The ending of a comedy doesn’t need to make us laugh. The humorous parts of a comedy occur in the rising action and the climax; we laugh during the journey. By the time we reach the final scene, the jokes curtail, almost by necessity. For example, everyone remembers Don Quixote tilting at windmills in chapter eight, but not his death. In Twelfth Night, we remember the stiff Malvolio being made a fool of in his yellow stockings more than the weddings at the end. The ending acts as a tying together of humorous scenes, and while the success of a tragedy leans heavily on the ending, a comedy does not.
The old adage says that tragedy ends in death and comedy ends in marriage. These stereotypes work only as a generality. Many cross-pollinations of genres exist today, such as tragicomedy and dark comedy, and endings have diversified as well. However, the formulaic happy ending of comedy remains a staple in film and literature. The four comedies to be examined here all have different endings: Shakespeare’s Twelfth Night, Moliere’s Tartuffe, Samuel Beckett’s Waiting for Godot, and Cervantes' Don Quixote. The different types of endings have different effects on the reader, but the most powerful ending in these four comedies is Don Quixote, which ends like a tragedy, with the death of the hero.
A traditional New Comedy, the ending of Twelfth Night ends in marriage. Actually, the play ends with a triple marriage, the couples being Viola and Orsino, Sebastian with Olivia, and Toby and Maria. The ending of the play is a foregone conclusion from the beginning, and there is never a question of whether or not the couples will fall in love. What makes the ending interesting is how the couples fall in love. New Comedy is like a song, with formulaic verses, choruses and no real surprises. We don’t come back for the last chord of a catchy song, but for the chorus and verses that makes us sing out loud. Shakespeare uses mistaken identity and disguise to mix up the characters, and the exposure at the end unties the knots in a believable manner. He unties the mess and then unites the characters again. The stress builds quickly as the twin siblings Sebastian and Viola cross paths, with each one foiling the other. Shakespeare manages to create traditional New Comedy endings better than anyone else, but even so, the ending leaves the audience without any deep or self-reflective feelings about the characters.
Tartuffe by Moliere also follows the format of New Comedy, with a resulting marriage that restores the status quo to power that existed at the beginning of the play, while at the same time hanging Tartuffe out to dry. The difference between this ending and Twelfth Night, however, is that Moliere makes use of a deus rex machina, a “king from the machine,” as Louis XIV appears and rectifies the deception of Tartuffe: “The King, by royal order, invalidates / The deed which gave this rascal your estates” (Moliere 162).
Unfortunately, for the same reason readers decry the usage of divine intervention, the deus ex machina, this ending does not satisfy. Twelfth Night cleans up the story with sophistication and, for the most part, plausible reasons, but Tartuffe builds up a situation that puts the hero against the wall, and by no action of his own, his situation gets resolved. The comedy at the end relies entirely on the delivery of the actor playing Tartuffe when he says: “Who? I, sir?” and “To prison? This can’t be true” (161). When his usurped world falls apart, a rapid denouement brings us to the ending. The falling action of Twelfth Night takes a long time, and raises many questions to entertain the audience. Therefore, in regard to New Comedy, an effective ending arrives at the last line gracefully, and between these two plays, Shakespeare outdoes Moliere in terms of satisfying the audience.
In Waiting for Godot, the ending leaves Gogo and Didi pushing and pulling against themselves, as they have throughout the play.
VLADIMIR: “Well? Shall we go?”
ESTRAGON: “Yes, let’s go.”
They do not move (Becket 60).
The end comes abruptly, with no definite closure, such as would happen with a marriage or a death. Instead of tying up loose ends, the play ends with a continuation of the play. They will be forever waiting. It is not a happy ending or a sad ending, but it is somehow miserable because of the essence of indecision and anticipation. Estragon says, “I can’t go on like this,” and Vladimir replies, “That’s what you think” (60). In other words, Vladimir knows that they have to go on waiting. Waiting for Godot doesn’t really have an ending, but since they have made no progress as characters, the ending invokes little or no emotion from the audience.
