Henri Bergson Essay On Comedy

Henri Bergson Essay On Comedy-64
Each gives rise to laughter expressive of an idea of superiority—in the comic, the superiority of man over man and, in the grotesque, the superiority of man over nature.

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It is a token both of an infinite misery, in relation to the absolute being of whom humans have an inkling, and of infinite grandeur, in relation to the beasts, and results from the perpetual collision of these two infinities.A form of repartee, wit implies both a mental agility and a linguistic grace that is very much a product of conscious art.Quintilian describes wit at some length in his , Dryden distinguishes between the comic talents of Jonson, on the one hand, and of Shakespeare and his contemporary John Fletcher, on the other, by virtue of their excelling respectively in humour and in wit.In France the great master of the grotesque was the 16th-century author Laughter,” which deals directly with the spirit of contradiction that is basic both to comedy and to life.Bergson’s central concern is with the opposition of the mechanical and the living; stated in its most general terms, his thesis holds that the comic consists of something mechanical encrusted on the living.Aristophanic comedy sought its laughable quality not so much in the imitation of a person as in the representation of “some odd conceit which had commonly somewhat of unnatural or obscene in it.” In the so-called , noted that ethos is akin to comedy and pathos to tragedy.The distinction is important to Renaissance and Neoclassical assumptions concerning the respective subject of comic and tragic representation.Another fascinating realization, in context of the reading, was the idea that laughter is a “circle.” The room this event is held in is actually shaped like a circle, and when examined close enough, the cadence of the jokes caters to the circular motion talked about. Our editors will review what you’ve submitted and determine whether to revise the article.In dealing with persons engaged in normal affairs, the comic dramatists tended to depict the individual in terms of some single but overriding personal trait or habit.They adopted a method based on the physiological concept of the four humours, or bodily fluids (blood, phlegm, choler, melancholy), and the belief that an equal proportion of these constituted health, while an excess or deficiency of any one of them brought disease.

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