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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.
Humour is, as it were, the growth of nature and accident; wit is the product of art and fancy.
(1905), said that wit is made, but humour is found.
Join Britannica's Publishing Partner Program and our community of experts to gain a global audience for your work! In it the character of Socrates is made ridiculous by acting very unlike the true Socrates—that is, by appearing childish and absurd rather than with the gravity of the true Socrates.
Dryden was concerned with analyzing the laughable quality of comedy and with demonstrating the different forms it has taken in different periods of dramatic history.
The audience is mostly made up of Hollywood’s truest elite, while honoring their achievements in the entertainment industry for the year.
So in some ways, this event needs to appeal to only this very small crowd and no one else.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.Bergson traces the implications of this view in the sundry elements of comedy: situations, language, characters.Comedy expresses a lack of adaptability to society; any individual is comic who goes his own way without troubling to get into touch with his fellow beings.Jonson’s talent lay in his ability “to make men appear pleasantly ridiculous on the stage,” while Shakespeare and Fletcher excelled in wit, or “the sharpness of conceit,” as seen in their repartee.The distinction is noted as well in Humour is the describing the ludicrous as it is in itself; wit is the exposing it, by comparing or contrasting it with something else.But it has the added layer of being televised for mass consumption.The jokes need to play off of the celebrities in the room, while also being applicable enough to cater the general public.The crucial part of Baudelaire’s essay, however, turns on his distinction between the comic and the grotesque.The comic, he says, is an imitation mixed with a certain creative faculty, and the grotesque is a creation mixed with a certain imitative faculty—imitative of elements found in nature.