Tragedy Comedy Quotes

The world is a tragedy to those who feel, but a comedy to those who think.

Life is a comedy to those who think, a tragedy to those who feel.

There is a thin line that separates laughter and pain, comedy and tragedy, humor and hurt.

I can't go on, I'll go on.

Life is a tragedy when seen in close-up, but a comedy in long-shot.

There was never yet an uninteresting life. Such a thing is an impossibility. Inside of the dullest exterior there is a drama, a comedy, and a tragedy.

A tragedy is a tragedy, and at the bottom, all tragedies are stupid. Give me a choice and I'll take A Midsummer Night's Dream over Hamlet every time. Any fool with steady hands and a working set of lungs can build up a house of cards and then blow it down, but it takes a genius to make people laugh.

Tragedy is when I cut my finger. Comedy is when you fall into an open sewer and die.

Life is a drama full of tragedy and comedy. You should learn to enjoy the comic episodes a little more.

Life is the tragedy,' she said bitterly. 'You know how they categorize Shakespeare's plays, right? If it ends with a wedding, it's a comedy. And if it ends with a funeral, it's a tragedy. So we're all living tragedies, because we all end the same way, and it isn't with a goddamn wedding.

Life is a tragedy to those who feel and a comedy to those who think.

The life of every individual, viewed as a whole and in general, and when only its most significant features are emphasized, is really a tragedy; but gone through in detail it has the character of a comedy.

It really seems to me that in the midst of great tragedy, there is always the horrible possibility that something terribly funny will happen.

Comedy aims at representing men as worse, Tragedy as better than in actual life.

Life is a tragedy for those who feel, and a comedy for those who think.

Actors are so fortunate. They can choose whether they will appear in tragedy or in comedy, whether they will suffer or make merry, laugh or shed tears. But in real life it is different. Most men and women are forced to perform parts for which they have no qualifications. Our Guildensterns play Hamlet for us, and our Hamlets have to jest like Prince Hal. The world is a stage, but the play is badly cast.

Life is a dream for the wise, a game for the fool, a comedy for the rich, a tragedy for the poor.

This world is a comedy to those that think, a tragedy to those that feel.

If you had to relive your life exactly as it was – same successes and failures, same happiness, same miseries, same mixture of comedy and tragedy – would you want to? Was it worth it?

LORD ILLINGWORTH: The soul is born old but grows young. That is the comedy of life. MRS ALLONBY: And the body is born young and grows old. That is life's tragedy.

Poetry, like jazz, is one of those dazzling diamonds of creative industry that help human beings make sense out of the comedies and tragedies that contextualize our lives.

Any story could be a comedy or a tragedy, depending on where you ended it. That was the magic. How the same story could be told an infinite number of ways.

Comedy is tragedy that happens to other people.

Will these books be comedies or tragedies?” “Both. Just like life.

Satire is tragedy plus time. You give it enough time, the public, the reviewers will allow you to satirize it. Which is rather ridiculous, when you think about it.

He is a [sane] man who can have tragedy in his heart and comedy in his head.

God himself does not give answers. He gives himself.

Comedy is deemed inferior to tragedy primarily because of the social prevalence of narcissistic pathology. In other words people who are too self important to laugh at their own frequently ridiculous behavior have vested interest in gravity because it supports their illusions of grandosity.

Comedy = tragedy + time.

Storytelling is a landscape, and tragedy is comedy is drama. It simply depends on how you frame what you’re seeing.

Life is a comedy for those who think and a tragedy for those who feel. HORACE WALPOLE

In the creation of comedy, it is paradoxical that tragedy stimulates the spirit of ridicule; because ridicule, I suppose is an attitude of defiance: we must laugh in the face of our helplessness against the forces of nature - or go insane

That perhaps is your task--to find the relation between things that seem incompatible yet have a mysterious affinity, to absorb every experience that comes your way fearlessly and saturate it completely so that your poem is a whole, not a fragment; to re-think human life into poetry and so give us tragedy again and comedy by means of characters not spun out at length in the novelist's way, but condensed and synthesized in the poet's way--that is what we look to you to do now.

You know, my young friend, I will be ninety years old next year, and life is still a constant surprise to me. We never know what will happen next, what we will see, and what important person will come into our life, or what important person we will lose. Life is change, constant change, and unless we are lucky enough to find comedy in it, change is nearly always a drama, if not a tragedy. But after everything, and even when the skies turn scarlet and threatening, I still believe that if we are lucky enough to be alive, we must give thanks for the miracle of every moment of every day, no matter how flawed.

Tragedy is just comedy that hasn’t come to fruition. One day we will laugh at this. We will laugh at everything.

Tragedy is an unfinished comedy.

Adult helplessness destroys children. Or it forces them to become tiny adults of their own.

Life is a tragedy for those who feel and a comedy for those who think.

Reading list (1972 edition)[edit] 1. Homer – Iliad, Odyssey 2. The Old Testament 3. Aeschylus – Tragedies 4. Sophocles – Tragedies 5. Herodotus – Histories 6. Euripides – Tragedies 7. Thucydides – History of the Peloponnesian War 8. Hippocrates – Medical Writings 9. Aristophanes – Comedies 10. Plato – Dialogues 11. Aristotle – Works 12. Epicurus – Letter to Herodotus; Letter to Menoecus 13. Euclid – Elements 14. Archimedes – Works 15. Apollonius of Perga – Conic Sections 16. Cicero – Works 17. Lucretius – On the Nature of Things 18. Virgil – Works 19. Horace – Works 20. Livy – History of Rome 21. Ovid – Works 22. Plutarch – Parallel Lives; Moralia 23. Tacitus – Histories; Annals; Agricola Germania 24. Nicomachus of Gerasa – Introduction to Arithmetic 25. Epictetus – Discourses; Encheiridion 26. Ptolemy – Almagest 27. Lucian – Works 28. Marcus Aurelius – Meditations 29. Galen – On the Natural Faculties 30. The New Testament 31. Plotinus – The Enneads 32. St. Augustine – On the Teacher; Confessions; City of God; On Christian Doctrine 33. The Song of Roland 34. The Nibelungenlied 35. The Saga of Burnt Njál 36. St. Thomas Aquinas – Summa Theologica 37. Dante Alighieri – The Divine Comedy;The New Life; On Monarchy 38. Geoffrey Chaucer – Troilus and Criseyde; The Canterbury Tales 39. Leonardo da Vinci – Notebooks 40. Niccolò Machiavelli – The Prince; Discourses on the First Ten Books of Livy 41. Desiderius Erasmus – The Praise of Folly 42. Nicolaus Copernicus – On the Revolutions of the Heavenly Spheres 43. Thomas More – Utopia 44. Martin Luther – Table Talk; Three Treatises 45. François Rabelais – Gargantua and Pantagruel 46. John Calvin – Institutes of the Christian Religion 47. Michel de Montaigne – Essays 48. William Gilbert – On the Loadstone and Magnetic Bodies 49. Miguel de Cervantes – Don Quixote 50. Edmund Spenser – Prothalamion; The Faerie Queene 51. Francis Bacon – Essays; Advancement of Learning; Novum Organum, New Atlantis 52. William Shakespeare – Poetry and Plays 53. Galileo Galilei – Starry Messenger; Dialogues Concerning Two New Sciences 54. Johannes Kepler – Epitome of Copernican Astronomy; Concerning the Harmonies of the World 55. William Harvey – On the Motion of the Heart and Blood in Animals; On the Circulation of the Blood; On the Generation of Animals 56. Thomas Hobbes – Leviathan 57. René Descartes – Rules for the Direction of the Mind; Discourse on the Method; Geometry; Meditations on First Philosophy 58. John Milton – Works 59. Molière – Comedies 60. Blaise Pascal – The Provincial Letters; Pensees; Scientific Treatises 61. Christiaan Huygens – Treatise on Light 62. Benedict de Spinoza – Ethics 63. John Locke – Letter Concerning Toleration; Of Civil Government; Essay Concerning Human Understanding;Thoughts Concerning Education 64. Jean Baptiste Racine – Tragedies 65. Isaac Newton – Mathematical Principles of Natural Philosophy; Optics 66. Gottfried Wilhelm Leibniz – Discourse on Metaphysics; New Essays Concerning Human Understanding;Monadology 67. Daniel Defoe – Robinson Crusoe 68. Jonathan Swift – A Tale of a Tub; Journal to Stella; Gulliver's Travels; A Modest Proposal 69. William Congreve – The Way of the World 70. George Berkeley – Principles of Human Knowledge 71. Alexander Pope – Essay on Criticism; Rape of the Lock; Essay on Man 72. Charles de Secondat, baron de Montesquieu – Persian Letters; Spirit of Laws 73. Voltaire – Letters on the English; Candide; Philosophical Dictionary 74. Henry Fielding – Joseph Andrews; Tom Jones 75. Samuel Johnson – The Vanity of Human Wishes; Dictionary; Rasselas; The Lives of the Poets

The comedy of man survives the tragedy of man.

