In many tragic plays, such as William Shakespeare’s Hamlet, scenes of comic relief are used to lighten the mood of the crowd between the earth-shaking events that occur throughout the plot of the play. Light humor is cleverly slipped within the lines of dialogue to ease tension, and are found frequently before the death of one of the main characters. This helps to relieve all those who read, hear, or watch the play from all the events which are unfolding, and makes the tragic plays more enjoyable to those who experience the play.
Within Hamlet, there are two main characters whose words oft seem to be on the humorous side, Hamlet and Polonius. The quick wits and mastery of words Hamlet possesses allows him to manipulate even the most depressing matters into a comedic phrase with ease. He jests about various matters, both serious and non, which is meant for those who are able to rapidly process the witty remarks to enjoy thoroughly. Polonius, on the other hand, is an old man whose foolish ramblings many times are, as Hamlet would put it, just “Words, words, words.”(II, 2, 194). Many of his windy speeches are filled with inconsistent babblings and unsolidified opinions on matters such as the weather. He is usually redundant with what he expresses, and could also be viewed as a “yes man” of sorts. These pointless, long-winded idioms which portray Polonius as, to put it quite simply, an incoherent fool, is what gives his character a comedic quality.
Scenes such as when Hamlet and Horatio first speak in Act I, Scene 2, have traces of light humor throughout their conversation, poking fun at the haste with which his mother’s marriage followed her husband’s death(I, 2, 176-183). Then, later on when Hamlet and Polonius converse in Act II, the witty replies of Hamlet guide Polonius into a comical stupor with his cleverly timed words(II, 2, 171-223). It is the times such as those where the comical antics bring light-heartedness to the audience, setting them up for the unfolding of the plot within the third act.
The third act is oftentimes the one which is plot-driven more so than it is humor-driven. Yet, despite this, some feint traces are still evident within the scenes, such as before the play that portrayed the old King Hamlet’s death was to be acted out, Hamlet and Polonius had a slight discussion about Polonius’ acting history(III, 2, 103-111). Then, following soon thereafter, is Hamlet’s discussions with Ophelia about being able to lie his head on her lap, wherein miscommunication of meaning provokes some funny lines to be said(III, 2, 116-130). Then, Hamlet proceeds to poke fun again at the length of which his father has been dead(III, 2, 132-145).
Act five is where the humor is truly needed, after the suicide of Ophelia and before the killings of many of Hamlet’s major characters within the last act. Hence the whole reason for the gravedigger scene(V, 1, 1-241), and Hamlet’s jest about the skull of his former jester, Yorick(V, 1, 190-216). This famous scene, wherein he recalls the wacky antics of his former friend, serves that purpose of lightening the burden of everyone’s death following the suicide.
No matter which tragedy you read of many playwrights, including William Shakespeare, there will be traces of comedy found within to lighten the depressing tone which the tragic play shall lay down. It is within these that makes the harshness of the plot bearable to those who see, hear, or read them, and also gives way for memorable moments.