Characters that convince us enough to care about them have the greatest effect on an audience, and when they take us through a series of humorous events, a powerful ending can be a simple return to reality. In the ending of Don Quixote, Cervantes places his hero on his death bed with his friends weeping. Sancho Panza says, “Don’t die senor; your grace should take my advice and live for many years, because the greatest madness a man can commit in this life is to let himself die” (Cervantes 937). After over nine hundred pages of laughter, Cervantes beings us back to reality, prompting us with, “let us put all jokes aside” (936). Even the author becomes sad, saying, “For me alone was Don Quixote born, and I for him” (939). As Robert Frost said, “No tears in the writer, no tears in the reader.” Cervantes leaves us with the impression that he is staining the page with goodbye tears. In this type of ending, our affection for a character can only come about if we enjoyed the ride.
Some great modern comedy films have successfully used a Quixotic ending. Planes, Trains and Automobiles reveals John Candy as a homeless man, and The Big Lebowski has Steve Buscemi suffering a heart attack. In endings like this, the text subtly asks a question: was he or she funny enough to care about? In Don Quixote, the foolish knight errant has become reasonable again, and they implore him to remain a dreamer: “now that we are on the point of becoming shepherds and spending our lives in song…now your grace wishes to be a hermit? For God’s sake, be quiet, come to your senses, and tell us no more tales” (936). Like Sanson, we don’t want to see Don Quixote become normal again, because his devotion to his dreams has convinced us that the fantasy is the reality.
A tragic ending to a comedy takes us through a spectrum of emotion, and leads to introspection. That is to say: a great comedy can make the audience cry. Reality has bite after a fantasy becomes real. It can wrench the viewer. A traditional happy ending invites the audience to be happy for the character, but a Quixotic ending invites us to feel for the character. Just as role reversals in the narrative affect us, the Quixotic ending creates a role reversal in the reader.
Today, with marriage declining as an institution, perhaps we should change the mantra to say: comedy ends in death, tragedy in marriage. In my first two novels, Memoirs of a Virus Programmer and Immaculate, I've used this as a rule.
By Brent Lang, The Wrap
Does this mean it's curtains for "FlashForward"?
The ABC supernatural drama logged its worst ratings yet on Thursday, but the network's other heavy hitters, "Greys' Anatomy" and "Private Practice," recorded strong numbers against stiff competition from CBS' "Survivor: Heroes vs. Villains" and "The Mentalist."
FLASHFORWARD TO CANCELLATION: ABC dramas performed reasonably well despite being weighed down by "FlashForward." "Grey's Anatomy" was No. 1 in the 9 p.m. timeslot with 10.7 million total viewers and a 3.7/11 in the key 18 to 49 demographic. "Private Practice" drew 8.3 million viewers and a 2.8/8 demo score. "FlashForward," though, was down 19 percent from last week, attracting 4.7 million viewers. Among adults 18 to 49, the series drew a 1.3/4.
SORTA MUST SEE TV: Though it beat Fox's "Bones" (2.5/8 demo, 8.88 million viewers) and "Fringe (2.2/6 demo, 5.85 million viewers), NBC's comedy block was dwarfed by ABC's dramas and "Survivor." Holding steady were "Parks & Recreation," with a 1.9/ 6 and 4.1 million viewers overall, and "30 Rock," with a 2.7/7 and 5.6 million total viewers. "Community" (2.0/7) saw a modest 5 percent bump in the key demo and 4.5 million viewers overall. "The Office" (3.5/10, 6.8m) slipped slightly, but managed to tie "Grey's Anatomy" for first place in the demo. At 10 p.m., "The Marriage Ref" (2.2/6) had its highest score in the key demo since April 1 and drew 5 million viewers overall.
PARTY LIKE A CASTAWAY: CBS won Thursday for the eighth consecutive week. "Survivor: Heroes vs. Villains" (4.0/13, 12.8m) was the night's top program in 18-49, while "The Mentalist" was tops in total viewers (3.3/10,14.7m). "CSI" (3.0/9, 14.7m) also won its 9 p.m. hour
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I’m pretty sure capitulations, like the way this fella is thinking about don’t happen near the beginning of a bear market, nor after a few days of selling after more than a year of basically an up market. No, any selling climax, or capitulation, occurs after months and months of relentless selling.
Oh…and chewy the lab, your sale would depend on if you had a stop market or a stop limit order. A stop market order would have gone to market as your specified price was triggered. Where that order was eventually filled is unknowable, but in yesterdays action, it would have more than likely be below your triggered price. If you had a stop limit order, that would have resulted in you having an asking price for your shares. Under the limit scenario, prices may have been moving down so swiftly, that your sell order would be higher than current prices, and you would still be left holding them.