There's something vile (and all the more vile because ridiculous) in the tendency of feeble men to make universal tragedies out of the sad comedies of their private woes.

And killing time is perhaps the essence of comedy, just as the essence of tragedy is killing eternity.

There is a fragrance in the air, a certain passage of a song, an old photograph falling out from the pages of a book, the sound of somebody's voice in the hall that makes your heart leap and fills your eyes with tears. Who can say when or how it will be that something easters up out of the dimness to remind us of a time before we were born and after we will die?

A silent Library is a sad Library. A Library without patrons on whom to pile books and tales and knowing and magazines full of up-to-the-minute politickal fashions and atlases and plays in pentameter! A Library should be full of exclamations! Shouts of delight and horror as the wonders of the world are discovered or the lies of the heavens are uncovered or the wild adventures of devil-knows-who sent romping out of the pages. A Library should be full of now-just-a-minutes and that-can't-be-rights and scientifick folk running skelter to prove somebody wrong. It should positively vibrate with laughing at comedies and sobbing at tragedies, it should echo with gasps as decent ladies glimpse indecent things and indecent ladies stumble upon secret and scandalous decencies! A Library should not shush; it should roar!

Life is a drama full of tragedy and comedy," Mom told me. "You should learn to enjoy the comic episodes a little more.

It is a world of magic and mystery, of deep darkness and flickering starlight. It is a world where terrible things happen and wonderful things too. It is a world where goodness is pitted against evil, love against hate, order against chaos, in a great struggle where often it is hard to be sure who belongs to which side because appearances are endlessly deceptive. Yet for all its confusion and wildness, it is a world where the battle goes ultimately to the good, who live happily ever after, and where in the long run everybody, good and evil alike, becomes known by his true name....That is the fairy tale of the Gospel with, of course, one crucial difference from all other fairy tales, which is that the claim made for it is that it is true, that it not only happened once upon a time but has kept on happening ever since and is happening still.

[Comedies], in the ancient world, were regarded as of a higher rank than tragedy, of a deeper truth, of a more difficult realization, of a sounder structure, and of a revelation more complete. The happy ending of the fairy tale, the myth, and the divine comedy of the soul, is to be read, not as a contradiction, but as a transcendence of the universal tragedy of man.... Tragedy is the shattering of the forms and of our attachments to the forms; comedy, the wild and careless, inexhaustible joy of life invincible.

I have often said, and oftener think, that this world is a comedy to those that think, a tragedy to those that feel – a solution of why Democritus laughed and Heraclitus wept.

Sin and grace, absence and presence, tragedy and comedy, they divide the world between them and where they meet head on, the Gospel happens.

It's so laughable that it's somewhere beyond comedy and right into tragedy again.

There are a lot of questions I keep asking myself about why I do comedy. I guess I laugh to keep from crying. And I guess if you ever get me crying, I might not stop. This is the way I look at tragedy or else I'll cry.

The human comedy is always tragic, but since its ingredients are always the same—dupe, fox, straight, like burlesque skits—the repetition through the ages is comedy.

The stories teach them valuable life lessons. That good things happen to bad people. That it’s possible to make a bad situation even worse if you don’t think it through. That parents are clueless except when they’re not. That it’s good to try new things even when a new thing is kind of disgusting, because new experiences make you a well-rounded person. That art can be transcendent. That lust is all-powerful, that drugs are fun, and that not everyone who does them is a loser. That losing people is part of life. That where comedy goes, tragedy isn’t far behind. That everyone has issues with their bodies, but some take it too far, almost to death. That fear can be exhilarating. That boys are assholes. That it’s important to look forward and never look back…

I used to think it was clever to confuse comedy with tragedy. Now i wish i could distinguish them.

The fatted calf, the best Scotch, the hoedown could all have been his too, any time he asked for them except that he never thought to ask for them because he was too busy trying cheerlessly and religiously to earn them.

I’ve got a theory. Now, hear me out. It’s that our lives are half comedy and half tragedy. And for some people, it just works out that the first entire half of their lives is tragedy and then the second half is comedy.

A farce or comedy is best played; a tragedy is best read at home.

In a simple street you can find the whole world: You can find joy and sorrow; you can find good and evil, silence and noise; you can find all the comedies and all the tragedies! An ordinary simple street is the mirror of the whole world!

You wake up on a winter morning and pull up the shade, and what lay there the evening before is no longer there--the sodden gray yard, the dog droppings, the tire tracks in the frozen mud, the broken lawn chair you forgot to take in last fall. All this has disappeared overnight, and what you look out on is not the snow of Narnia but the snow of home, which is no less shimmering and white as it falls. The earth is covered with it, and it is falling still in silence so deep that you can hear its silence. It is snow to be shoveled, to make driving even worse than usual, snow to be joked about and cursed at, but unless the child in you is entirely dead, it is snow, too, that can make the heart beat faster when it catches you by surprise that way, before your defenses are up. It is snow that can awaken memories of things more wonderful than anything you ever knew or dreamed.

There are tragedies and there are comedies, aren’t there? And they are often more the same than different, rather like men and women, if you ask me. A comedy depends on stopping the story at exactly the right moment.

It doesn’t matter what other people think. The only opinion that really matters is yours. We are all the writers of our lives. We can make our stories comedies or tragedies. Tales of horror, or of inspiration. Your attitude and your fortitude and courage are what determine your destiny, Nick.… Life is hard and it sucks for all. Every person you meet is waging his or her own war against a callous universe that is plotting against them. And we are all battle-weary. But in the midst of our hell, there is always something we can hold on to, whether it’s a dream of the future or a memory of the past, or a warm hand that soothes us. We just have to take a moment during the fight to remember that we’re not alone, and that we’re not just fighting for ourselves. We’re fighting for the people we love.” -- Acheron

It seemed to us that all people to a greater or lesser degree belong to one of these two types, that almost every one of us resembles either Don Quixote or Hamlet.

Life is a comedy for those who think and a tragedy for those who feel.

In the midst of tragedy we start the comedy.

Comedy and tragedy are so mixed up in life, Gilbert. The only thing that haunts me is that tale of the two who lived together fifty years and hated each other all that time. I can't believe they really did. Somebody has said that 'hate is only love that has missed its way.' I feel sure that under the hatred they really loved each other . . . just as I really loved you all those years I thought I hated you . . . and I think death would show it to them. I'm glad I found out in life.

Of a sane man there is only one safe definition. He is the man who can have tragedy in his heart and comedy in his head.

Any story could be a comedy or a tragedy, depending on where you ended it. That was the magic, how the same story could be told an infinite number of ways.

Everything is material. And comedy equals tragedy plus time. Isn’t that how it goes?

For life is terribly deficient in form. Its catastrophes happen in the wrong way and to the wrong people. There is a grotesque horror about its comedies, and its tragedies seem to culminate in farce.

... the world can give you these glimpses as well as fairy tales can--the smell of rain, the dazzle of sun on white clapboard with the shadows of ferns and wash on the line, the wildness of a winter storm when in the house the flame of a candle doesn't even flicker.

The young man, who does not know the future, sees life as a kind of epic adventure, an Odyssey through strange seas and unknown islands, where he will test and prove his powers, and thereby discover his immortality. The man of middle years, who has lived the future that he onced dreamed, sees life as a tragedy; for he has learned that his power, however great, will not prevail against those forces of accident and nature to which he gives the names of gods, and has learned that he is mortal. But the man of age, if he plays his assigned role properly, must see life as a comedy. For his triumphs and his failures merge, and one is no more the occasion for pride or shame than the other; and he is neither the hero who proves himself against those forces, nor the protagonist who is destroyed by them. Like any poor, pitiable shell of an actor, he comes to see that he has played so many parts that there no longer is himself.

