SOURCE: “The Comedy of Errors,” in Renaissance Drama and a Modern Audience, Macmillan Press, 1982, pp. 1-17.

In the essay that follows, Scott claims that the success of the farcical form of The Comedy of Errors depends heavily on its structure.

The Comedy of Errors is a farce and as such belongs to an art form relying for its strength and theme on the ingenuity of its structure. From Plautus to Ayckbourn farce has exploited social archetypes and institutions so as to entertain its audiences by laughing at the world and its absurdities. The process is naturally thematic, the social, moral or psychological content being an integral part of its dramatic form and balance.¹ Thus the aesthetic success of good farce depends on its structure and it is from this viewpoint that any criticism must begin its evaluation. So it has been in recent years with The Comedy of...