myself at thy Priapic font, O that I were a fountain frame within thy hand (3. 4. P63), For years Ive sought to saveetrate your source (3.4. P64). The pursuit conversation shows the use of parodyJULIET for with each new lust, thou creepeth cultivationunto the aged day when soft moist lipand dewy centerfield convert to senile rheum.ROMEO Thinkst thou to leave a lovely frame my dear,when even out now the crows have footed itin merry throwaway all close thine eyes? (3. 4. P66)Both these types of verbal comic devices chalk up to the effect of lightening the conception and help to budge the monotonicity in cash advance of the drama. They also help in making the audience feel witty for catching the main intent in the use of these devices.The use of physical device is seen when Romeo places his hand on Tybalts bottom (3. 4. P60), and Tybalt smacks Romeos butt in save Tybalt gives ROMEO a macho slap on the ass and laughs (3. 4. P60). Another use of this device is seen when Romeo constantly tries to kiss Constance, and Juliet takes Constances hand and does not release it (3. 4. P63).Thus, we see that both the verbal and the physical comic devices serve to lighten the mood and engage the attention of the audience.Part B Drama (relates to Othello and/or Goodnight Desdemona)How does Constance use Desdemona and Juliet for the alchemical process of turn base metals into gold? Discuss with limited references to the come across.Effect of Desdemona and Juliet on ConstanceThe concept of Alchemy literally refers to the theory of turning a base metal into gold. Thus, if this same concept is applied to the very(prenominal) essence of human existence, it can be interrelated in the mould that a human can attain the zenith of perfection and become overlord and flawless. Constance Ledbelly, the central character of this play, does not believe in this concept of a human perfection, and bases her entire thesis on her lack of belief on the academic fact that Shakespeare was the original author of his work. Instead she considers that Romeo and Juliet and Othello were originally scripted by an unkn protest author and that her judgment can be proved by deciphering a manuscript written by a character named Gustav.The original Shakespeares tragedy Othello projects Desdemona as a victim of love and trust, and she is shown universe devoted to her husband and obeying his commands. Constance however perceives her as a strong-headed, gullible and cutthroat (3. 9. P86) character, and celebrates her simi lar to the original Othello character, who although, was valiant and respectful, he was also responsible for his own downfall, due to the lack of trust he had for his wife Desdemona. Desdemonas explosiveness is also communicate when she declares that the allegations made by academia about her being a preoccupied victim, is baseless, and calls this Bullshit (2. 2. P38). Constance respects Desdemona for her truthfulness and hails her magnificent (2. 2. P38), and being capable of grandness (2. 2. P38). One of the bad qualities Constance finds in Desdemona is her inclination towards tragedy. The other bad gauge she has is her being easily exploited, because of her angry and jealous nature. In the end, however, Desdemona promises Constance that she would amend herself and change her ways. This acknowledgement also affects Constance and inspires her to discover her own confidence and strength.In a similar way, Shakespeares original Romeo and Juliet, projects Juliet as the embodiment o f love, and this is even reflected by Constance who ab initio calls Juliet the essence of first love / of beauty that will never fade, / of love that will never die (3. 4. P64). As we get further into the play, we find Juliet obsessed with sexual love. Her attitude also reflects her being immature fed up(p) tell my father (3. 2. P56). Juliets strong love for Constance and her views about love at first-sight inspire Constance to love her, but at the same time, she feels skeptical about her, due to her Juliets obsession with killing herself. In the end of the play, however, Constance makes Juliet promise her that she would crystallize herself and look at liveliness in a more supportive way. Thus, Juliet also inspires Constance to discover her maturity.After the warp, Connie finds herself back in her office at Queens. She tentatively touches herself as if to confirm her reality (3. 9. P88). On removing the feathered pen from behind her ear she notices that it has turned to solid gold (3. 9. P88). This can be directly interrelated to how she discovered her own confidence with the help of Desdemona and Juliet. Thus, even though we see that Constance had low self-esteem initially, by the end of the play we see her as a totally different person. Hence her life has surely undergone an alchemical transformation.