It may have been a comedy, or it may have been a tragedy. It cost one man his reason, it cost me a blood-letting, and it cost yet another man the penalties of the law. Yet there was certainly an element of comedy. Well, you shall judge for yourselves.

Tragedy is when I cut my finger. Comedy is when you walk into an open sewer and die.

For a while, Criticism travels side by side with the Work, then Criticism vanishes and it's the Readers who keep pace. The journey may be long or short. Then the Readers die one by one and the Work continues on alone, although a new Criticism and new Readers gradually fall into step with it along its path. Then Criticism dies again and the Readers die again and the Work passes over a trail of bones on its journey toward solitude. To come near the work, to sail in her wake, is a sign of certain death, but new Criticism and new Readers approach her tirelessly and relentlessly and are devoured by time and speed. Finally the Work journeys irremediably alone in the Great Vastness. And one day the Work dies, as all things must die and come to an end: the Sun and the Earth and the Solar System and the Galaxy and the farthest reaches of man's memory. Everything that begins as comedy ends in tragedy.

A culture cannot evolve without honest, powerful storytelling. When a society repeatedly experiences glossy, hollowed-out, pseudo-stories, it degenerates. We need true satires and tragedies, dramas and comedies that shine a clean light into the dingy corners of the human psyche and society.

If comedy is tragedy plus time, I need more fucking time. But I would really settle for less fucking tragedy.” ~ Jon Stewart

Tragedy is when I stub my toe. Comedy is when you fall into an open manhole and die.

Comedy is tragedy standing on its head with its pants down.

All comedies end in marriage. All tragedies end in death. But what about everything else in between? Life happens in the middle, I heard someone very smart say.

The path of memory is neither straight or safe, and we travel down it at our risk.

God in his unending greatness and glory and man in his unending littleness, prepared for the worst but rarely for the best, prepared for the possible but rarely for the impossible.

Even amidst tragedy there is laughter, sometimes farce. The degree of farce depends on who is running the tragedy.

And by this very difference tragedy stands apart in relation to comedy, for the latter intends to imitate those who are worse, and the former better, than people are now.

Every person has one particular time in his life when he is more beautiful than he is ever going to be again. For some it is at seven, for others at seventeen or seventy, and as Laura Fleischman read out loud from Shakespeare, I remember thinking that for her it was probably just then.

God is the comic shepherd who gets more of a kick out of that one lost sheep once he finds it again than out of the ninety and nine who had the good sense not to get lost in the first place. God is the eccentric host who, when the country-club crowd all turned out to have other things more important to do than come live it up with him, goes out into the skid rows and soup kitchens and charity wards and brings home a freak show. The man with no legs who sells shoelaces at the corner. The old woman in the moth-eaten fur coat who makes her daily rounds of the garbage cans. The old wino with his pint in a brown paper bag. The pusher, the whore, the village idiot who stands at the blinker light waving his hand as the cars go by. They are seated at the damask-laid table in the great hall. The candles are all lit and the champagne glasses filled. At a sign from the host, the musicians in their gallery strike up "Amazing Grace.

Fiction is the enemy of history. Fiction makes us believe in structure, in beginnings and middles and endings, in tragedy and comedy. There is neither tragedy nor comedy in war, only disorder and harm.

What is the world? What is it for? It is an art. It is the best of all possible art, a finite picture of the infinite. Assess it like prose, like poetry, like architecture, sculpture, painting, dance, delta blues, opera, tragedy, comedy, romance, epic. Assess it like you would a Faberge egg, like a gunfight, like a musical, like a snowflake, like a death, a birth, a triumph, a love story, a tornado, a smile, a heartbreak, a sweater, a hunger pain, a desire, a fufillment, a desert, a waterfall, a song, a race, a frog, a play, a song, a marriage, a consummation, a thirst quenched. Assess it like that. And when you're done, find an ant and have him assess the cathedrals of Europe.

There’s no such thing as an uninteresting life, such a thing is an impossibility. Beneath the dullest exterior, there is a drama, a comedy, a tragedy.

The rendering of my thoughts, emotions, and experiences is part comedy and part tragedy as well as history, for life is such a mingling.

Who can say when or how it will be that something easters up out of the dimness to remind us of a time before we were born and after we will die?

It may be that The Great Gatsby is as perfect, word for word, just in terms of English; but Ulysses is deeper, richer, wider – and is comic, whereas The Great Gatsby is a tragic novel. And I think all great art is comic art. (video)

Poetry is only the highest eloquence of passion, the most vivid form of expression that can be given to our conception of anything, whether pleasurable or painful, mean or dignified, delightful or distressing. It is the perfect coincidence of the image and the words with the feeling we have, and of which we cannot get rid in any other way, that gives an instant "satisfaction to the thought." This is equally the origin of wit and fancy, of comedy and tragedy, of the sublime and pathetic.

[W]e are none of us very good at silence. It says too much.

It occurred to Midhat that a tragic story told quickly might contract easily into a comedy, and without the measure of its depths make the audience laugh.

Everything you do is connected to who you are as a person and, in turn, creates the person you are becoming. Everything you do affects those you love. All of life is covenant. Imbedded in the idea of prayer is a richly textured view of the world where all of life is organized around invisible bonds or covenants that knit us together. Instead of a fixed world, we live in our Father's world, a world built for divine relationships between people where, because of the Good News, tragedies become comedies and hope is born.

Life is a story. It’s full of chapters. And the beauty of life is that not only do you get to choose how you interpret each chapter, but your interpretation writes the next chapter. It determines whether it’s comedy or tragedy, fairy tale or horror story, rags-to-riches or riches-to-rags. You can’t control the events that happen to you, but you can control your interpretation of them. So why not choose the story that serves your life the best?

With a book—presuming it’s a good book—you can depend upon an outcome that adheres to the necessities of drama. The question will be answered. It has to be. The answer may not be happy; we can’t guarantee a comedy. Sometimes tragedy strikes. But there will be a conclusion. Of that we can be sure. That’s the whole point of a book. But in real life, there is no guarantee that any question will ever be answered. Real life is messy because we don’t know where it’s going to go.

We weren't born yesterday. We are from [New York]. But we are also from somewhere else. We are from Oz, from the Looking-Glass Land, from Narnia, and from Middle Earth. If with part of ourselves we are men and women of the world and share the sad unbeliefs of the world, with a deeper part still, the part where our best dreams come from, it is as if we were indeed born yesterday, or almost yesterday, because we are also all of us children still.

Is it not the singularity of life that terrifies us? Is not the decisive difference between comedy and tragedy that tragedy denies us another chance? Shakespeare over and over demonstrates life’s singularity — the irrevocability of our decisions, hasty and even mad though they be. How solemn and huge and deeply pathetic our life does loom in its once-and doneness, how inexorably linear, even though our rotating, revolving planet offers us the cycles of the day and of the year to suggest that existence is intrinsically cyclical, a playful spin, and that there will always be, tomorrow morning or the next, another chance.

Here and there and not just in books we catch glimpses of a world of once upon a time and they lived happily ever after, of a world where there is a wizard to give courage and a heart, an angel with a white stone that has written on it our true and secret name, and it is so easy to dismiss it all that it is hardly worth bothering to do. ... But if the world of the fairy tale and our glimpses of it here and there are only a dream, they are one of the most haunting and powerful dreams that the world has ever dreamed...

Dreams are what keep you going when real life lets you down.

The same distinction marks off Tragedy from Comedy; for Comedy aims at representing men as worse, Tragedy as better than in actual life. III

... the preacher speaks both the word of tragedy and the word of comedy because they are both of them the truth and because Jesus speaks them both...

Author is the prisoner of his thoughts .

HAMLET MAY HAVE BEEN A TRAGEDY. BUT OPHELIA DESERVED A COMEDY

The one charm about the past is that it is the past. But women never know when the curtain has fallen. They always want a sixth act, and as soon as the interest of the play is entirely over, they propose to continue it. If they were allowed their own way, every comedy would have a tragic ending, and every tragedy would culminate in a farce. They are charmingly artificial, but they have no sense of art.

Morris tried to keep the books in some sort of order, but they always mixed themselves up. The tragedies needed cheering up and would visit with the comedies. The encyclopedias, weary of facts, would relax with the comic books and fictions. All in all it was an agreeable jumble.