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I LOVE Chanel No. 5. I have a small bottle, and because it’s so expensive I don’t wear it everyday, only special occasions.
I don’t find it to have a chemical smell, it smells powdery to me.
posted by Amy D on
5-5-2010 at 6:23 pm
It smells like old ladies.
And, how do you have no sense of smell?
Are you smell-blind like Dewey Cox?
posted by Kristyn on
5-5-2010 at 6:28 pm
I cannot specifically remember what I disliked about No.5 but I do know I disliked it. Maybe it was an old lady smell. I love Chanel Chance and Chanel Chance Fraiche (I think) they smell delicious. I’m more of a Burberry Girl when it comes to fragrances (that might have something to do with the fact that half of their perfume line has the word “Brit” in it and also that I’m a serious Anglophile).
Also– Thanks for letting the kid lit thing rest for a while.
posted by Brit on
5-5-2010 at 6:50 pm
I haven’t worn perfume for years because they aggravated my late husband’s allergies. My dad gave me a small bottle of Chanel No 5 for a high school graduation present. It was such a high-end item for me that I never wore, didn’t want to use it up, and kept it in the box in my bathroom vanity for years.
I don’t know what has become of it… maybe in storage in a keepsake box because it was pretty important to me at the time.
posted by Sarah in CA on
5-5-2010 at 6:50 pm
My Daddy bought me my first bottle of Chanel No 5 as a special treat when I was 15. Now 59, it is the only scent i have ever worn. My husband took it on as his responsibility to keep me liberally supplied with all things Chanel and did so till the day he died. Now i must buy it for myself, so use it a bit more sparingly!
posted by Dustoffmom on
5-5-2010 at 7:01 pm
Always reminds me of getting old. I think you have to get used to the stuff. Much like your first taste of beer.
posted by lisa on
5-5-2010 at 7:14 pm
I wore Coco by Chanel during college — and I still love it. I wanted to like No. 5 because the story (as you so aptly wrote) is very cool, but it was just not for me. In general, Chanel makes fantastic fragrances.
I am tempted to wear some No. 5 if it will help me locate Mr. Right!
posted by Amy on
5-5-2010 at 8:10 pm
I’ve never been a fan of liquid perfumes. They all smell like the generic ‘perfume’ scent to me. The one I use is a beeswax-based balm I bought from Lush. Chanel no. 5 was always equated with old bygone glamor to me, not really sexy.
posted by heather on
5-5-2010 at 8:16 pm
I agree with Heather, it represents bygone glamour.
I don’t like it at all and I love scents. Have full unopened bottle courtesy of SAnta Claus if any1 wants it!
posted by Vee on
5-5-2010 at 8:23 pm
I’ve never actually smelled Chanel No.5. O_o I’m also a bit weak in the olfactory department, so it might not matter…
posted by Ashley on
5-5-2010 at 8:42 pm
I agree with Chanel no. 5 being for old ladies. I want to like it because it is so classic, but really cannot stand the smell. I stick with Burberry Brit.
posted by Chloe on
5-5-2010 at 11:21 pm
I don’t have a sense of smell either! I get really excited when I find someone else who can’t smell, because people never believe me when I tell them about it.
posted by Vera on
5-6-2010 at 12:37 am
I have to agree with Chloe on this one: I feel like I should like it, but I just don’t. It *is* too chemical-y for me. I prefer perfumes that DO smell like other things, like flowers or citrus. I want to smell like something natural, not a composition of chemicals.
posted by Amber on
5-6-2010 at 1:13 am
I love it, but coz it’s for older ladies I’ve tried to find something else that I like as much. Any suggestions? Recently I ‘ve tried clinique sunshine(?) and Beckham, I really like Beckham but it doesn’t last long at all.
posted by codsWallop on
5-6-2010 at 1:17 am
My mom wears N5, because it’s the only perfume she isn’t allergic to (and likes). once my dad gave her the WRONG PERFUME so I have a bottle of N19, which is more citrus-y. Dad only made that mistake once
)
posted by bet on
5-6-2010 at 7:44 am
I like chanel no. 5 -I’ll take your bottle, Vee – if you don’t want it
posted by jen on
5-6-2010 at 9:02 am
I remember being awe-struck when the Ridley Scott commercial came out, at the time it was the height chicness. I also couldn’t believe that he used Vangelis’s music, not many had heard of him then; this led to the two collaborating on Bladerunner.
