Christianity is Comedy, not Tragedy

cartoon by John Guido

What makes this funny? (If you don't think it's funny, just pretend.) A chastened spirit is the last thing you expect from a Viking. Yet Haldor, who is clearly just coming off a rampage or an outburst of Nordic wrath, is looking all sheepish and so-very-sorry. My eleventh grade teacher told us that humor is the juxtaposition of the incongruous. Think of Monty Python's Flying Circus and Airplane.

But for that reason, Haldor illustrates the gospel. That transformation, that new nature, that unnatural kindness and, on the other hand, that brokenness over the evil that lurks within and bursts forth, is what Jesus does with sinners.

Christianity, in that respect, is comedy, not tragedy. My wife, a Grove City College educated English teacher, tells me that comedies and tragedies are distinguished by how they end. Comedies end in weddings, whereas tragedies end in funerals. Consider Shakespeare. Much Ado About Nothing ends in a wedding; Hamlet and Romeo and Juliet end in funerals. The Bible ends with the hope and promise of a wedding. "The Spirit and the bride say, 'Come!'" Christ, the bridegroom, responds, "Yes, I am coming soon" (Revelation 22:17, 20).

I recall Patrick Downey (assoc. prof. of philosophy, St Mary's College, CA) saying something like that when I knew him at Boston College fifteen years ago. You will find something of interest along those lines in his book, Serious Comedy: The Philosophical and Theological Significance of Tragic and Comic Writing in the Western Tradition (Lexington, 2001).

Back to humor--cartoon humor in particular--if you are interested in this subject, you need to read The Naked Cartoonist by Robert Mankoff, the cartoon editor for The New Yorker. He knows what's funny, and he explains why what works works and why what doesn't doesn't. On pp. 21-22 his advice is "just a little more inking--and a lot more thinking." He shows the magic of layering an idea over what otherwise is an ordinary picture, perhaps just by a caption. I always found that this is what separated Bizzaro from The Far Side (aside from off-putting pointy characters versus attractive round ones).

You can read this 2006 HuffPost interview with him.

For example, "If you're watching America's Funniest Home Videos you never say, "I don't get it." You're not saying, "Ok, a guy fell off a chair. Can someone explain that to me again?" But if you're looking at a Danny Shanahan cartoon in which there's two praying mantises -one male and one female and the male is missing his head and the female is saying "You slept with her, didn't you?" There's something to piece together. There's a slight delay where these different sort of competing ideas come together - mesh and produce laughter."

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Postscript:

Gregory Wolfe in his wonderful essay, "The Tragic Sense of Life" (Image, Spring 2009), firmly rejects this association of the gospel with comedy, and he cites Hans Urs von Balthasar in support of his position:

The notion that Christianity is somehow alien to tragedy—that it is simply and straightforwardly “comic” because the resurrection makes for a happy ending—could not be more radically wrong. In his essay “Tragedy and Christian Faith,” Hans Urs von Balthasar singles out three essential elements of tragedy: that the good things of the world cannot sustain themselves and are lost; that this places us in a position of contradiction or alienation; and that this condition is bound up with an “opaque guilt,” in which individual moral responsibility cannot account for all suffering, leaving us subject to a mysterious “inherited curse.”

According to von Balthasar, Christ does not banish tragedy but carries it into the heart of God. Christ “fulfills the contradiction of existence...not by dissolving the contradiction but by bearing that affirmation of the human condition as it is through still deeper darknesses in finem, ‘to the end,’ as love....”

David Bentley Hart appears to disagree in The Beauty of the Infinite, pp.374ff.