COMIC IDENTITY 49fool’s prophecy imagines the disarray England will fall into when viceis no longer a part of everyday life:When slanders do not live in tongues,Nor cutpurses come not to throngs,When usurers tell their gold i’th’field,And bawds and whores do churches build,Then shall the realm of AlbionCome to great confusion;(Shakespeare, 1989:3.2.87–92)The parting speech is indebted to Erasmus’s Folly in its belief thatselfdelusion and hypocrisy are integral to the health of the nation. Thiscentral contradiction, the inversion of the good and the bad, the wiseand the foolish, and the mad with the sane, lies at the heart of the‘eccentric’ vision of comedy, where thoughts and experiences cancoexist alongside ironic reflection on those same thoughts.TRICKSTERSParadoxical folly has a close relative in a character known as the‘trickster’ who appears in the folk tales and religious myths of manycultures. Mythical tricksters include the Greek god Hermes, a liar, athief, and a master of disguise; St Peter, who appears in Italian folk talesas a shiftless opportunist whose quasi-criminal activities have to becontinually remedied by patient and forgiving Jesus; the Norse godLoki, the companion of the thunder god Thor and personification oflightning; the Native American Coyote, a sacred progenitor, manicomnivore, and externalized taboo; and the Yoruba Esu-Elegabara fromNigeria, a figure who carries the desires of man to the gods, and wholimps ‘precisely because of his mediating function: his legs are ofdifferent lengths because he keeps one anchored in the realm of thegods while the other rests in this, our human world’ (Gates Jr, 1988:6).The trickster is a practical joker, a witty and irreverent being whoviolates the most sacred of prohibitions. The trickster is not confined byboundaries, conceptual, social, or physical, and can cross lines that areimpermeable to normal individuals, between the living and the dead, forexample, or to travel between heavenly and human worldsinstantaneously. This is why, like Hermes, the trickster often doubles asthe messenger of the gods.
50 COMIC IDENTITYThe trickster has a religious significance in some cultures that takes adidactic form. Here is an example of a tale featuring ‘Coyote’, a tricksteroften found in the Native American cultures of the southwestern UnitedStates:Hearing a strange sound coming from an old elk skull, Coyotelooks inside and finds a village of Ants having a Sun Dance. Hemakes himself small in order to get inside the skull and see better,but presently his body returns to normal size and his head is stuckinside the skull.He wanders into a village and announces, ‘I am holy; I havesupernatural power; you must give me something!’ The awestrickenpeople pass him in a procession, marking him with pollenas is customary in that region. But the last person in line is asmart aleck boy who is carrying a stick behind his back. When hereaches Coyote he brings the stick down with all of his mightacross the old elk skull, and it cracks and falls off. ‘That’s whatyou should have done long ago’, Coyote tells them, ‘but insteadyou wanted too much supernatural power.’(Hynes and Doty, 1993:3)Only after Coyote has been confronted by an equally irreverentadversary does his greed become an admonition of the villagers’gullibility and a warning to treat supernatural events with caution. Inthis resides Coyote’s moral ambiguity: he rightly berates the people, butonly after his attempt to cheat them has failed. William Hynes andThomas Steele see the trickster as a necessary by-product of socialorder:Systems normally busy generating firm adherence to their beliefsalso maintain within these belief systems, somewhatcontradictorily, a raft of tricksters who perpetually invert andprofane these same beliefs. In myth and ritual tricksters seem tobe officially sanctioned exception clauses by which belief systemsregularly satirize themselves.(Hynes and Steele, 1993:160)The trickster, then, provides an integral check on beliefs to prevent themfrom becoming too secure in themselves.Trickster figures are everywhere in comedy from disguised lovers tolegacy-hunting rakes. Obvious examples would include the cartoon
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COMEDYWhat is comedy? Andrew Stott
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iiiIrony by Claire ColebrookLiterat
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The Grotesque 83Slapstick 87The Fem
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100 POLITICScitizens all insulted i
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102 POLITICSSecretary Tessa Jowell
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104 POLITICSIt is the stated positi
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106 POLITICSWhat should I do in Rom
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108 POLITICSdifficult crowds for wh
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110 POLITICSalmost laughed, it seem
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112 POLITICSsatisfied by Price’s
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114 POLITICSself-centredness of the
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116 POLITICSwho, in their 1944 essa
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118 POLITICS(Ezrahi, 2001:307). Rut
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120 POLITICS
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122 LAUGHTERevidence for his sense
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124 LAUGHTERdevils to expel, there
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126 LAUGHTERand the meane that make
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128 LAUGHTERHere we find the Christ
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130 LAUGHTERof mutual relation from
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132 LAUGHTER‘laughter naturally r
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134 LAUGHTERceiling, it started lit
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136 LAUGHTERdeferred. For Nancy, th
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138 LAUGHTERsatisfy their desires a
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140 CONCLUSIONhuman imperfection. W
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142 CONCLUSION
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144 GLOSSARYcenturies. Commedia del
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146 GLOSSARYto problematize the ide
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148 GLOSSARY
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150 FURTHER READINGAn extremely acc
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152 BIBLIOGRAPHYErickson and Coppel
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154 BIBLIOGRAPHYDouglas, Mary (1975
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156 BIBLIOGRAPHYContexts and Critic
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158 BIBLIOGRAPHY——(1987), ‘Wi
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160 BIBLIOGRAPHYSynott, Anthony (19
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162 INDEXCavell, Stanley 87-3Chapli
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164 INDEXmarriage 70-77;in British