posted by Will on
5-6-2010 at 10:07 am
It reminds me of my great-grandmother, since she wore it so often. A sweet memory (she’s still alive though @ 93!!)
posted by Elle Sees on
5-6-2010 at 10:40 am
was not a fan of the smell, as with most people here it was too old smelling to me….i prefere VS, in particular the black nior and cashmier(sp)…..
posted by Jennifer on
5-6-2010 at 10:58 am
I love how it smells, to me it’s more powdery than anything chemical. The whole glamour from another era is part of the reason I wear it. Even if I’m wearing jeans and a tshirt it makes me feel just a little bit more pretty.
posted by Lili on
5-6-2010 at 11:38 am
My husband hates all artificial scents – he vastly prefers that women smell like women. He refers to perfume/scented lotions as “husband repellent.”
That works for me, since I was never all that into smelling like flowers, fruit or chemicals.
posted by Kristin on
5-6-2010 at 11:38 am
I lost my sense of smell when I was 10 years old due to an apple thrown to my forehead. That means that I can’t do anything about that. The last perfume I smelled, and liked, was Lauren of Ralph Lauren.
posted by Yessika on
5-6-2010 at 12:32 pm
#5 is my second favorite scent. I like YSL Opium best,but it’s more for evening. Chanel #5 is okay for both day and evening wear. It’s a classic, timeless, scent. It makes me feel like I smell classy and sophisticated.
posted by Melissa on
5-6-2010 at 12:43 pm
I don’t care for No. 5 b/c I think it smells like old ladies. I do however love Coco Mademoiselle.
posted by sjms on
5-6-2010 at 1:15 pm
My mom loves No 5! When I was a little kid, she kept a bottle of it on the spice shelf over our stove. Probably to keep it out of my reach is my guess.
Anyway, one morning when I was a kid I decided to get up and cook scrambled eggs for Mommy. I knew that she seasoned her eggs with stuff on on the spice shelf, and the liquid in the square bottle smelled good, so it must taste good too, right? So I added it… the entire bottle. And some ketchup.
Needless to say, Mommy didn’t eat the breakfast I made her.
)
posted by Tara on
5-6-2010 at 1:23 pm
OMG @ Tara… Did YOU eat breakfast that morning? Much less sit down for a month?!
I have not had a whiff of No.5, but then, I’m not a big perfume wearer. The one time I was let loose in a perfume store, my absolute fave was Dior’s j’Adore… I absolutely love it. I received a sampler box of select Dior perfumes as a gift recently, and I’ve come to realise that I do like the line.
Most are light enough not to affect my sinuses, and they do smell appealing.
posted by Dionne on
5-6-2010 at 1:56 pm
Ive never cared for floral scents. I like fruit scents. One of Harajuku girl perfumes smells like pineapple. Thats my new favorite.
posted by lewen on
5-6-2010 at 2:57 pm
I cannot do alcohol-based perfume, much like Heather. I have a mild obsession with oil-based perfumes, particularly natural ones–black phoenix alchemy lab, to be precide–and always thought No. 5 stunk to high heaven. I understand that it’s intentionally artificial, but that artificial scent isn’t for me.
My current perfume is a mostly-natural oil based scent with carnation and plum in it. Vastly preferable to No. 5.
I can forgive Miss Coco anything though. Even making No. 5.
posted by Nicole on
5-6-2010 at 4:15 pm
I’m with you sjms, i love Coco Mademoiselle too! Been in love with it since it first came out while I was in high school. Dolce & Gabbana red is a great winter scent!!
posted by izzi on
5-6-2010 at 5:51 pm
Chanel No5 always make me think of my mother (not a bad thing at all!) but I’ve never worn the stuff myself. I prefer YSL Paris. I got a gift set for my 18th birthday and use it sparingly, so I still have some now at age 32!
posted by RoseyPosey on
5-6-2010 at 6:28 pm
I love perfumes but rarely wear them. When I do, my husband only asks me “what is that?” when I wear Chanel No. 5. So anymore, it’s the only one I wear (and I do love it).
posted by Stephanie on
5-7-2010 at 12:46 pm