To be ridiculous is to be something highly incongruous or inferior, sometimes deliberately so to make people laugh or get their attention, and sometimes unintendedly so as to be considered laughable and earn or provoke ridicule and derision. It comes from the 1540s Latin "ridiculosus" meaning "laughable", from "ridiculus" meaning "that which excites laughter", and from "ridere" meaning "to laugh". [1] "Ridiculous" is an adjective describing "the ridiculous".
In common usage, "ridiculousness" is used as a synonym for absurdity or nonsense. [2] [3] From a historical and technical viewpoint, "absurdity" is associated with argumentation and reasoning, "nonsense" with semantics and meaning, while "ridiculous" is most associated with laughter, superiority, deformity, and incongruity. Reductio ad absurdum is a valid method of argument, while reductio ad ridiculum is invalid. Argument by invective declaration of ridiculous is invalid, while arguments involving declarations of nonsense may summarize a cogent semantic problem with lack or meaning or ambiguity.
Historically, the ridiculous was central to initial theories of humor and laughter as first put forth by philosopher Thomas Hobbes. It is currently used in the theory of humor to trigger laughter, shock, parody, or satire. Reactions to the ridiculous have been studied in psychology for its effects on memory, attention, and attitude in social hierarchies. These studies have been applied to the theory of advertisement regarding attention, memory, and alleviation of preexisting negative attitudes toward products. The ridiculous is often contrasted with the sublime, one of extreme inferiority, the other of extreme superiority, and often one can suddenly move from one extreme state to the other.
The ridiculous often has extreme incongruity (things that are not thought to belong next to each other) or inferiority, e.g., "when something that was dignified is reduced to a ridiculous position (here noting the element of the incongruous), so that laughter is most intense when we escape from a 'coerced solemnity'." [4] [5] For Aristotle, we laugh at inferior or ugly individuals, because we feel a joy at being superior to them. [6] Socrates was reported by Plato as saying that the ridiculous was characterized by a display of self-ignorance. [7] Deformity was considered by some to be essential to the ridiculous. [8] [9] Psychological theories of humor include the "incongruity theory" and the "superiority theory", the latter of which the philosopher Thomas Hobbes was an early proponent. [10] [11] [12] Hobbes claimed that laughter was either caused spontaneously, or by seeing a deformed thing to which one compares themselves and laugh as a form of self applause; "a sudden glory arising from sudden conception of some eminency in ourselves, by comparison of the infirmities of others." [9] The Right Reverend William Warburton, Lord Bishop of Gloucester said in the early 18th century that, "Nothing is ridiculous but what is deformed". [13] Using the ridiculous is a method in the theory of humor. [14]
Although common usage now considers "absurdity" to be synonymous with "ridiculousness", Hobbes discussed the two concepts as different, in that absurdity is viewed as having to do with invalid reasoning, as in Hobbes' Table of Absurdity, while ridiculousness has to do with laughter, superiority, ridicule, and deformity.
The Ritual clown (Heyókȟa) in some Native American culture uses the painfully ridiculous, and is believed to become closer to the gods by its primordiality. [15] [16] Native American clowns are ridiculous in their contrary and rule breaking antics. [17] In the film Little Big Man , the sacred clown rides sitting backwards on his horse, "washes" himself with dirt and "dries" himself with water. [18] Heyókȟa are thought of as being incongruously backwards-forwards, upside-down, or contrary in nature. This spirit is often manifest by doing things backwards or unconventionally—riding a horse backwards, wearing clothes inside-out, or speaking backwards. For example, if food were scarce, a Heyókȟa would sit around and complain about how full he was; during a baking hot heat wave, a Heyókȟa would shiver with cold and put on gloves and cover himself with a thick blanket. Similarly, when it is 40 degrees below freezing he will wander around naked for hours complaining that it is too hot.[ citation needed ]
The ridiculous can use uses both physical and conceptual inferiority and incongruity of juxtaposition to create parody and satire.
In Candide , Voltaire parodies Leibniz's argument for the existence of evil under a benign God using "ridiculous rationalizations of evil". [19] Leibniz claimed that God is constrained by logic, and created the best of all possible worlds . After being reduced from a "dignified" state to its opposite, the optimistic Dr. Pangloss (representing Leibniz) finds cause to consider his undignified position to be the best of all possible worlds, noting his own particular current happiness, which he argues could not have been attained without experiencing the atrocities in the previous narrative; his optimistic attitude is extremely incongruous with his experiences and extremely inferior undignified ultimate condition. [19]
In Stanley Kubrick's 2001: A Space Odyssey , apelike humans and their behavior are juxtaposed next to streamlined advanced technology with a highly avant garde score by composer György Ligeti; Ligeti also used ridiculous juxtaposition in his scores to create parody, [20] and this tool was frequently used by composer Peter Maxwell Davies.
