What is a Joke? A Dialogue (part 2 - part 1 can be found here)
(Note: this blog contains an extremely distasteful and offensive comment - I say 'comment' because whether or not it qualifies as a joke is the reason for its inclusion. Obviously I don't endorse said comment, etc.)
Dear Neil,
At
the risk of appearing rather churlish in the face of interest from an actual
member of the public, I’m not convinced by the equation. For one thing, I’m not
sure what difference, if any, holds between ‘+’ and ‘*’. For another, although
a joke will often feature all three elements, it seems possible to find jokes
that don’t. A simple pun such as ‘Why was six scared of seven? Because seven
eight nine’ works almost completely independently of any mood, and its subject
matter appears to be nothing other than the potential for double meanings with
which the English language, particularly when spoken aloud, is so blessed.
But
the more general point about mood is well made. Here’s a very similar joke to
the previous effort: ‘What did Freud think came between fear and sex? Funf’ There’s
a bit more to this joke, for a few reasons – for one thing, the punning is
between different languages. But it also involves a shift in what might be
termed register, and which is at least close to what you refer to as ‘mood’: what
appeared to be psychoanalytic totems are revealed as mere placeholders for
wordplay. There’s a change in attitude which isn’t brought about by argument or
derision, but by slyer and arguably more effective means. It’s a lot more
subtle than the manipulation of mood Frankie Boyle is so good at, but it’s
still there.
I
think your suggestion of constants in the equation, i.e., elements present in
every joke or ever good joke, is very interesting. I’m loath to speculate as to
what these might be – that way lies the elephant’s graveyard of Theories of
Humour – but I’m not so loath that I won’t throw around a couple of ideas for
the sake of a blog post. One contender is probably wit (more or less the extra
level of cleverness you mention). But witty things are not always funny, as the
plays of Oscar Wilde so epigrammatically demonstrate, and not all funny jokes
are clever (although interestingly, the best examples I can think of are
probably from slapstick).
Another possibility is
incongruity or the confounding of expectations, which was a criterion I suggested
in my original article. Interestingly, I came across a possible counterexample
to this recently, in Jim Holt's charming little volume Stop Me if
You've Heard This Before. It's one of the few jokes, or attempted
jokes, to have impacted on a national level - it cost then US Secretary of
Agriculture Earl Butz his job when he was overheard making it on a flight from
the Republican National Convention in 1976. It is, undoubtedly, quite
something:
“I’ll tell you what the coloreds want. It’s
three things: first, a tight pussy; second, loose shoes; and third, a warm
place to shit”[i]
Obviously, this is a truly feeble attempt at humour. Holt comments:
“What is
striking about the Butz joke, apart from its ugliness, is its dismal lack of
art. It contains no paralogical twist, makes no unexpected conceptual links; it
is merely a clumsy enumeration of racist stereotypes. (Indeed, it is
recognisable as an intended joke only by dint of its formal observance of the
Rule of Three.)”
I’m inclined to suggest that Butz’s comment is not a joke at all. In
saying this, I’m not appealing to its crudely offensive nature. Many jokes are
crudely offensive; indeed, revolting examples are only a couple of clicks away
from this page. But this particular clumsy enumeration of stereotypes lacks
the element of surprise, of the reader or audience having to draw a connection
themselves, that seems to me to distinguish jokes from brute insults or
offensive remarks.[ii]
In short, there is no joke to get here. If there’s anything that characterises
jokes, it’s that they can be ‘got’, much as commands can be obeyed or questions
answered.
[ii] These can, unlike
Bautz’s effort, themselves be witty: for instance (to continue the theme of 70s
politics) Denis Healey’s famous remark that being criticised by Geoffrey Howe was
like being savaged by a dead sheep. Nevertheless, I wouldn’t say that Healey
had in this instance made a joke.
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