The Comedy of Errors is, as the title suggests, a comedy—it isn’t the Tragedy of Errors or the Romance of Errors, after all. Fittingly, the overall tone of the play is lighthearted and frivolous, rife with clever wordplay, dirty jokes, and cutting satire. Despite the threat of violence posed by the Ephesian law that bars residents of Syracuse from entering the city, there is little real sense of suspense or danger. Furthermore, character traits are exaggerated beyond plausibility for the purposes of comedy—Adriana, for example, doesn’t merely implore her husband to return to her, but throws herself at his feet and begs shamelessly for his love, all under the misapprehension that he has abandoned her. Antipholus and Dromio of Ephesus aren’t simply confused by the seeming generosity of the Ephesians, but rather become convinced that they have stumbled upon a ghostly city of spirits and witches who intend to entrap them with dark magic.
In addition to its overall comic tenor, The Comedy of Errors also has all of the key elements of a comedic plot. A typical Shakespearean comedy starts with some disruption or threat to the stability of the social order, which leads to chaos. Just when this chaos seems to reach its irreversible peak, confusions are cleared up, true identities are revealed, and stability is restored. Often, there is some sort of festivity or celebration marking the restoration of the social order, such as a wedding or party. In this play, a fierce storm and the harsh legal code of Ephesus both threaten to dissolve the familial ties so central to the social code of Ancient Greece. In the various comic scenes of misrecognition that follow, confusion spreads from one household to the community at large, but order is ultimately restored when Aegeon recognizes his sons, and the two brothers finally meet. The play ends, fittingly for a comedy, with all characters exiting the stage to celebrate the family reunion.