He [Jesus] speaks in parables, and though we have approached these parables reverentially all these many years and have heard them expounded as grave and reverent vehicles of holy truth, I suspect that many if not all of them were originally not grave at all but were antic, comic, often more than just a little shocking.

I wanted to write something that made no linear sense. None. Zero. Something that was 87% pure nonsense, 12% pure alcohol, and 3% orange juice, for a chaser. That formula is accurate, give or take 2% for the milk. In my experience, comedy is 2/3rds tragedy, and one third 33.3 percent. And tragedy started at birth, so humor involving babies is probably the funniest. But even though I didn’t write anything about babies, you might laugh so hard that you’ll regret not wearing a diaper while reading.

But it was only in epic tragedies that gloom was unrelieved. In real life tragedy and comedy were so intermingled that when one was most wretched ridiculous things happened to make one laugh in spite of oneself

Though I cannot tell why it was exactly that those stage managers, the Fates, put me down for this shabby part of a whaling voyage, when others were set down for magnificent parts in high tragedies, and short and easy parts in genteel comedies, and jolly parts in faces—though I cannot tell why this was exactly; yet, now that I recall all the circumstances, I think I can see a little into the springs and motives which being cunningly presented to me under various disguises, induced me to set about performing the part I did, besides cajoling me into the delusion that it was a choice resulting from my own unbiased freewill and discriminating judgment.

As we wait and pray, God weaves his story and creates a wonder. Instead of drifting between comedy (denial) and tragedy (reality), we have a relationship with the living God, who is intimately involved with the details of our worlds. We are learning to watch for the story to unfold, to wait for the wonder.

If I got a paper cut, that’s a tragedy. If you fell down an open manhole and died, that's comedy.

We participate in tragedy. At comedy we only look.

There is nothing in human affairs that is a true subject for ridicule. Beneath comedy lies the ferment of tragedy; the farcical is but a cloak for coming catastrophe.

Events which seem to us dramatic are nothing more than subjects which our souls convert into tragedy or comedy according to the bent of our characters.

It has been said that life is a tragedy to those who think and a comedy to those who feel.

Life, I'd heard someone say, is a comedy for those who think and a tragedy for those who feel. It seemed to me that it was both at once, even for those of us who don't do much of either.

It is only after knowing him for some time that you begin to realize you are, to him, an essentially fictional character, one he has invested with nearly limitless capacities for tragedy and comedy not because that is your true nature but because he, Richard, needs to live in a world peopled by extreme and commanding figures.

Comedies are fit for common wits: But to present a kingly troop withal, Give me a stately-written tragedy; Tragadia cothurnata, fitting kings, Containing matter, and not common things.

The best actors in the world, either for tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, tragical-historical, tragical-comical-historical-pastoral, scene individable, or poem unlimited. Seneca cannot be too heavy, nor Plautus too light. For the law of writ and the liberty, these are the only men. Polonius

Life is a story. It’s full of chapters. And the beauty of life is that not only do you get to choose how you interpret each chapter, but your interpretation writes the next chapter. It determines whether it’s comedy or tragedy, fairy tale or horror story, rags-to-riches or riches-to-rags

Live a life abundant in love and rich in spirit, these are the seeds of a fulfilling existence. Be the safe harbor you seek in the world. Follow your dreams, not your fear. Go into the New Year with an open mind and hopeful heart. Don't let the chains of unforgiveness weigh you down. Life is too short to live in a prison of past hurts. The futures is yours for the taking and creating. Life is bittersweet, when we can let darkness and light co-exist as illumination, we can live in true happiness. When we live life at its best, it is a symphony of feelings, of high and low notes, of tragedy and comedy, love and loss, magic and the sublime. It can be quite a spectacular journey when we fully embrace and accept it.

We never know what will happen next, what we will see, and what important person will come into our life, or what important person we will lose. Life is change, constant change, and unless we are lucky enough to find comedy in it, change is nearly always a drama, if not a tragedy. But after everything, and even when the skies turn scarlet and threatening, I still believe that if we are lucky enough to be alive, we must give thanks for the miracle of every moment of every day, no matter how flawed. And we must have faith in God, and in the Universe, and in a better tomorrow, even if that faith is not always deserved.

Don Quixote is the best book out there on political theory, followed by Hamlet and Macbeth. There is no better way to understand the tragedy and the comedy of the Mexican political system than Hamlet, Macbeth and Don Quixote. They're much better than any column of political analysis.

When I was four I believed everything, accepted everything, and was scared of nothing. Now I was eight, and I believed in what I could see and was scared of anything I couldn't. Scared of things in the darkness, of things invisible to see.

A life without trouble and tragedy is boring and not a plot for comedy.

I feel as if I could be any thing or every thing, as if I could rant and storm, or sigh, or cut capers in any tragedy or comedy in the English language.

His comedy pleases by the thoughts and the language, and his tragedy for the greater part by incident and action. His tragedy seems to be skill, his comedy to be instinct.

tragedy, comedy, and the Parthenon were not so much expressions of native genius as reflections of lots of money.

In a tragic contradiction between the normal and the exceptional, there is suffering, in a comic contradiction, none.

Life is a drama full of tragedy and comedy,” Mom told me. “You should learn to enjoy the comic episodes a little more.

The happy ending of the fairy tale, the myth, and the divine comedy of the soul is to be read, not as a contradiction, but as a transcendence of the universal tragedy of man. The objective world remains what it was, but, because of a shift of emphasis within the subject, is beheld as though transformed.

To sentimentalise something is to look only at the emotion in it and at the emotion it stirs in us rather than at the reality of it, which we are always tempted not to look at because reality, truth, silence are all what we are not much good at and avoid when we can. To sentimentalise something is to savour rather than to suffer the sadness of it, is to sigh over the prettiness of it rather than to tremble at the beauty of it, which may make fearsome demands of us or pose fearsome threats.

The Divine Comedy has nothing comedic about it. It’s called a comedy for another reason entirely. In the fourteenth century, Italian literature was, by requirement, divided into two categories: tragedy, representing high literature, was written in formal Italian; comedy, representing low literature, was written in the vernacular and geared toward the general population.

They are prepared for a God who strikes hard bargains but not for a God who gives as much for an hour's work as for a day's. They are prepared for a mustard-seed kingdom of God no bigger than the eye of a newt but not for the great banyan it becomes with birds in its branches singing Mozart. They are prepared for the potluck supper at First Presbyterian but not for the marriage supper of the lamb...

Whichever came first—the act or the myth—human sacrifice is one of history’s oldest locomotives. Much of literature is about scapegoats: comedy is the story of expulsion from the point of view of society; tragedy is the same story from the point of view of the outcast.

Tragedy and comedy involve an audience, so they must give--sharing themselves to elicit tears and laughter. Melodrama is not such a strategist. It meets no one's expectation but its internal need to feel.

William Shakespeare (baptised 26 April 1564 – died 23 April 1616) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1590 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime, and in 1623 two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry". In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world. Source: Wikipedia

Sitting under the candlenut tree in the courtyard is pleasant in the afternoon. Laced in shadows, frangipani & coral hibiscus ward away the memory of recent evil. The sisters go about their duties, Sister Martinique tends her vegetables, the cats enact their feline comedies & tragedies.

Life is pure farce from beginning to end, with a little black comedy thrown in for shade. If it was anything else, mankind would have stuck his collective head in the gas oyen years ago. No one could tolerate seventy years of tragedy. When I die - probably of cancer - Jane has prornised to put on my tombstone: "Here lies Anne Cattrell who laughed her way through it. The joke was on her but at least she knew it." (The Ice House)

There is a misconception of tragedy with which I have been struck in review after review, and in many conversations with writers and readers alike. It is the idea that tragedy is of necessity allied to pessimism. Even the dictionary says nothing more about the word than that it means a story with a sad or unhappy ending. This impression is so firmly fixed that I almost hesitate to claim that in truth tragedy implies more optimism in its author than does comedy, and that its final result ought to be the reinforcement of the onlooker's brightest opinions of the human animal.

In answer, the news of the Gospel is that extraordinary things happen. ... Lear goes berserk on a heath but comes out of it for a few brief hours every inch a king. Zaccheus climbs up a sycamore tree a crook and climbs down a saint. Paul sets out a hatchet man for the Pharisees and comes back a fool for Christ.

...but I must not brood. The path of memory is neither straight nor safe, and we travel down it at our own risk. It is easier to take short journeys into the past, remembering in miniatures, constructing tiny puppet plays in our heads.

