[… ]humour is a sickness, a sign of inferiority complex, a shield and not a weapon.
To Modern morbid playwright seem to have fallen for the fake argument that only tragedy is serious and has importance, whereas the truth is that comedy is just as important, and often more serious in its approach to truth, and, what few writers seem to realize or to admit, usually more difficult to write. It is not curious but a natural thing that arrogant intellectual critics condemn humour and comedy, for while they can write about Greek Old Comedy, Middle Comedy, and New Comedy with all the flourishes of pretension, they avoid a simple truth, succinctly expressed by the Oxford Classical Dictionary in its discussion of Middle Comedy. “Before long the realistic depiction of daily life became the chief aim in Comedy. Ordinary, commonplace life is no easy subject to treat interestingly on the stage; and Antiphanes constrasts the comic poet’s more difficult lot with the tragedians’, whose plot is already familiar, and the deux ex machina at hand- the comic writer has no such resources.
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It isnhugh time that we came of age and realized that, like Emily Dickinsons’ hope, humour is a feathered thing that perches in the soul.
The Venetian 