Ashley Lunsford
Comic Spirit Fisher
Term Paper: Optimism vs. Pessimism
Comedy can be both optimistic and pessimistic. As in the case of satire, it is pessimistic in its critiques of society, but optimistic in that those critiques are meant as a corrective action. Most comedies have happy endings, an optimistic ending, or return to the Golden Mean. Many comedies also end with weddings or other ceremonial implications of renewal and rebirth – a hope to cling to despite overwhelming societal defects. However comedy can span all across the spectrum. For the purposes of this paper, classroom texts will be organized from most optimistic to most pessimistic according to personal interpretation.
I. Lysistrata - Aristophanes
In Lysistrata, the main disorder in need of remedy is a prolonged war, which is overcome in nonviolent ways, to a peaceful ending. If war be synonymous with death, then peace, consequently would likewise be with life and fertility: a standard comedic return to the Golden Mean. Lysistrata satirizes war culture, showing that when primal needs are denied war suddenly becomes irrelevant. Lysistrata demonstrates women using the tools at their disposal to assume power and instigate change in society. This is not only empowering to women, but also toying with normalized gender roles. While men are usually considered more sex-driven, comparatively, women are depicted as equally susceptible. Some argue that this is demeaning to women, caricaturizing them as sex objects. However, in Lysistrata it is a great equalizer, showing that men and women both enjoy sex. It also exaggerates sexuality – a universal human experience – in a comedic way by employing ridiculous antics from characters and oversized erections on stage.
II. The Decameron - Giovanni Boccaccio
Framed by the Bubonic Plague, it is only to be expected that the Decameron would focus so primarily on things that make us alive and, moreover, human. As mentioned in class, statistics have show that the birth rate spikes nine months after times of crisis. Characters of normally ascetic, repressive backgrounds are found in all sorts of compromising – usually sexual – situations. It emphasized the importance of hedonism, living in the present and enjoying life’s bounty before the impending enclosure of death. Characters, despite experiencing arguable difficulties, end up getting their happy endings – Andreuccio gets more money than he started off with from the ruby ring, the monk and the abbot gain a shared sexual partner. While funnier than Lysistrata and certainly just as optimistic, it is more satirical of religious hypocrites (e.g. the monk and the abbot, the 9 nuns, Rustico) and gullible characters (e.g. Andreuccio, Alibech), inching closer to the more ‘pessimistic’ comedies in its grievances of society.
III. Tartuffe - Moliere
Though Tartuffe is a comedy of manners, there is a huge amount of social commentary under the light situational humor. The depiction of the alazon figure Orgon, a gullible yet authoritative head of family given absolute power, and the implications that follow suit, are easily translated as a larger societal allegory. Following the same comedic keystones, Dorine is an eiron figure, a lowly servant not given any heed, but who sees things, and calls them, for their true nature. Religious hypocrisy are satirized through the titular character who claims devout faith and deeds, but demonstrates all the cardinal sins of Christianity - gluttony, greed, lust, etc. Tartuffe does have a standard happy ending where wrongs are righted and order is restored within the family, although there is much speculation at to whether or not that was the author’s intent.
IV. MASH – Richard Hooker
In MASH, the bleak and dismal background of the Korean War provides a catalyst towards both chaos and control, within and amongst characters. Those seen as upright, poster boys of the American public are often chastised. Hobson, for example, is an exemplary soldier, patriotic and obedient, from a tiny Midwest town and obscenely devout. The Swampmen despise Hobson and ridicule him until he is forced to relocate. Hooker, a MASH veteran himself, wrote this as a critique of war, showing the affected identities of the young men involved and their desperate grasp on normal life amidst the madness and violence of other people’s wars. Though the book was written about the Korean War, it became popular during Vietnam, the first war where there was a solid movement opposed to its continuation. It only makes sense that the degradation of these values was popular during the 60s anti-war movement.
The Swampmen perform pranks and tricks on people, often pretty horrible and at the expense of people’s mental well-being, (e.g. the crucifixion of Shaking Sammy, Painless Pole’s feigned suicide) because they can get away with it and because any distraction from the surrounding bloodshed is acceptable. Other methods of diversion employed are the dynamics of camaraderie and enmity among characters, copious consumption of alcohol, poker, golfing and football. All of these situations and antics are hilarious, but upon closer inspection at the reasons behind their escapism, it is a gritty reality. The comedy of communal living is juxtaposed with images of graphic violence and the heartbreaking honesty of the doctors’ work. They sincerely want to save each patient, and are observably affected when it is not possible to do so.
