Of the republic of uzbekistan andizhan state university named after z. M. Bobur the faculty of foreign languages

5. Separation and Reconciliation
Naturally, love is the central theme in most Shakespeare plays, but they are even more pronounced in comedies. In particular, the idea of lovers being separated—such as Berowne and Rosaline in Love’s Labour’s Lost—is a frequently-recurring element in a Shakespearean comedy.
Where there is separation, of course, there is also reconciliation, so it’s hardly surprising when we see lovers reunite, although in some cases the journey to that point can be arduous and fraught with uncertainty, particularly when cross-dressing is involved.
Perhaps the most interesting and insightful depiction of love in a Shakespearean comedy is in Much Ado About Nothing, where Benedick and Beatrice spend most of the play at loggerheads with each other. In fact, some would go so far as to say they both hate each other, with each character brandishing scars from past relationships which have led them to dismiss the idea of love altogether.
By the final act, of course, they realise they are in love and end up married.
Benedick and Beatrice’s progression from mutual hate to romantic love is an ironic but very true insight into how many real romances develop, and it remains a testament to Shakespeare as an observer of how human relationships work.
6. Happy Endings
Lastly, but perhaps most crucially, one of the most notable elements of a Shakespearean comedy is a happy ending. Unlike tragedies, which always end with death, Shakespeare’s comedies ended in a celebratory manner, often with love and marriage as the biggest focal points. To modern eyes, this may seem trite given how cynical modern readers can be about the pitfalls of holy matrimony. For its time, however, marriage was a symbolic event, not just a means of achieving unity and higher purpose, but also of providing resolution to life’s woes. Ultimately, it was a means of allowing Shakespeare to end on a hopeful note.
In plays which invoke the supernatural, happy endings in Shakespeare’s plays can also come about as a result of deus ex machina. Known as ‘god in the machine,’ as a literary device it refers to instances which conclude a narrative thanks to a contrived but wholly unlikely occurrence, as if God has waved a magic wand to tie up loose ends. This can be seen in As You Like It, when the chief antagonist Duke Frederick is persuaded to give up his power by a religious man, thus allowing Shakespeare’s protagonists to marry and live happily ever after. Ultimately, one should interpret happy endings in Shakespearean comedies as his way of resolving the confusion his characters experience throughout his plays. Essentially, it’s a form a comic denouement. [10, 19]
All in all, elements of Shakespearean comedy are myriad and even today there are still many aspects to his plays which we could analyse and dissect. What’s most obvious, however, is that Shakespeare’s understanding of the complicated interactions between people have laid the foundations for most comedic storytelling. Shakespeare’s comedies explore how experiences may not necessarily be as we perceive it to be; they found humour in pondering how suffering may be due to reasons beyond our control; and they expose the irony in how thinking rationally stands in stark contrast to our heart’s desires. For those reasons, it’s easy to appreciate why his plays have retained a timeless appeal, and for writers there is still much to be learned.