Based on the thesis, that the works of James Whale and Richard Brinsely Peake use comic relief in various ways and differ amongst each other, the following paper attempts to investigate in which way, respectively to what extent “Presumption” and “The bride of Frankenstein” adapt Shelley’s novel whereby the emphasis will be on the incidence of comic relief and the impact of using such a rhetorical device. In order to properly use and work with it, there will be a definition of comic relief at the beginning of this paper, followed by a short plot analysis and the audience’s perception, including a comparison of both works and their considerable reviews respectively. This paper will conclude with an evaluation as well as a summary of the results
Table of Contents
1. Introduction
2. Comic relief in stage adaptations of Frankenstein
2.1. A brief definition of comic relief
2.2. Primary works and their way of adapting Frankenstein
2.2.1 Peake and Presumption; or, The Fate of Frankenstein
2.2.2 Whale and The bride of Frankenstein
2.3. Comic relief in Frankenstein adaptations
2.3.1 Comic relief in “Presumption”
2.3.2 Comic relief in “The bride of Frankenstein”
2.4. Comparison of “Presumption” and “The bride of Frankenstein”
3. Conclusion
Research Objectives and Themes
This paper investigates the function and impact of comic relief as a rhetorical device within two specific adaptations of Mary Shelley’s Frankenstein: Richard Brinsley Peake’s 1823 play "Presumption; or, the Fate of Frankenstein" and James Whale’s 1935 film "The bride of Frankenstein". By analyzing character dynamics and specific scenes, the study examines how these works utilize humor to manage tension and deviate from the original novel's somber tone.
- Comparative analysis of stage and film adaptations
- Definition and rhetorical function of comic relief
- Character-driven humor (Fritz, Madame Ninon, and Minnie)
- Impact of humor on suspense and audience perception
- Adaptation strategies of Gothic source material
Excerpt from the Book
2.3.1 Comic relief in “Presumption”
If there was a character to be chosen to implement the most comic relief issues, it would be Fritz and his wife Madame Ninon. Whenever comic relief occurs in the play, it originates either from Fritz or from his wife, except for some stage behaviour instructions of the creature and a short scene with Hammerpan which are to be explained at a later point.
According to Bochinski, the character of Fritz “does not exist in the novel but was an invention of Peake’s” and occurred in Whale’s film ‘The bride of Frankenstein’, at least in the 1935’s edition.
The play starts in the opening scene with Fritz singing a song to “alert the audience to his nervousness about his master’s diabolical experiments” (Bochinski). In the scene, Fritz continues holding a weepy monologue about a favourite cow he misses. As Bochinski also states, this “exchange between Fritz and Clerval (…) [was] typical of Peake’s undercutting of well-crafted suspense with weak humour”. There are several text lines of Fritz in the scene, giving rise to the assumption, that they were placed by Peake for the purpose of releasing tension through comic relief, such as Fritz’s statement to have “a gnat on [his] nose” while he’s giving the reason for being frightened (Behrendt, Presumption, Act I, Sc.1) or saying, that Frankenstein “only hired [him] because he thought [he] looked so stupid [, followed by a self sarcastic] ha, ha, ha!” (Act I, Sc.1). Also, Fritz’s running joke of revising the first syllables of a word, like “fumi- fumi- fumigating” and “puss- puss- pussy” (Act I, Sc. 1) or “hob-hob- goblin” (Act I, Sc. 3) is worth mentioning. It’s difficult to say, whether this belongs to comic relief or whether this is simply supposed to be a rhetoric device to clarify his nervousness.
Chapter Summaries
1. Introduction: This chapter introduces the concept of adaptation and outlines the research objective, which is to investigate the use of comic relief in specific Frankenstein adaptations.
2. Comic relief in stage adaptations of Frankenstein: This chapter defines comic relief as a rhetorical device and provides a detailed analysis of its presence in Peake’s play and Whale’s film.
2.1. A brief definition of comic relief: This section provides a theoretical foundation by citing literary definitions of comic relief and its function in serious drama.
2.2. Primary works and their way of adapting Frankenstein: This section introduces the historical context and artistic background of both Richard Brinsley Peake and James Whale.
2.2.1 Peake and Presumption; or, The Fate of Frankenstein: This section focuses on Peake’s writing style and the characterization of Fritz as a source of humor.
2.2.2 Whale and The bride of Frankenstein: This section examines Whale’s film, highlighting the introduction of new characters like Minnie to provide humor.
2.3. Comic relief in Frankenstein adaptations: This section explores specific instances where humor is employed in both primary works.
2.3.1 Comic relief in “Presumption”: This section analyzes the role of Fritz and Madame Ninon as primary sources of comic relief in the play.
2.3.2 Comic relief in “The bride of Frankenstein”: This section analyzes the role of the housekeeper Minnie as the main vehicle for comic relief in the film.
2.4. Comparison of “Presumption” and “The bride of Frankenstein”: This section synthesizes the findings, comparing how the two works utilize humor to engage the audience.
3. Conclusion: The final chapter summarizes the findings, confirming that comic relief serves as an effective, though sometimes difficult to categorize, device in adapting the Frankenstein narrative.
Keywords
Frankenstein, Comic relief, Mary Shelley, Richard Brinsley Peake, James Whale, Adaptation, Rhetorical device, Presumption, The bride of Frankenstein, Fritz, Minnie, Gothic melodrama, Tension release, Stage adaptation, Film analysis.
Frequently Asked Questions
What is the primary focus of this research paper?
The paper examines how comic relief is utilized as a rhetorical device in specific stage and film adaptations of Mary Shelley’s novel "Frankenstein".
What are the central themes discussed?
The central themes include the mechanics of adaptation, the role of humor in Gothic literature/film, and how creators manage audience tension.
What is the main research question?
The research investigates in what way and to what extent "Presumption" and "The bride of Frankenstein" adapt Shelley’s novel, with an emphasis on the incidence and impact of comic relief.
Which scientific methodology is applied?
The paper uses a comparative literary analysis approach, evaluating specific texts and film scripts against established definitions of rhetorical devices.
What does the main body cover?
It provides definitions of comic relief, background on the authors, and detailed analyses of specific scenes featuring comedic characters like Fritz and Minnie.
Which keywords characterize this work?
Key terms include Frankenstein, Comic relief, Adaptation, Gothic, Richard Brinsley Peake, James Whale, and rhetorical devices.
Why is Fritz considered central to Peake's adaptation?
Fritz is an invention not found in the original novel; he acts as a vehicle for verbal humor, slapstick, and nervousness to break the heavy atmosphere of the play.
How does James Whale’s film approach humor differently?
Whale incorporates more subtle, satirical humor and uses the character of Minnie to provide "played-for-laughs" moments, distinct from the bickering-couple trope used by Peake.
Is the use of comic relief always intentional in these works?
The author notes that while some instances are clear, others are open to interpretation, particularly in Whale’s film, where bizarre situations may be perceived as comic relief regardless of the original intent.
- Arbeit zitieren
- Anonym (Autor:in), 2019, The function of comic relief in stage adaptations of Mary Shelley’s "Frankenstein", München, GRIN Verlag, https://www.grin.com/document/1150859