Let the preacher tell the truth. Let him make audible the silence of the news of the world with the sound turned off so that in the silence we can hear the tragic truth of the Gospel, which is that the world where God is absent is a dark and echoing emptiness; and the comic truth of the Gospel, which is that it is into the depths of his absence that God makes himself present in such unlikely ways and to such unlikely people that old Sarah and Abraham and maybe when the time comes even Pilate and Job and Lear and Henry Ward Beecher and you and I laugh till the tears run down our cheeks. And finally let him preach this overwhelming of tragedy by comedy, of darkness by light, of the ordinary by the extraordinary, as the tale that is too good not to be true because to dismiss it as untrue is to dismiss along with it that catch of the breath, that beat and lifting of the heart near to or even accompanied by tears, which I believe is the deepest intuition of truth that we have.

With a book—presuming it’s a good book—you can depend upon an outcome that adheres to the necessities of drama. The question will be answered. It has to be. The answer may not be happy; we can’t guarantee a comedy. Sometimes tragedy strikes. But there will be a conclusion. Of that we can be sure. That’s the whole point of a book.

Many reviews are useless because, while purporting to condemn the book, they only reveal the reviewer's dislike of the kind to which it belongs. Let bad tragedies be censured by those who love tragedy, and bad detective stories by those who love the detective story. Then we shall learn their real faults. Otherwise we shall find epics blamed for not being novels, farces for not being high comedies, novels by James for lacking the swift action of Smollett. Who wants to hear a particular claret abused by a fanatical teetotaller, or a particular woman by a confirmed misogynist?

After an hour of gliding though the crowd and two glasses of tepid wine later, Penelope had reached the spiritual state of being merrily tipsy. It was that perfect state when everything starts looking wonderful and every tragedy turns into a comedy.

But on the whole the impression was neither of tragedy nor of comedy. There was no describing it. It was manifold and various; there were tears and laughter, happiness and woe; it was tedious and interesting and indifferent; it was as you saw it: it was tumultuous and passionate; it was grave; it was sad and comic; it was trivial; it was simple and complex; joy was there and despair; the love of mothers for their children, and of men for women; lust trailed itself through the rooms with leaden feet, punishing the guilty and the innocent, helpless wives and wretched children; drink seized men and women and cost its inevitable price; death sighed in these rooms; and the beginning of life, filling some poor girl with terror and shame, was diagnosed there. There was neither good nor bad there. There were just facts. It was life.

Life is a comedy for the man who thinks, a tragedy for the man who feels.

If the truth is worth telling, it is worth making a fool of yourself to tell.

If I cut my finger, that’s tragedy. Comedy is if you walk into an open sewer and die.

In the fourteenth century, Italian literature was, by requirement, divided into two categories: tragedy, representing high literature, was written in formal Italian; comedy, representing low literature, was written in the vernacular and geared toward the general population.

People are prepared for everything except for the fact that beyond the darkness of their blindness there is a great light. They are prepared to go on breaking their backs plowing the same old field until the cows come home without seeing, until they stub their toes on it, that there is a treasure buried in that field rich enough to buy Texas. They are prepared for a God who strikes hard bargains but not for a God who gives as much for an hour’s work as for a day’s. They are prepared for a mustard-seed kingdom of God no bigger than the eye of a newt but not for the great banyan it becomes with birds in its branches singing Mozart. They are prepared for the potluck supper at First Presbyterian but not for the marriage supper of the Lamb, and when the bridegroom finally arrives at midnight with vine leaves in his hair, they turn up with their lamps to light him on his way all right only they have forgotten the oil to light them with and stand there with their big, bare, virginal feet glimmering faintly in the dark.

'Tragedy admires man. Comedy feels a bit sorry for him.' We think we are kings or queens, masters of the universe or at least our own destiny. We forget that a foot may crush us, or that the wind may knock us down. We are not in control. We are subject to gas and sloughing skin and dirty pores. Most of our joints will eventually fail us. We have big brains which we can imagine great things, but we can't really get off the ground. It's like we have wings but we can't fly.

Far back in the impulses to find this story is a storyteller's belief that at times life takes on the shape of art and that the remembered remnants of these moments are largely what we come to mean by life. The short semihumours comedies we live, our long certain tragedies, and our springtime lyrics and limericks make up most of what we are. they become almost all of what we remember of ourselves.

We laughed hard at real stories of tragedy. It had to be real and it had to be funny. Somebody getting hurt was wonderful. Later, as the 2000 Year Old Man with Carl Reiner I explained the difference between comedy and tragedy: If I cut my finger, that’s tragedy. Comedy is if you walk into an open sewer and die.

Calliope, Muse of epic poetry; Clio, Muse of history; Thalia, Muse of comedy; Terpsichore, Muse of dance; Melpomene, Muse of tragedy. Clio holds a scroll to represent history, and Melpomene carries a tragedy mask.

Just like joy and pain coexist, so can discomfort and humor. Which is why you gotta buckle up buttercup, because I can go from comedy to tragedy in three seconds flat. And that’s not damaged or not normal. I hope culturally we can continue to normalize the idea that being a survivor is so much more common than anyone realizes and we all deserve to be heard, but more importantly are deserving of a recovery full of love, laughter, and light.

Tragedy. She considered that word. On the whole, she felt, life was more comedy than tragedy. Nearly everything that happened had its comic element, not too well buried, either. Sooner or later one could find something to laugh at in almost every situation. That was what, in the last analysis, could keep folks from going mad. The truth was, if you got a good Tragedy out of a lifetime, one good, ripping tragedy, thorough, unridiculous, bottom-scraping, not the issue of human stupidity, you were doing, she thought, very well, you were doing very well.

The story of June and Mick Riva seemed like a tragedy to their oldest child, Nina. It felt like a comedy of errors to their first son, Jay. It was an origin story for their second son, Hud. And a mystery to the baby of the family, Kit. To Mick himself it was just a chapter of his memoir. But to June, it was, always and forever, a romance.

Mrs Touchet allowed herself a private smile. As long as we profess to believe that two people may happily - or feasibly - invest all love and interest in the world solely in one another, till death do them part - well, then life, short as it is, will continue to be a human comedy, punctuated by tragedy. So she generally thought. Then there were those moments of grace, when she startled herself with the idea that if anybody truly understood what is signified by the word 'person', they would consider twelve lifetimes too brief a spell ion which to love a single soul.

We see then that the self too is an imaginary story, just like nations, gods and money. Each of us has a sophisticated system that throws away most of our experiences, keeps only a few choice samples, mixes them up with bits from movies we’ve seen, novels we’ve read, speeches we’ve heard, and daydreams we’ve savoured, and out of all that jumble it weaves a seemingly coherent story about who I am, where I came from and where I am going. This story tells me what to love, whom to hate and what to do with myself. This story may even cause me to sacrifice my life, if that’s what the plot requires. We all have our genre. Some people live a tragedy, others inhabit a never-ending religious drama, some approach life as if it were an action film, and not a few act as if in a comedy. But in the end, they are all just stories.

The only authors are they who have succeeded in a genuine art, be it epic poetry, tragedy, comedy, history or philosophy, and who teach or delight mankind. The others, of whom we have spoken, are among men of letters, like bats among birds.” -- Voltaire. (pg.80 ('Authors' section of the Philosophical Dictionary) in “The Portable Voltaire Edited by Ben Ray Redman

Drama usually bases itself on the bedrock of original sin, whether the writer thinks in theological terms or not. Then, too, any character in a serious novel is supposed to carry a burden of meaning larger than himself. The novelist doesn’t write about people in a vacuum; he writes about people in a world where something is obviously lacking, where there is the general mystery of incompleteness and the particular tragedy of our own times to be demonstrated, and the novelist tries to give you, within the form of the book, a total experience of human nature at any time. For this reason, the greatest dramas naturally involve the salvation or loss of the soul. Where there is no belief in the soul, there is very little drama. The Christian novelist is distinguished from his pagan colleagues by recognizing sin as sin. According to his heritage, he sees it not as a sickness or an accident of the environment, but as a responsible choice of offense against God which involves his eternal future. Either one is serious about salvation or one is not. And it is well to realize that the maximum amount of seriousness admits the maximum amount of comedy. Only if we are secure in our beliefs can we see the comical side of the universe. One reason a great deal of our contemporary fictions is humorless is because so many of these writers are relativists and have to be continually justifying the actions of their characters on a sliding scale of values.

