RE: Comedy - With Optional Philosophical Ruminations
Quote:Exploring the Nature of Shakespearean Comedy
From The System of Shakespeare's Dramas. by Denton Jaques Snider. St. Louis: G. T. Jones and Company.
Thought and Structure of Comedy — The Tragic and the Comic fade into each other by almost insensible gradations, and the greatest beauty of a poetical work often consists in the harmonious blending of these two elements. Not only in the same drama may both exist in perfect unison, but even in the same character. Great actors generally have a similar quality, and frequently it is hard to tell whether their impersonations be more humorous or more pathetic. This happy transfusion and interchange of tragic and comic coloring is one of the characteristics of supreme art; it brings the relief along with the pain; it furnishes the reconciliation along with the conflict. Shakespeare seems to have taken a special delight in its employment. No principle of his procedure is better known or more fully appreciated. His tragedies never fail of having their comic interludes; his comedies have, in nearly every case, a serious thread, and sometimes a background with a tragic outlook. Life is not all gloom or all delight; the cloud will obscure the sun, but the sun will illumine the cloud — at least around the edges.
Still, the Comic is not the Tragic, however subtle may be their intertwining, and however rapid their interaction. They rest upon diverse, and in some respects opposite, principles. Criticism must seek to explain the difference between them for the understanding, and must not rest content with a vague appeal to the feeling of beauty. Tragic earnestness springs from the deep ethical principle which animates the individual. He, however, assails another ethical principle, and thereby falls into guilt. The tragic character, moreover, must have such strength and intensity of will that it can never surrender its purpose. A reconciliation is impossible; death alone can solve the conflict. In Comedy also there is a collision with some ethical principle on the part of the individual; he intends a violation, but does not realize his intention; he is foiled through external deception, or breaks down through internal weakness; to him is wanting that complete absorption in some great purpose which is the peculiar quality of the tragic hero. The common realm of Tragedy and Comedy, therefore, is the ethical world and its collision. Their essential difference lies in the different relation of the leading characters to this ethical world.
Here we are brought face to face with the first point which must be settled — what constitutes the Comic Individual? But a single person does not make a comedy; it requires several who are in action and counter-action; hence the second part of the subject will be the Comic Action; thirdly, a termination must be made which springs necessarily from the preceding elements; this gives the Comic Solution. Each division will be taken up in its natural order.
1. The Comic Individual — He is, in one form or another, the victim of deception. He fights a shadow of his own mind, or pursues an external appearance; his end is a nullity, his plan an absurdity; he is always deceived; he really is not doing that which he seems to be doing. His object may be a reasonable one, his purpose may be a lofty one, but he is inadequate to its fulfillment; the delusion is that he believes in his own ability to accomplish what he wills. His object also may be an absurd one; he pursues it, however, with the same resolution. It may be called a foible, a folly, a frailty — still the essential characteristic is that the individual is pursuing an appearance, and thus is the victim of deception, though he may even be conscious of the absurd and delusive nature of his end.
The two limitations of this sphere are to be carefully noticed. The Comic Individual must not succeed in violating the ethical principles which he conflicts with; these are the highest, the most serious, interests of man, and cannot even be endangered without exciting an apprehension, which destroys every comic tendency. Successful seduction, adultery, treason — in fine, the violations of State and Family — are not comic; nor is villainy, which attains its purpose. Such an intention of wrong-doing may exist, but it must never come to realization; it must not only be thwarted, but also punished. The delusion, therefore, ought not to go so far as to produce a violation of ethical principles. Nor, on the other hand, ought it to transgress the limits of sanity — a madman is not a comic character. Reason must be present in the individual, though his end be absurd. A rational man acting irrationally is the incongruity which calls forth the laugh — is the contradiction upon which Comedy reposes. There must be, in the end, a restoration from delusion, and often a punishment, both of which are precluded by the notion of insanity. Many readers feel that Don Quixote is too much of a lunatic. In general, therefore, the Comic Individual must not be a criminal, nor must he be a madman.
Read the rest here :
Quote:1. rabid robert says:
April 20, 2012 at 10:43 am
I’m getting so tired of hearing Alex tell lies to sell his stinking Tangy Tangerine!! For the past few years it was stop eating GMO food. I eat non GMO food to eat healthy. Organic foods have the nutrition that you need …blah blah blah…
Now, he could only lose weight with the help of Tangy Tangerine(and quote,” to get the vitamins and minerals I need”), when the truth is he got off of his ass and really started working out. Alex, I’m sick of listening to your damned lies!!
Every week it’s getting harder and harder for me to listen to his lying ass mouth, and it’s getting harder and harder to take him seriously.
Log in to Reply
from the comments section at infowars
Friday, April 20, 2012
Jeffrey 'Sasquatch' Rense finally exposed by one of his 9 ex-wives as ex-member of Ohio Players !
The 1970s, the decade when hair was king and no one aside from Isaac Hayes and Kojack even thought of shaving their heads.
Right on ! Right on !