Rhyme Plays a Crucial Role in the Comedy
This is the first instance in which these characters encounter misidentification, yet Antipholus of Syracuse delivers a short soliloquy in perfect rhyme in which he resolves to play along. Perfect rhyme is used throughout The Comedy of Errors in moments of personal resolve, which consistently reinforces the harmony of each major decision in the play.
Perfect rhyme also mirrors the plot in scenes that unify character relationships. The most obvious example of this is in 2.1 when we first meet Adriana and Luciana. They must be portrayed as loving sisters early in the play in preparation for Antipholus of Syracuse’s seemingly adulterous comments in 3.2. Although the sisters banter about the proper role a wife should play in relation to her husband, the harmony created by the perfect rhyme aids in the solidification of their relationship. Slant rhyme contains little harmony and scant unification of verse, so while it binds words together, it does so in an off-kilter way, leaving us feeling the almost-but-not-quite-right bond that slant rhyme creates. Slant rhyme only occurs in 13% of the rhyming lines in The Comedy of Errors but is contrived to appear at moments of discontent for characters, as in 2.1, when Dromio of Ephesus is forced to search for the Antipholus who has just beaten him. He knows he must obey his mistress, yet exits awkwardly on a slant rhyme.
Rhyme obviously plays a crucial role in The Comedy of Errors. Although the play may lack subtlety of characterization, the sophistication of rhyme is indisputable. Indeed, Shakespeare’s rhyme is elaborately constructed, more so than any other aspect of the play. Even though the plot is built on a myriad of intricate errors, the fact that rhyme cleverly mirrors the plot provides an additional degree of theatrical orchestration. The rhyme actually contains more depth than any character in the play; it has more personality, variety, excitement, and vividness. The sophistication lacking in the characterization is artfully enhanced by the design of the rhyme, which consistently emphasizes and reinforces the action of the plot as it unfolds. We must remember that Shakespeare was writing for an audience of listeners who would have been much more sensitive than we are to subtle differences in the sounds of theater. The literacy rate in the Renaissance was much lower than it is today, and Renaissance audiences would certainly be more tuned in to listening since the plays were characteristically heard and not read. It’s not surprising, then, that the rhyme plays an important role in the play. And this most intricate, defined, and developed feature of The Comedy of Errors is a feature that is equally important in Titus Andronicus.
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