Wednesday, September 9, 2015

The Superiority Theory: Humor as Anti-Social:

Both classical philosophers and early Biblical theologians railed against humor and laughter, since they believed both lead to a loss of control and anti-social behavior.  This suspicion of humor and laughter led to the development of the Superiority Theory, the first theory of humor, and still one of the of most widely accepted.

Two classical writers: Protagoras (“Be not possessed by irrepressible mirth.”) and Epictetus (“Let not your laughter be loud, frequent, or unrestrained.”)

Excessive laughter was thought to be a sign of a weak character

Plato was the most influential of classical philosophers, and he thought humor was an emotion that overrides rational self-control.  He thought that laughter was primarily caused by malice towards those being laughed at.  This became one of the foundations of the Superiority Theory.  We laugh at others and thereby feel superior towards them.

The Bible has multiple passages criticizing humor and laughter:

Proverbs 26: 18-19, “A man who deceives another and then says, ‘It was only a joke,’ is like a madman shooting at random his deadly darts and arrows.”

Psalms 2: 2-5, “The kings of the earth stand ready . . .The Lord who sits enthroned in heave laughs at them to scorn, then rebukes them in anger.”

2 Kings 2: 23, “He [Elisha] went up from there to Bethel and, as he was on his way, some small boys came out of the city and jeered at him, saying, ‘Get along with you, bald head, get along.’  He turned round and looked  at them and he cursed them in the name of the Lord; and two she-bears came out of a wood and mauled forty-two of them.”

Early Christian theologians were harsher in their comments on humor and laughter.

Basil the Great: “raucous laughter and uncontrollable shaking of the body are not indications of a well-regulated soul, or of personal dignity, or self-mastery.”

John Chrysostom: Laughter often gives birth to foul discourse, and foul discourse to actions still more foul.  Often from words and laughter proceed railing and insult; and from railing and insult, blows and would; and from blows and wounds, slaughter and murder.  If, then, you would take good counsel for yourself, avoid not merely foul words and foul deeds, or blows and wounds and murders, but unseasonable laughter itself.

Rules of St. Benedict: “prefer moderation in speech and speak no foolish chatter, nothing just to provoke laughter; do no love immoderate or boisterous laughter.”

St. Benedict’s Ladder of Humility: Step Ten, restraint against laughter; Step Eleven, warning against joking

Monastery of Columban: “He who smiles in the service . . . six strokes”

Syrian Abbot Ephraem: “Laughter is the beginning of the destruction of the soul . . . when you notice something of that, know that you have arrived at the depth of evil.”

The Puritan William Prynne condemned comedy as incompatible with the sobriety of good Christians, who should not be “immoderately tickled with mere lascivious vanities, or . . . lash out in excessive cacchinations in the public view of dissolute graceless persons.”

The Puritans under Cromwell banned comedy from the English stage.

Thomas Hobbes viewed humanity as individualistic and competitive, resulting in a “war of all against all.”  In their competition with each other, people are quick to laugh at the weaknesses and foibles they see in others.  It is this sense of feeling superior to others that gave rise to the Superiority Theory (laughter at the expense of others). 

Hobbes: “Sudden glory, is the passion which makes those grimaces called laughter, and is caused wither by some sudden act of their own, that pleases them; or by an apprehension of some deformed thing in another, by comparison whereof they suddenly applaud themselves.”

Laughter came to be viewed as an expression of feelings of superiority over others.  Advocates of the Superiority Theory believe that when something evokes laughter, it is by revealing someone’s inferiority to the person laughing.  Laughter is basically anti-social.

Two English writers, Ben Johnson and Sir Philip Sydney argued that laughter was redemptive.  In his Defense of Poesie, Sidney argued that, “Comedy is an imitation of the common errors of our life . . .”   Both argued that comedy was a moral force to correct shortcomings and errors; comedy holds vices up to ridicule.”



par·o·dy [par-uh-dee]  noun
1.
a humorous or satirical imitation of a serious piece of literature or writing: his hilarious parody of Hamlet's soliloquy.
2.
the genre of literary composition represented by such imitations.

sat·iresat-ahyuhr] noun
1.
the use of irony, sarcasm, ridicule, or the like, in exposing, denouncing, or deriding vice, folly, etc.
2.
a literary composition, in verse or prose, in which human folly and vice are held up to scorn, derision, or ridicule.
3.
a literary genre comprising such compositions.

bur·lesque  ber-lesk]  noun
1.
an artistic composition, especially literary or dramatic, that, for the sake of laughter, vulgarizes lofty material or treats ordinary material with mock dignity.
2.
any ludicrous parody or grotesque caricature.
3.
Also, bur·lesk . a humorous and provocative stage show featuring slapstick humor, comic skits, bawdy songs, striptease acts, and a scantily clad female chorus.

mock-he·ro·icmok-hi-roh-ik] adjective
1.
imitating or burlesquing that which is heroic, as in manner, character, or action: mock-heroic dignity.
2.
of or pertaining to a form of satire in which trivial subjects, characters, and events are treated in the ceremonious manner and with the elevated language and elaborate devices characteristic of the heroic style.

lam·poon lam-poon] noun
1.

a sharp, often virulent satire directed against an individual or institution; a work of literature, art, or the like, ridiculing severely the character or behavior of a person, society, etc.