Comedy & Tragedy

WaPo's Monica Hesse on the subject of Alligator Alcatraz:

[Trump] added: “Snakes are fast but alligators — we’re going to teach them how to run away from an alligator. Don’t run in a straight line, run like this,” he said, motioning in a zigzag. “You know what, your chances go up about 1 percent.”... 

Oh, right, I have forgotten to tell you about the swag. Earlier this week, the Florida GOP began selling Alligator Alcatraz merch. You can buy Alligator Alcatraz black mesh trucker hats and T-shirts in both charcoal and heather gray. You can buy a set of two beer coozies for $15.... The aesthetics of the merchandise is also important, and so I will mention that the font is one you would normally associate with a slasher film or with the kind of roller coaster for which riders are required to sign waivers.... 

The point is that serious matters — the most serious matters, the matters of constitutionality, due process, citizenship and who gets to be an American — are, in this administration, being increasingly presented as cheap entertainment. You see it in the U.S. Border Patrol playing the power ballad “Closing Time” over footage of a scared looking young man being placed in handcuffs and shepherded on a plane. You see it in the White House posting a video of detained migrants being processed for deportation, set to a hit from Bananarama.

Is it funny? Is it awful? Is it trolling or real life? The point is that we are not supposed to know. Alligator Alcatraz is a dehumanizing place, but when it is treated as spectacle, it’s not just the prisoners there who lose their humanity. We all do. The effect is to tell Americans not to take any of this too seriously. Families are being ripped apart, but it’s all for the lulz. We are dancing on the edges of constitutionality, but it’s making great television. We have become tonally incoherent, incapable of even determining tone....

But then you see Benny Johnson cheering online for the millions of hungry alligators, and you see the storefront of the Florida GOP, and you realize that it’s almost July 4, the 249th birthday of America, and major officials of our country are spending the holiday week celebrating the fact that migrants from other countries loved the United States so much they risked their lives to come here and our reaction is to hope they are eaten by alligators.

It is, according to a retired professor of rhetoric that I know, the fact that Trump operates in the comedic mode. As such he is able to invert and reject the tragic norms under which the very serious people of the usual elite operate. The SEP explains:

While there is only speculation about how humor developed in early humans, we know that by the late 6th century BCE the Greeks had institutionalized it in the ritual known as comedy, and that it was performed with a contrasting dramatic form known as tragedy. Both were based on the violation of mental patterns and expectations, and in both the world is a tangle of conflicting systems where humans live in the shadow of failure, folly, and death. Like tragedy, comedy represents life as full of tension, danger, and struggle, with success or failure often depending on chance factors. Where they differ is in the responses of the lead characters to life’s incongruities....

Tragedy valorizes serious, emotional engagement with life’s problems, even struggle to the death. Along with epic, it is part of the Western heroic tradition that extols ideals, the willingness to fight for them, and honor. The tragic ethos is linked to patriarchy and militarism—most of its heroes are kings and conquerors—and it valorizes what Conrad Hyers (1996) calls Warrior Virtues—blind obedience, the willingness to kill or die on command, unquestioning loyalty, single-mindedness, resoluteness of purpose, and pride.

Comedy, by contrast, embodies an anti-heroic, pragmatic attitude toward life’s incongruities.... comedy has mocked the irrationality of militarism and blind respect for authority. Its own methods of handling conflict include deal-making, trickery, getting an enemy drunk, and running away.... it extols critical thinking, cleverness, adaptability, and an appreciation of physical pleasures like eating, drinking, and sex.

Along with the idealism of tragedy goes elitism.... In comedy there are more characters and more kinds of characters, women are more prominent, and many protagonists come from lower classes. Everybody counts for one. That shows in the language of comedy, which, unlike the elevated language of tragedy, is common speech....

While tragic heroes are emotionally engaged with their problems, comic protagonists show emotional disengagement.... By presenting such characters as role models, comedy has implicitly valorized the benefits of humor that are now being empirically verified, such as that it is psychologically and physically healthy, it fosters mental flexibility, and it serves as a social lubricant.... With a few exceptions like Aquinas, philosophers have ignored these benefits. 

Emphasis added. It would strike a member of Hesse's team as at least partly deniable because it places her, rather than Trump of the recent military parade and Iran strikes, on the side of militarism. Yet it was Joe Biden who gave this speech:

Flanked by Marines, he spoke in the terms of tragedy about ideals like democracy, the duty for all of us to fight against his opponents whom he described as inheritors of the most serious sins of authoritarianism (even of being analogues to Nazis), and called us all to sacrifice ourselves and our interests as necessary to keep his opponents out of power -- for the good of these supposedly common ideals, although they somehow always work in the elite's favor. It was, too, their side that was so committed to fighting rather than to ending wars: eternal war in the Ukraine seems to be their motto even now, eternal war rather than any workable settlement in Israel, in Iraq, in Syria...

Trump, whose rhetoric is from Professional Wrestling, is indeed the comedy version of American politics. His is our comedic mode. This is for good and for ill. Humor is something we all share, but not something we have ever been able to understand completely. It has a touch of madness, of death, or of the divine.

The account of laughter in the Philebus, Heath observes, cannot explain all the instances of humor in Plato's own writings. Over time, the negative view of laughter hardened. Aristotle had observed that among animals, only human beings laugh. For Iamblichus, this was precisely a sign of our mortal nature, whereas we ought to aspire to the divine. What, then, are we to make of the "unquenchable laughter" of the Homeric gods? Answer: it "signifies divine providence towards the phenomenal world" ... It is not so much a guffaw as a sign of play.

It doesn't make Americans worse people to engage these very serious matters in the comedic mode. The comedic mode has always been there, throughout human history, as humanity's alternate mode. The comedic mode is a relief from the tragic mode; perhaps it is the only relief life offers us from the tragic. Sometimes it is the only thing that can solve the problems the tragic mode has found impossible.