consider Everyone in the humour as comedy of manner
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In English literature, the term comedy of manners (also anti-sentimental comedy) describes a genre of realistic, satirical comedy of the Restoration period (1660–1710) that questions and comments upon the manners and social conventions of a greatly sophisticated, artificial society. [1] The satire of fashion, manners, and outlook on life of the social classes, is realised with stock characters, such as the braggart soldier of Ancient Greek comedy, and the fop and the rake of English Restoration comedy.[2] The clever plot of a comedy of manners (usually a scandal) is secondary to the social commentary thematically presented through the witty dialogue of the characters, e.g. The Importance of Being Earnest (1895), by Oscar Wilde, which satirises the sexual hypocrisies of Victorian morality.
The comedy-of-manners genre originated in the New Comedy period (325–260 BC) of Classical Greece (510–323 BC), and is known from fragments of works by the playwright Menander, whose style of writing, elaborate plots, and stock characters were imitated by Roman playwrights, such as Plautus and Terence, whose comedies were known to and staged during the Renaissance. In the 17th century, the comedy of manners is best realised in the plays of Molière, such as The School for Wives (1662), The Imposter (1664), and The Misanthrope (1666), which satirise the hypocrisies and pretensions of the ancien régime that ruled France from the late 15th century to the 18th century.
Answer:The comedy of humours is a genre of dramatic comedy that focuses on a character or range of characters, each of whom exhibits two or more overriding traits or 'humours' that dominates their personality, desires and conduct. This comic technique may be found in Aristophanes, but the English playwrights Ben Jonson and George Chapman popularised the genre in the closing years of the sixteenth century. In the later half of the seventeenth century, it was combined with the comedy of manners in Restoration comedy.
The four 'humours' or temperaments (Clockwise from top right; choleric; melancholic; sanguine; phlegmatic).
In Jonson’s Every Man in His Humour (acted 1598), which made this type of play popular, all the words and acts of Kitely are controlled by an overpowering suspicion that his wife is unfaithful; George Downright, a country squire, must be "frank" above all things; the country gull in town determines his every decision by his desire to "catch on" to the manners of the city gallant.
In his Induction to Every Man out of His Humour (1599) Jonson explains his character-formula thus:
Some one peculiar quality
Doth so possess a man, that it doth draw
All his affects, his spirits, and his powers,
In their confluctions, all to run one way.
The comedy of humours owes something to earlier vernacular comedy but more to a desire to imitate the classical comedy of Plautus and Terence and to combat the vogue of romantic comedy, as developed by William Shakespeare. The satiric purpose of the comedy of humours and its realistic method lead to more serious character studies with Jonson’s 1610 play The Alchemist. The humours each had been associated with physical and mental characteristics; the result was a system that was quite subtle in its capacity for describing types of personality.
Explanation:
Comedy of Manners: A term designating the REALISTIC, often satirical, COMEDY of the Restoration, as practiced by Congreve and others. It is also used for the revival, in modified form, of this COMEDY a hundred year later by Goldsmith and Sheridan, as well as for another revival late in the nineteenth century. Likewise, the REALISTIC COMEDY of Elizabethan and Jacobean times is sometimes called comedy of manners. In the stricter sense of the term, the type concerns the manners and the conventions of an artificial, highly sophisticated society. The stylized fashions and manners of this group dominate the surface and determine the pace and tone of this sort of comedy. Characters are more likely to be types than individuals. Plot, though often involving a clever handling of situation and intrigue, is less important than atmosphere, dialogue, and satire. The dialogue is witty and finished, sometimes brilliant. The appeal is more intellectual than imaginative. SATIRE is directed in the main against the follies and deficiencies of typical characters, such as fops, would-be wits, jealous husbands, cox-combs, and others who fail somehow to conform to the conventional attitudes and manners of elegant society. A distinguishing characteristic of the comedy of manners is its emphasis on an illicit love duel, involving at least one pair of witty and often amoral lovers. This prevalence of the "love game" is explained partly by the manners of the time and partly by the special satirical purpose of the comedy itself. In its satire, realism, and employment of "humours" the comedy of manners was indebted to Elizabethan and Jacobean COMEDY. It owed something, as well, to the French comedy of manners as practiced by Moliere.
The reaction against the questionable morality of the plays and a growing sentimentalism brought about the downfall of this type of comedy near the close of the seventeenth century, and it was largely supplanted through most of the eighteenth century by SENTIMENTAL COMEDY. Purged of its objectionable features, however, the comedy of manners was revived by Goldsmith and Sheridan late in the eighteenth century and in a somewhat new and brighter garb by Oscar Wilde late in the nineteenth century. hope this help u mark me as a branliest