Laughter by Henri Bergson In his very thorough treatise on comedy, “Laughter,” Henri Bergson concedes that “it would be idle to attempt to derive every comic effect from one simple formula” (Bergson, 85), but nonetheless bases his concept of the comic on “something mechanical encrusted upon the living” (Bergson, 92). This idea – that humor is found essentially in a rime of automatism covering human expression – generally holds true for the short humor of Robert Benchley, James Thurber, Garrison Keillor and Dave Barry, but Bergson’s corollary theory – that the comic is neither more nor less than a form of social censure and a means of affecting the behavior of others by causing humiliation – seems overly pessimistic and fails to take into account the element of identification inherent in humor, as can be seen in the works of the four writers we explore here. Furthermore, we shall discover lapses in Bergson’s theory, areas of comic interest that cannot be analyzed with the conventions set out in “Laughter.” Before delving into the works of the aforementioned authors, it is incumbent upon us to look more closely at Bergson’s theory of humor. Bergson identifies three conditions he finds necessary for laughter: first, the character or performer – the object of the laughter – must be in some way unsociable; second, the audience must be possessed of a certain insensibility or callousness; and third, the humorous character or situation must display a rigidity that seems mechanical or automatic. The first and third of these conditions Bergson later conflates, writing, “Rigidity, automatism, absentmindedness and unsociability are all inextricably intertwined; and all serve as ingredients to the making up of the comic ch... ... middle of paper ... ...s fully developed in the pieces we considered from Thurber and Keillor, but leaves its mark on Benchley and Barry’s work.
Although we are divided by by the same language we all have the same objective. The goal is to make everyone laugh and why not do it through comedy? The British go for a more dry, witty, dark and complex type of humor, something that Americans don't quite understand and would take a joke as serious due to the nature of sarcasm and subtle meaning behind their jokes. American jokes, however, gravitate toward being more direct and forward. They are straight to the point and are usually more positive, and a lot of the times the humor is really found in the stupidity of the joke.
We often judge each other and ourselves by what we find funny. Laughter also affects us emotionally acting as a temporary amnesia making us forget or become less aware of our problems. Most sitcoms use stereotype and conflict of characters as an aspect of comedy creation. This combined with an emphasis on contrast, conflict and incongruity. By using incongruity the teller of a joke or former of comedy can tell the joke as if it were original, whether we laugh or not depends on if the joke contains some form of punch line that is in some way incongruous with the linguistic or physical environment in which it occurs but which at first sight had not been apparent or in any way anticipated by the audience.
Comedy is not sadness, but rather a way to forget the woes of everyday life. What is the point in humorous incidents and ridiculous jokes if they do not make a person smile or laugh so hard their gut
The Art of Telling Jokes Humor is very subjective; this is very true to everyone who tries to crack a joke. The interesting thing is that there is an awkward feeling that hits us mercilessly whenever we flop. We know it instantly when we land, hit, kill the funny bone. Making really insipid and boring situations funny seems to occur naturally and easily to some individuals. They seem to have an in-born talent that automatically makes the people to laugh and perfectly lighten lackluster and dreary atmosphere and we are often left wondering why and how did they do to make their jokes seem so effortless and also go so well.
With his limbs failing he comical collapses onto the ground. The neighbors cannot help but to laugh from his humorous fall. The man giggles along with the crowd and then continues on his merry way. This scene whether appropriate or inappropriate causes laughter. The man in the story, could have potentially been injured, but yet people laugh anyway.
Ranting is what Hannibal does best in this special. He somehow turns a situation where somebody was watching Wipeout on a plane into not caring about his fly being down, he tells a story where he complains about about how terrible at acting babies are and finally explains how one joke he told caused the downfall of Bill Cosby. What makes these so funny is the laid back delivery that Hannibal uses, which catches us off guard at times and makes it seem like he’s not doing material, he’s just streaming his thoughts to
Of course their attempt to take on Prospero proves to be futile, instead they play dress up with his cloaks and when Prospero shows up, Stephano and Trinculo run for their lives and leave Calaban behind carrying the clothes they attempted to steal. Trinculo and Stephano were also quite amusing by being drunk throughout the entire story, they even stated that they wouldn't drink anything else until the wine ran out. "Tell not me. When the butt is out, we will drink a drop of water, not a drop before. "(Tempest 288) Trinculo and Stephano also contribute to the play the idea that evil in men shows no boundaries.
He also theorizes on Wit. Wit, by the comedic definition, is natural aptitude for using words and ideas in a quick and inventive way to create humor. Hobbes also views wit as being natural and consisting of: “celerity of imagining – that is swift succession of one thought to another – and steady direction to some approved end. (Hobbes 458). Wit, or one’s quick wittedness, can be put back into Hobbes’ equation that suggests what we find funny is that which one can experience from an unsympathetic distance allowing him to laugh at another’s infirmities.
Chaucer's "The Miller's Tale" should be tragic, because a lot of horrible things happen to the characters. The carpenter's wife is disloyal to him, sleeping with others and making fun of him with Nicholas. Also, he is depicted as a fool. However, readers get a humorous feeling from the story, rather than feeling sorry for the carpenter's unfair life. Chaucer makes the whole story come across as comic rather than tragic.