Tragicomedy in a dramatic work incorporates both tragic and comic elements at the same time.
It was coined by the Roman dramatist Plautus in the 2nd century BC. The word denoted a play in which gods and men, masters and slaves reverse the roles traditionally assigned to them, gods and heroes acting in comic burlesque and slaves adopting tragic dignity. This startling innovation may be seen in Plautus’ Amphitryon.
In the Renaissance, tragicomedy became a genre of play that mixed tragic elements into drama that was mainly comic. The Italian writer Battista Guarini defined tragicomedy as having most of tragedy’s elements—e.g., a certain gravity of diction, the depiction of important public events, and the arousal of compassion—but never carrying the action to tragedy’s conclusion, and judiciously including such comic elements as low-born characters, laughter, and jests. Central to this kind of tragicomedy were danger, reversal, and a happy ending. Despite its affront to the strict Neoclassicism of the day, which forbade the mixing of genres, tragicomedy flourished, especially in England, whose writers largely ignored the edicts of Neoclassicism. John Fletcher provides a good example of the genre in The Faithful Shepherdess (c. 1608), itself a reworking of Guarini’s Il pastor fido, first published in 1590. Notable examples of tragicomedy by William Shakespeare are The Merchant of Venice (1596–97), The Winter’s Tale (1610–11), and The Tempest (1611–12).
Nineteenth-century Romantic writers espoused Shakespeare’s use of tragicomedy in the belief that his plays closely mirrored nature, and they used him as a model for their works. The dramas of Georg Büchner, Victor Hugo, and Christian Dietrich Grabbe reflect his influence. With the advent of realism later in the 19th century, tragicomedy underwent yet another revision. Still intermingling the two elements, comic interludes now highlighted the ironic counterpoints inherent in a play, making the tragedy seem even more devastating. Such works as Henrik Ibsen’s Ghosts (1881) and The Wild Duck (1884) reflect this technique. George Bernard Shaw said of Ibsen’s work that it established tragicomedy as a more meaningful and serious entertainment than tragedy. Anton Chekhov’s tragicomedies include Uncle Vanya (1897) and The Cherry Orchard (1904).
Modern tragicomedy is sometimes equated with the Theatre of the Absurd, which suggests that laughter is the only response left to man when he is faced with the tragic emptiness and meaninglessness of existence. For example Samuel Beckett’s Endgame (1958) and Harold Pinter’s The Dumb-Waiter (1960)