I was on the point of explaining to Gerald that the world has always laughed at its own tragedies, that being the only way in which it has been able to bear them. And that, consequently, whatever the world has treated seriously belongs to the comedy side of things.

It is the custom on the stage: in all good, murderous melodramas: to present the tragic and the comic scenes, in as regular alternation, as the layers of red and white in a side of streaky, well-cured bacon. The hero sinks upon his straw bed, weighed down by fetters and misfortunes; and, in the next scene, his faithful but unconscious squire regales the audience with a comic song. We behold, with throbbing bosoms, the heroine in the grasp of a proud and ruthless baron: her virtue and her life alike in danger; drawing forth a dagger to preserve the one at the cost of the other; and, just as our expectations are wrought up to the highest pitch, a whistle is heard: and we are straightway transported to the great hall of the castle: where a grey-headed seneschal sings a funny chorus with a funnier body of vassals, who are free of all sorts of places from church vaults to palaces, and roam about in company, carolling perpetually. Such changes appear absurd; but they are not so unnatural as they would seem at first sight. The transitions in real life from well-spread boards to death-beds, and from mourning weeds to holiday garments, are not a whit less startling; only, there, we are busy actors, instead of passive lookers-on; which makes a vast difference. The actors in the mimic life of the theatre, are blind to violent transitions and abrupt impulses of passion or feeling, which, presented before the eyes of mere spectators, are at once condemned as outrageous and preposterous.

We can’t let him win. Even if it takes fifty years, or a hundred. You can’t let the bad guys win. It’s not acceptable.” For Hodda, life is drama. It falls into a set number of clearly defined categories: tragedy, comedy, romance, burlesque, farce. If it’s a comedy, the good guys win and everybody gets married. If it’s a tragedy, the good guys win but everybody dies. But you can’t let the bad guys win. Nobody’s going to pay to see that. Me, I don’t care about the bad guys, so long as they keep the hell away from me. When they get too close, in my face, I tell lies and run away. That means I’ll never be a hero, but I don’t mind that. I do character parts and impersonations.

Tragedy isn’t an easy thing to kill. It takes more than a turtle. Tragedy must be destroyed by someone willing to be swallowed by it, willing to be broken, torn out of the flesh, but able to return to it. Someone must be able to shatter the tragic from within and exit into comedy, able to rip a hole so wide that a train of souls, a parade, could follow after, banging drums and throwing candy as they strolled into the sun.

Our Cross Our little circle hides in the mind, It's difficult to miss but hard to find, It goes unspoken but yet it speaks, From backward years to forward weeks, We can't forget but why even try, Two of a kind doesn't know goodbye, It's a silent question that God won't share, A breeze we feel but seems unfair, Distant, rare but only madness can see, It's something deeper than any infinity, Because we walk this parallel path up and down, There is no circle to hold us circus clowns, So let's give it a symbol and label it a loss, We will remember it always as we carry our cross.

I, for example, quiet plainly and simply insist upon annihilation for myself. “No,” they say, “you must go on living, for without you there would be nothing. If everything on earth were reasonable, nothing would ever happen. Without you there would be no events, and it is necessary that there should be events.” Well, and so on I drudge with unwilling heart so that there be events, and bring about unreason by command. People think toute cette comedie is something serious, all there unquestionable intelligence notwithstanding. There lies there tragedy. Well, and they suffer, of course, but … al the same they live, they live in reality, not in fantasy; for suffering is also life. Without suffering what pleasure would there be in it? Everything would turn into one single, endless church service: much holy soaring, but rather boring. Well, and I? I suffer, but even so I do not live. I am the “x” in an indeterminate equation. I am one of life’s ghosts, who has lost all the ends and the beginnings, and even at last forgotten what to call myself. You are laughing . . . No, you are not laughing, you are angry again. You are eternally angry, you would like there to be nothing but intelligence, but I will tell you again that I would renounce all this empyrean existence, all these honours and ranks just in order to be able to take fleshy form in the person of a seven-pood merchant’s wife and set up candles to God in church. ‘So, you don’t believe in God either?’ Ivan said, smiling with hatred. ‘Well, how can I explain it to you, if you are serious, that is . . . ‘ ‘Does God exist or not?’ Ivan barked, again with ferocious insistence. ‘Ah, so you are serious? My dear little dove, I swear to God I do not know, pour vous dire le grand mot.

No novel is anything, for the purposes either of comedy or tragedy, unless the reader can sympathise with the characters whose names he finds upon the pages. Let an author so tell his tale as to touch his reader's heart and draw his tears, and he has, so far, done his work well. Truth let there be, --truth of description, truth of character, human truth as to men and women. If there be such truth, I do not know that a novel can be too sensational.

This world is beautiful but badly broken. St. Paul said that it groans, but I love it even in its groaning. I love this round stage where we act out the tragedies and the comedies of history. I love it with all of its villains and petty liars and self-righteous pompers. I love the ants and the laughter of wide-eyed children encountering their first butterfly. I love it as it is, because it is a story, and it isn’t stuck in one place. It is full of conflict and darkness like every good story. And like every good story, there will be an ending. I love the world as it is, because I love what it will be. I love it because it spins and tilts, because it’s dizzying, because of the night sky and the swirling lights. But I have run too far ahead. We should be more . . . philosophical.

People are prepared for everything except for the fact that beyond the darkness of their blindness there is a great light. They are prepared to go on breaking their backs plowing the same old field until the cows come home without seeing, until they stub their toes on it, that there is a treasure buried in that field rich enough to buy Texas.

I’m saying it’s a success. Twenty years of joy and support and friendship, that’s a success. Twenty years of anything with another person is a success. If a band stays together twenty years, it’s a miracle. If a comedy duo stays together twenty years, they’re a triumph. Is this night a failure because it will end in an hour? Is the sun a failure because it’s going to end in a billion years? No, it’s the fucking sun. Why does a marriage not count? It isn’t in us, it isn’t in human beings, to be tied to one person forever. Siamese twins are a tragedy.

INTERVIEWER Why don’t you write tragedy? BARTHELME I’m fated to deal in mixtures, slumgullions, which preclude tragedy, which require a pure line. It’s a habit of mind, a perversity. Tom Hess used to tell a story, maybe from Lewis Carroll, I don’t remember, about an enraged mob storming the palace shouting “More taxes! Less bread!” As soon as I hear a proposition I immediately consider its opposite. A double-minded man—makes for mixtures. INTERVIEWER Apparently the Yiddish theater, to which Kafka was very addicted, includes as a typical bit of comedy two clowns, more or less identical, who appear even in sad scenes—the parting of two lovers, for instance—and behave comically as the audience is weeping. This shows up especially in The Castle. BARTHELME The assistants. INTERVIEWER And the audience doesn’t know what to do. BARTHELME The confusing signals, the impurity of the signal, gives you verisimilitude. As when you attend a funeral and notice, against your will, that it’s being poorly done. [...] I think of the line from the German writer Heimito von Doderer: “At first you break windows. Then you become a window yourself.

What matters to Cavafy, and what so often gives his work both its profound sympathy and its rich irony, is the understanding, which as he knew so well comes too late to too many, that however fervently we may act in the dramas of our lives—emperors, lovers, magicians, scholars, pagans, Christians, catamites, stylites, artists, saints, poets—only time reveals whether the play is a tragedy or a comedy.

The mass of men have been forced to be gay about the little things, but sad about the big ones. Nevertheless (I offer my last dogma defiantly) it is not native to man to be so. Man is more himself, man is more manlike, when joy is the fundamental thing in him, and grief the superficial. Melancholy should be an innocent interlude, a tender and fugitive frame of mind; praise should be the permanent pulsation of the soul. Pessimism is at best an emotional half-holiday; joy is the uproarious labour by which all things live. Yet, according to the apparent estate of man as seen by the pagan or the agnostic, this primary need of human nature can never be fulfilled. Joy ought to be expansive; but for the agnostic it must be contracted, it must cling to one comer of the world. Grief ought to be a concentration; but for the agnostic its desolation is spread through an unthinkable eternity. This is what I call being born upside down. The sceptic may truly be said to be topsy-turvy; for his feet are dancing upwards in idle ecstacies, while his brain is in the abyss. To the modern man the heavens are actually below the earth. The explanation is simple; he is standing on his head; which is a very weak pedestal to stand on. But when he has found his feet again he knows it. Christianity satisfies suddenly and perfectly man's ancestral instinct for being the right way up; satisfies it supremely in this; that by its creed joy becomes something gigantic and sadness something special and small. The vault above us is not deaf because the universe is an idiot; the silence is not the heartless silence of an endless and aimless world. Rather the silence around us is a small and pitiful stillness like the prompt stillness in a sick-room. We are perhaps permitted tragedy as a sort of merciful comedy: because the frantic energy of divine things would knock us down like a drunken farce. We can take our own tears more lightly than we could take the tremendous levities of the angels. So we sit perhaps in a starry chamber of silence, while the laughter of the heavens is too loud for us to hear.

