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Abstract

Comedy obeys a structure that is emotionally logical, and it is this logic that generates a catharsis: in every comedy, there is a correspondence between the possible success or failure of the protagonist’s intention and the audience’s wish or fear on his behalf. The successful achievement of his intention produces a catharsis of those two feelings in the audience, and that catharsis is the ultimate source of all comedic pleasure, just as a catharsis of terror and pity is the source of all tragic pleasure. In every comedy, finally, the protagonist embodies both the author’s will and the audience’s wish, and the purpose of their unacknowledged collaboration is to play a game that will end happily for both of them. Their will-to-play, their game-playing is the true spirit of all comedy, its festive spirit.

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Notes

  1. Henri Bergson, “Laughter” in Comedy, ed. Wylie Sypher (Baltimore: Johns Hopkins University Press, 1956), 84.

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  2. Louis Begley, The Tremendous World I Have Inside My Head/Franz Kafka: A Biographical Essay New York: Atlas, 2008). See especially chapter 2: “What have I in common with Jews?,” 53–74.

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  3. George Meredith, “An Essay on Comedy” in Comedy, ed. Wylie Sypher (Baltimore: Johns Hopkins University Press, 1980), 14–15.

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  4. Bernard Shaw, Pygmalion (London and New York: Penguin Books, 1988). The two quotations are from Act One and Act Five, respectively.

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  5. But cf. Erich Segal, The Death of Comedy (Cambridge, MA: Harvard University Press, 2001), chapters 1–8. Segal makes the dubious argument that comedy is killed when it becomes overly intellectual, as he thinks it is in G. B. Shaw, Ionesco, and Beckett, but his thesis that great comedies refuse to obey social conventions is convincing and his account of individual classic comedies is often brilliant.

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© 2014 Ben La Farge

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La Farge, B. (2014). Comedy’s Logic. In: The Logic of Wish and Fear: New Perspectives on Genres of Western Fiction. Palgrave Pivot, New York. https://doi.org/10.1057/9781137465689_1

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