V. Candide - Voltaire
Candide is placed on this list as the most pessimistic of our list for its acerbically satirical nature and the ambiguity of its conclusion. Not a single element of society is safe from Voltaire’s attack in this novel. Even the form of the novel itself, which was a newly popularized medium of the time, especially romance, is caricaturized by Candide’s endless pursuit of Cunegonde despite ridiculous circumstances. Government, war, religion (hypocrites and blind faith alike), sexuality, gender roles, gullibility and stupidity, intellectualism and instrumental reason, philosophy, and specific individuals (Leibniz, theorizer of Optimism) all come under fire. Though the publication of these grievances are mediums of potential change in society, it seems as though Voltaire resigned himself to a scathing malcontent and exasperation in its writing – making it very arguably more pessimistic than optimistic.
The concluding statement of the novel – “we must cultivate our garden” is left up to wide interpretation. It poses the rhetorical question of whether to live a life of excitement and danger or boredom and safety. This question, beyond the society-satirical bulk of the novel, is Voltaire’s core idea. Even in the event that the characters do choose to live isolated lives of physical labor, will it be enough? Evidenced in the chapter of El Dorado, it is arguable that the characters will be left just as unsatisfied in their new Eden. It is the human condition itself, our ability and agency over our thoughts, which will prevent satisfaction. It is the expulsion from Westphalia, like Eve’s biting the apple and mankind’s evolution into cerebral creatures, which brought about such a great dilemma of being. Furthermore, Candide’s ending statement can be interpreted as Voltaire’s final comment on the makings of such a corrupt society. If one is to tend the garden and isolate themselves to menial objectives and routines, one fails to see the world outside those parameters. The world becomes wrought with violence and malevolence by the inaction, and often, ignorance of the individuals within it.
In conclusion, comedy is not something easily characterized as predominantly optimistic or pessimistic, but something complex and multifaceted. On one end of the spectrum we have more mainstream, blockbuster comedies in which people can laugh over the shared experience of universal human dilemmas and misadventures, situational disorders usually solved by simple communication and explanation. And on the other end, more independent or satirical comedies often deal with fixed issues of the human condition and societal expectations, things that cannot be remedied as easily, and are often so ridiculous that laughter is the only alternative to complete devastation.
Comic Spirit Fisher
Term Paper: Optimism vs. Pessimism
Comedy can be both optimistic and pessimistic. As in the case of satire, it is pessimistic in its critiques of society, but optimistic in that those critiques are meant as a corrective action. Most comedies have happy endings, an optimistic ending, or return to the Golden Mean. Many comedies also end with weddings or other ceremonial implications of renewal and rebirth – a hope to cling to despite overwhelming societal defects. However comedy can span all across the spectrum. For the purposes of this paper, classroom texts will be organized from most optimistic to most pessimistic according to personal interpretation.
I. Lysistrata - Aristophanes
In Lysistrata, the main disorder in need of remedy is a prolonged war, which is overcome in nonviolent ways, to a peaceful ending. If war be synonymous with death, then peace, consequently would likewise be with life and fertility: a standard comedic return to the Golden Mean. Lysistrata satirizes war culture, showing that when primal needs are denied war suddenly becomes irrelevant. Lysistrata demonstrates women using the tools at their disposal to assume power and instigate change in society. This is not only empowering to women, but also toying with normalized gender roles. While men are usually considered more sex-driven, comparatively, women are depicted as equally susceptible. Some argue that this is demeaning to women, caricaturizing them as sex objects. However, in Lysistrata it is a great equalizer, showing that men and women both enjoy sex. It also exaggerates sexuality – a universal human experience – in a comedic way by employing ridiculous antics from characters and oversized erections on stage.
II. The Decameron - Giovanni Boccaccio
Framed by the Bubonic Plague, it is only to be expected that the Decameron would focus so primarily on things that make us alive and, moreover, human. As mentioned in class, statistics have show that the birth rate spikes nine months after times of crisis. Characters of normally ascetic, repressive backgrounds are found in all sorts of compromising – usually sexual – situations. It emphasized the importance of hedonism, living in the present and enjoying life’s bounty before the impending enclosure of death. Characters, despite experiencing arguable difficulties, end up getting their happy endings – Andreuccio gets more money than he started off with from the ruby ring, the monk and the abbot gain a shared sexual partner. While funnier than Lysistrata and certainly just as optimistic, it is more satirical of religious hypocrites (e.g. the monk and the abbot, the 9 nuns, Rustico) and gullible characters (e.g. Andreuccio, Alibech), inching closer to the more ‘pessimistic’ comedies in its grievances of society.