Shakespeare's plays are not in the rigorous and critical sense either tragedies or comedies, but compositions of a distinct kind; exhibiting the real state of sublunary nature, which partakes of good and evil, joy and sorrow, mingled with endless variety of proportion and innumerable modes of combination; and expressing the course of the world, in which the loss of one is the gain of another; in which, at the same time, the reveller is hasting to his wine, and the mourner burying his friend; in which the malignity of one is sometimes defeated by the frolick of another; and many mischiefs and many benefits are done and hindered without design.

I just think it's fortunate that Sir Isaac Newton didn't share the sense of humor of a member of the public, because had he done so, he would of been so amused by the simple effects of gravity, that he would of never gotten round making a comprehensive study of it's causes. That's the punchline! 'a comprehensive study of it's courses'! I worked for that! Will you be telling this joke at work? I don't think so! And yes, I am aware that I say this to you while hanging precariously of this art-deco balcony. And I do so deliberately in the hope that I will fall to my death, and that you will learn about the thin line between slap-stick and tragedy.

Though I cannot tell why it was exactly that those stage managers, the Fates, put me down for this shabby part of a whaling voyage, when others were set down for magnificent parts in high tragedies, and short and easy parts in genteel comedies, and jolly parts in farces—though I cannot tell why this was exactly; yet, now that I recall all the circumstances, I think I can see a little into the springs and motives which being cunningly presented to me under various disguises, induced me to set about performing the part I did, besides cajoling me into the delusion that it was a choice resulting from my own unbiased freewill and discriminating judgment.

Like the rest of Holy Week, Easter is also a terrific story. It starts as tragedy: the hero broken and bloody, against all expectation dead, his followers' joyful hope in him entombed with his corpse, the rock rolled into place, sealing their despair. But the curtain doesn't fall there. The next morning at dawn they discover the rock has been rolled back. The tomb is empty, the body's gone! A missing corpse? Great stuff. A whisper of comedy. Now a touch of farce as Mary Magdalen and the guys chase frantically around looking for help, or the corpse, when suddenly, out of nowhere, up it pops—alive! Of course it's Jesus, who's done the impossible and beaten death. And they're so amazed they think he's the gardener! It's a payoff way beyond the Hollywood ending: all the flooding emotion and uplift of a tragedy followed by all the bubbling joy and optimism of a comedy. Is that possible? Not just to live happily ever after but to die—and still live happily ever after? It's the most audacious claim of Christianity, the one element that marks the brand indelibly, that trumps the claims of all other major faiths.

He thought of his own by-now legendary novel, American Disillusionment, that cyclone which, for years, had woven its erratic path across the flatlands of his imaginary life, always on the verge of grandeur or disintegration, picking up characters and plotlines like houses and livestock, tossing them aside and moving on. It had taken the form, at various times, of a bitter comedy, a stoical Hemingwayesque tragedy, a hard-nosed lesson in social anatomy like something by John O’Hara, a bare-knuckles urban Huckleberry Finn. It was the autobiography of a man who could not face himself, an elaborate system of evasion and lies unredeemed by the artistic virtue of self-betrayal

It is the thought, not the incidentals of expression, that essentially makes an exposition unpopular. A systematic ribbon and button maker can become unpopular but essentially is not at all, inasmuch as he does not mean much by the very odd things he says (alas, and this is a popular art!). Socrates, on the other hand, was the most unpopular in Greece because he said the same thing as the simplest person but meant infinitely much by it. To be able to stick to one thing, to stick to it with ethical passion and undauntedness of spirit, to see the intrinsic duplexity of this one thought with the same impartiality, and at one and the same time to see the most profound earnestness and the greatest jest, the deepest tragedy and highest comedy―this is unpopular in any age for anyone who has not realized that immediacy is over. But neither can what is essentially unpopular be learned by rote. More on that later.

Examine for a moment an ordinary mind on an ordinary day. The mind receives a myriad impressions - trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant show of innumerable atoms; and as they fall, as they shape themselves into the life of Monday or Tuesday, they accent falls differently from of old; the moment of importance came not here but there; so that, if a writer were a free man and not a slave, if he could write what he chose, not what he must, if he could base his work upon his own feeling and not upon convention, there would be no plot, no comedy, no tragedy, no love interest or catastrophe in the accepted style, and perhaps not a single button sewn on as the Bond Street tailors would have it. Life is not a series of gig lamps symmetrically arranged; life is a luminous halo, a semi-transparent envelope surrounding us from the beginning to the end.

A few people have ventured to imitate Shakespeare's tragedy. But no audacious spirit has dreamed or dared to imitate Shakespeare's comedy. No one has made any real attempt to recover the loves and the laughter of Elizabethan England. The low dark arches, the low strong pillars upon which Shakespeare's temple rests we can all explore and handle. We can all get into his mere tragedy; we can all explore his dungeon and penetrate into his coal-cellar, but we stretch our hands and crane our necks in vain towards that height where the tall turrets of his levity are tossed towards the sky. Perhaps it is right that this should be so; properly understood, comedy is an even grander thing than tragedy.

Do you ever think what might've happened if they weren't so damn impatient? If Romeo had stopped for a second and gotten a doctor, or waited for Juliet to wake up? Not jumped to conclusions and gone and poisoned himself thinking she was dead when she was just sleeping? I've seen that movie so many times, and every damn time, it's like screaming at the girl in the horror movie. Don't go in the basement. The killer's down there. With Romeo and Juliet, I yell, 'Don't jump to conclusions.' But do those fools ever listen to me? I always imagine what might've happened if they'd waited. Juliet would've woken up. They'd already be married. They might've moved away, far away from the Montagues and the Capulets, gotten themselves a cute castle of their own. Decorated it up nice. Maybe it would've been like The Winter's Tale. By thinking Hermione was dead, Leontes had time to stop acting like a fool and then later he was so happy to find out she was alive. Maybe the Montagues and the Capulets would find out later that their beloved kids weren't dead, and wasn't it stupid to feud, and everyone would be happy. Maybe it would've turned the whole tragedy into a comedy.

No! No, Arthur, no, it’s the opposite! I’m saying it’s a success. Twenty years of joy and support and friendship, that’s a success. Twenty years of anything with another person is a success. If a band stays together twenty years, it’s a miracle. If a comedy duo stays together twenty years, they’re a triumph. Is this night a failure because it will end in an hour? Is the sun a failure because it’s going to end in a billion years? No, it’s the fucking sun. Why does a marriage not count? It isn’t in us, it isn’t in human beings, to be tied to one person forever. Siamese twins are a tragedy. Twenty years and one last happy road trip. And I thought, Well, that was nice. Let’s end on success.” “You can’t do this,

No,” he said after a pause, “the true art of the gods is the comic. The comic is a condescension of the divine to the world of man; it is the sublime vision, which cannot be studied, but must ever be celestially granted. In the comic the gods see their own being reflected as in a mirror, and while the tragic poet is bound by strict laws, they will allow the comic artist a freedom as unlimited as their own. They do not even withhold their own existence from his sports. Jove may favor Lucianos of Samosata. As long as your mockery is in true godly taste you may mock at the gods and still remain a sound devotee. But in pitying, or condoling with your god, you deny and annihilate him, and such is the most horrible of atheisms.

If the distinction is not held too rigidly nor pressed too far, it is interesting to think of Shakespeare's chief works as either love dramas or power dramas, or a combination of the two. In his Histories, the poet handles the power problem primarily, the love interest being decidedly incidental. In the Comedies, it is the other way around, overwhelmingly in the lighter ones, distinctly in the graver ones, except in Troilus and Cressida--hardly comedy at all--where without full integration something like a balance is maintained. In the Tragedies both interests are important, but Othello is decidedly a love drama and Macbeth as clearly a power drama, while in Hamlet and King Lear the two interests often alternate rather than blend.

