Dramatic comedies have something in common irregardless of how they are situated through out history. After reading Northrop Frye's The Mythos of Spring, it has become evident that dramatic comedies have held their basic forms. Although the plot may take different twists and turns it essentially stays the same. The categories of characters, the configuration of the plot, the six phases and the conclusion of the dramatic comedy fundamentally resides unchanged.
Typically the comedy starts off with a youthful man wanting a juvenile woman. A fatherly figure stands in the way of his desires, and in the end a transformation in the plot occurs to let the young man have his way. If a fatherly figure is not present it is usually an adversary with a smaller amount of youth and heaps of money. These barriers structure the proceedings of the comedy. When the hero manages to overthrow the obstructing characters that are in charge of the play's society, the transformation of the plot that united the young lovers causes a new society to be formed around the hero.
An additionally significant structure of comedy is a civilization originally subjugated to the fascistic domination by the obstructing characters with the intentions of keeping the youthful aficionado of women away from his darling lass. When these obstructing characters are overcome near the end of the play, a new society is formed which does not have to answer to the previous set of regulations lay down by the older society, as mentioned in the previous paragraph. A comedic play classically ends with a marriage or a number of marriages that account for the happy ending. Thus generating a society to facilitate the hero's natural ability to fit in. .
A comedy is alienated into two components, the pistis and the gnosis. The plot progresses from the pistis, which is a social order of limitations and habits ruled by elder members, to the gnosis, which is a culture of adjustment and free will administrated by youthful beings.