III. Tartuffe - Moliere
Though Tartuffe is a comedy of manners, there is a huge amount of social commentary under the light situational humor. The depiction of the alazon figure Orgon, a gullible yet authoritative head of family given absolute power, and the implications that follow suit, are easily translated as a larger societal allegory. Following the same comedic keystones, Dorine is an eiron figure, a lowly servant not given any heed, but who sees things, and calls them, for their true nature. Religious hypocrisy are satirized through the titular character who claims devout faith and deeds, but demonstrates all the cardinal sins of Christianity - gluttony, greed, lust, etc. Tartuffe does have a standard happy ending where wrongs are righted and order is restored within the family, although there is much speculation at to whether or not that was the author’s intent.
IV. MASH – Richard Hooker
In MASH, the bleak and dismal background of the Korean War provides a catalyst towards both chaos and control, within and amongst characters. Those seen as upright, poster boys of the American public are often chastised. Hobson, for example, is an exemplary soldier, patriotic and obedient, from a tiny Midwest town and obscenely devout. The Swampmen despise Hobson and ridicule him until he is forced to relocate. Hooker, a MASH veteran himself, wrote this as a critique of war, showing the affected identities of the young men involved and their desperate grasp on normal life amidst the madness and violence of other people’s wars. Though the book was written about the Korean War, it became popular during Vietnam, the first war where there was a solid movement opposed to its continuation. It only makes sense that the degradation of these values was popular during the 60s anti-war movement.
The Swampmen perform pranks and tricks on people, often pretty horrible and at the expense of people’s mental well-being, (e.g. the crucifixion of Shaking Sammy, Painless Pole’s feigned suicide) because they can get away with it and because any distraction from the surrounding bloodshed is acceptable. Other methods of diversion employed are the dynamics of camaraderie and enmity among characters, copious consumption of alcohol, poker, golfing and football. All of these situations and antics are hilarious, but upon closer inspection at the reasons behind their escapism, it is a gritty reality. The comedy of communal living is juxtaposed with images of graphic violence and the heartbreaking honesty of the doctors’ work. They sincerely want to save each patient, and are observably affected when it is not possible to do so.
V. Candide - Voltaire
Candide is placed on this list as the most pessimistic of our list for its acerbically satirical nature and the ambiguity of its conclusion. Not a single element of society is safe from Voltaire’s attack in this novel. Even the form of the novel itself, which was a newly popularized medium of the time, especially romance, is caricaturized by Candide’s endless pursuit of Cunegonde despite ridiculous circumstances. Government, war, religion (hypocrites and blind faith alike), sexuality, gender roles, gullibility and stupidity, intellectualism and instrumental reason, philosophy, and specific individuals (Leibniz, theorizer of Optimism) all come under fire. Though the publication of these grievances are mediums of potential change in society, it seems as though Voltaire resigned himself to a scathing malcontent and exasperation in its writing – making it very arguably more pessimistic than optimistic.
The concluding statement of the novel – “we must cultivate our garden” is left up to wide interpretation. It poses the rhetorical question of whether to live a life of excitement and danger or boredom and safety. This question, beyond the society-satirical bulk of the novel, is Voltaire’s core idea. Even in the event that the characters do choose to live isolated lives of physical labor, will it be enough? Evidenced in the chapter of El Dorado, it is arguable that the characters will be left just as unsatisfied in their new Eden. It is the human condition itself, our ability and agency over our thoughts, which will prevent satisfaction. It is the expulsion from Westphalia, like Eve’s biting the apple and mankind’s evolution into cerebral creatures, which brought about such a great dilemma of being. Furthermore, Candide’s ending statement can be interpreted as Voltaire’s final comment on the makings of such a corrupt society. If one is to tend the garden and isolate themselves to menial objectives and routines, one fails to see the world outside those parameters. The world becomes wrought with violence and malevolence by the inaction, and often, ignorance of the individuals within it.
In conclusion, comedy is not something easily characterized as predominantly optimistic or pessimistic, but something complex and multifaceted. On one end of the spectrum we have more mainstream, blockbuster comedies in which people can laugh over the shared experience of universal human dilemmas and misadventures, situational disorders usually solved by simple communication and explanation. And on the other end, more independent or satirical comedies often deal with fixed issues of the human condition and societal expectations, things that cannot be remedied as easily, and are often so ridiculous that laughter is the only alternative to complete devastation.
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