Thus the esthetically sensitive man stands in the same relation to the reality of dreams as the philosopher does to the reality of existence; he is a close and willing observer, for these pictures afford him an interpretation of life, and it is by these processes that he trains himself for life. And it is not only the agreeable and friendly picture that he experiences in himself with such perfect understanding: but the serious, the troubled, the sad, the gloomy, the sudden restraints, the tricks of fate, the uneasy presentiments, in short, the whole DIVINE COMEDY of life, and the inferno, also pass before him, not like mere shadows in the wall - for in these scenes he lives and suffers - and yet without that fleeting sensation of appearance.

Royce watched the courier ride out of sight before taking off his imperial uniform. Turning to face Hadrian, he said, “Well, that wasn’t so hard.” “Will?” Hadrian asked as the two slipped into the forest. Royce nodded. “Remember yesterday you complained that you’d rather be an actor? I was giving you a part: Will, the Imperial Checkpoint Sentry. I thought you did rather well with the role.” “You know, you don’t need to mock all my ideas.” Hadrian frowned as he pulled his own tabard over his head. “Besides, I still think we should consider it. We could travel from town to town performing in dramatic plays, even a few comedies.” Hadrian gave his smaller partner an appraising look. “Though maybe you should stick to drama—perhaps tragedies.” Royce glared back. “What? I think I would make a superb actor. I see myself as a dashing leading man. We could definitely land parts in The Crown Conspiracy. I’ll play the handsome swordsman that fights the villain, and you—well, you can be the other one.

You know, my young friend, I will be ninety years old next year, and life is still a constant surprise to me. We never know what will happen next, what we will see, and what important person will come into our life, or what important person we will lose. Life is change, constant change, and unless we are lucky enough to find comedy in it, change is nearly always a drama, if not a tragedy. But after everything, and even when the skies turn scarlet and threatening, I still believe that if we are lucky enough to be alive, we must give thanks for the miracle of every moment of every day, no matter how flawed. And we must have faith in God, and in the Universe, and in a better tomorrow, even if that faith is not always deserved.” “Pino Lella’s prescription for a long, happy life?

Every civilized man or woman has, I suppose, some picture of himself or herself, and is annoyed when anything happens that seems to spoil this picture. The best cure is to have not only one picture, but a whole gallery, and to select the one appropriate to the incident in question. If some of the portraits are a trifle laughable, so much the better; it is not wise to see oneself all day long as a hero of high tragedy. I do not suggest that one should see oneself always as a clown in comedy, for those who d this are even more irritating; a little tact is required in choosing a role appropriate to the situation. Of course, if you can forget yourself and not play a part at all, that is admirable. But if playing a part has become second nature, consider that you act in repertory, and so avoid monotony.

We all say that this is the century of the common man, that he is the lord of the earth, the air and the water, and that on his decision hangs the historical fate of the nations. This proud picture of human grandeur is unfortunately an illusion only and is counterbalanced by a reality which is very different. In this reality man is the slave and victim of the machines that have conquered space and time for him; he is intimidated and endangered by the might of the war technique which is supposed to safeguard his physical existence; his spiritual and moral freedom, though guaranteed within limits in one half of his world, is threatened with chaotic disorientation, and in the other half it is abolished altogether. Finally, to add comedy to tragedy, this lord of the elements, this universal arbiter, hugs to his bosom notions which stamp his dignity as worthless and turn his autonomy into an absurdity. All his achievements and possessions do not make him bigger; on the contrary, they diminish him, as the fate of the factory worker under the rule of a ‘just’ distribution of goods clearly demonstrates.

Well, that night we had our show; but there warn’t only about twelve people there – just enough to pay expenses. And they laughed all the time, and that made the duke mad; and everybody left, anyway, before the show was over, but one boy which was asleep. So the duke said these Arkansaw lunkheads couldn’t come up to Shakespeare; what they wanted was low comedy – and maybe something ruther worse than low comedy, he reckoned. He said he could size their style. So next morning he got some big sheets of wrapping paper and some black paint, and drawed off some handbills, and stuck them up all over the village. The bills said: AT THE COURT HOUSE! FOR 3 NIGHTS ONLY! The World-Renowned Tragedians DAVID GARRICK THE YOUNGER! AND EDMUND KEAN THE ELDER! Of the London and Continental Theatres, In their Thrilling Tragedy of THE KING’S CAMELEOPARD, OR THE ROYAL NONESUCH ! ! ! Admission 50 cents. Then at the bottom was the biggest line of all, which said: LADIES AND CHILDREN NOT ADMITTED. “There,” says he, “if that line don’t fetch them, I don’t know Arkansaw!

In fact, I think all of this screaming about "Political Correctness" that we hear these days in the elite culture is basically just a tantrum over the fact that it has been impossible to crush all of the dissidence and the activism and the concern that's developed in the general population in the last thirty years. I mean, it's not that some of these "P.C." things they point out aren't true-yeah, sure, some of them are true. But the real problem is that the huge right-wing effort to retake control of the ideological system didn't work―and since their mentality is basically totalitarian, any break in their control is considered a huge tragedy: 98 percent control isn't enough, you have to have 100 percent control; these are totalitarian strains. But they couldn't get it, especially among the general population. They have not been able to beat back all of the gains of the popular movements since the 1960s, which simply led to a lot of concern about sexism, and racism, and environmental issues, respect for other cultures, and all this other bad stuff. And it's led to real hysteria among elites, so you get this whole P.C. comedy.

On Thanksgiving Day, 2011, my pastor Peter Jonker preached a marvelous sermon on Psalm 65 with an introduction from the life of Seth MacFarlane, who had been on NPR’s Fresh Air program with Terry Gross. MacFarlane is a cartoonist and comedian. He’s the creator of the animated comedy show “The Family Guy,” which my pastor called “arguably the most cynical show on television.” Terry Gross asked MacFarlane about 9/11. It seems that on that day of national tragedy MacFarlane had been booked on American Airlines Flight 11, Boston to LA, but he had arrived late at Logan airport and missed it. As we know, hijackers flew Flight 11 into the North Tower of the World Trade Center. My preacher said, “MacFarlane should have been on that plane. He should have been dead at 29 years of age. But somehow, at the end of that terrible day, he found himself healthy and alive, still able to turn his face toward the sun.” Terry Gross asked the inevitable question: “After that narrow escape, do you think of the rest of your life as a gift?” “No,” said MacFarlane. “That experience didn’t change me at all. It made no difference in the way I live my life. It made no difference in the way I look at things. It was just a coincidence.” And my preacher commented that MacFarlane had created “a missile defense system” against the threat of incoming gratitude — which might have lodged in his soul and changed him forever. MacFarlane, “the Grinch who stole gratitude,” perfectly set up what Peter Jonker had to say to us about how it is right and proper for us to give thanks to God at all times and in all places, and especially when our life has been spared.

Schools, gymnasiums, arithmetic, geometry, history, rhetoric, physics, biology, anatomy, hygiene, therapy, cosmetics, poetry, music, tragedy, comedy, philosophy, theology, agnosticism, skepticism, stoicism, epicureanism, ethics, politics, idealism, philanthropy, cynicism, tyranny, plutocracy, democracy: these are all Greek words for cultural forms seldom originated, but in many cases first matured for good or evil by the abounding energy of the Greeks. All the problems that disturb us today—the cutting down of forests and the erosion of the soil; the emancipation of woman and the limitation of the family; the conservatism of the established, and the experimentalism of the unplaced, in morals, music, and government; the corruptions of politics and the perversions of conduct; the conflict of religion and science, and the weakening of the supernatural supports of morality; the war of the classes, the nations, and the continents; the revolutions of the poor against the economically powerful rich, and of the rich against the politically powerful poor; the struggle between democracy and dictatorship, between individualism and communism, between the East and the West—all these agitated, as if for our instruction, the brilliant and turbulent life of ancient Hellas. There is nothing in Greek civilization that does not illuminate our own. We shall try to see the life of Greece both in the mutual interplay of its cultural elements, and in the immense five-act drama of its rise and fall. We shall begin with Crete and its lately resurrected civilization, because apparently from Crete, as well as from Asia, came that prehistoric culture of Mycenae

was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1590 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime, and in 1623 two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry". In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world. Source: Wikipedia