Japanese Butoh uses both incongruity and deformity to create ridiculous dance performance and lifestyle; extreme movement methods that are highly incongruous with natural body movement in its dance and everyday lifestyle, as well as in its clothing, actions, costume and set design that is highly incongruous with societal norms, which often shock the audience or visitor, and are sometimes considered not only ridiculous, but incongruently "bizarre and beautiful" or "elegant and grotesque". [21] [22]
The Theatre of the Ridiculous is a genre of performance that uses highly incongruous stage settings and incongruous costumes such as cross dressing to disturb or create shock in the audience. [23] It began in New York City in the 1960s.
Psychologists have studied human response to the ridiculous and its effects on attention and memory. [24] [25]
The ridiculous is used in advertising to manipulate attention and attitudes toward products. [24] [26]
The ridiculous is sometimes contrasted to the sublime where something with one quality is thought of as approaching, or likely to change to, the other.
Thomas Paine, writing in The Age of Reason in 1795, said The sublime and the ridiculous are often so nearly related, that it is difficult to class them separately. One step above the sublime, makes the ridiculous; and one step above the ridiculous, makes the sublime again. [27]
Napoleon, reflecting on the state of his existence following his retreat from Moscow in 1812, famously remarked to Polish ambassador D. G. De Pradt: Du sublime au ridicule il n'y a qu'un pas (There is only one step from the sublime to the ridiculous). [1] [27] [28] [29]
Reduction to the ridiculous (Latin: "reductio ad ridiculum", also called "Appeal to ridicule", "appeal to mockery", or "the Horse Laugh") is a logical fallacy which presents the opponent's argument in a way that grossly misrepresents it and appears ridiculous next to it, often so misrepresentative as to create a straw man argument, rather than addressing the argument itself. [30] For example, in arguing against idealism, with its sophisticated arguments that the world was not real but only existed in the mind, philosopher Dr. Johnson famously kicked a stone. [30]
Contrasting ridiculousness with absurdity in reasoning, Reductio ad ridiculum is an invalid method of argument, while reductio ad absurdum is a valid method.
Arguments are often simply dismissed by calling them "ridiculous" as invective, without further argumentation. [30] Philosopher Friedrich Nietzsche often dismissed philosophical positions by calling them "ridiculous" without further argument given. [30]
Humour or humor is the tendency of experiences to provoke laughter and provide amusement. The term derives from the humoral medicine of the ancient Greeks, which taught that the balance of fluids in the human body, known as humours, controlled human health and emotion.
Stand-up comedy is a performance directed to a live audience, where the performer stands on a stage and delivers humorous and satirical monologues sometimes incorporating physical acts. These performances are typically composed of rehearsed scripts but often include varying degrees of live crowd interaction. Stand-up comedy consists of one-liners, stories, observations, or shticks that can employ props, music, impressions, magic tricks, or ventriloquism.
Laughter is a pleasant physical reaction and emotion consisting usually of rhythmical, usually audible contractions of the diaphragm and other parts of the respiratory system. It is a response to certain external or internal stimuli. Laughter can rise from such activities as being tickled, or from humorous stories, imagery, videos or thoughts. Most commonly, it is considered an auditory expression of a number of positive emotional states, such as joy, mirth, happiness or relief. On some occasions, however, it may be caused by contrary emotional states such as embarrassment, surprise, or confusion such as nervous laughter or courtesy laugh. Age, gender, education, language and culture are all indicators as to whether a person will experience laughter in a given situation. Other than humans, some other species of primate show laughter-like vocalizations in response to physical contact such as wrestling, play chasing or tickling.
Appeal to ridicule is an informal fallacy which presents an opponent's argument as absurd, ridiculous, or humorous, and therefore not worthy of serious consideration.
The association fallacy is a formal logical fallacy that asserts that properties of one thing must also be properties of another thing if both things belong to the same group. For example, a fallacious arguer may claim that "bears are animals, and bears are dangerous; therefore your dog, which is also an animal, must be dangerous."
A punch line concludes a joke; it is intended to make people laugh. It is the third and final part of the typical joke structure. It follows the introductory framing of the joke and the narrative which sets up for the punch line.
Surreal humour is a form of humour predicated on deliberate violations of causal reasoning, thus producing events and behaviors that are obviously illogical. Portrayals of surreal humour tend to involve bizarre juxtapositions, incongruity, non-sequiturs, irrational or absurd situations, and expressions of nonsense.
Absurdity is the state or condition of being unreasonable, meaningless, or so unsound as to be irrational. "Absurd" is the adjective used to describe absurdity, e.g., "Tyler and the boys laughed at the absurd situation." It derives from the Latin absurdum meaning "out of tune". The Latin surdus means "deaf", implying stupidity. Absurdity is contrasted with being realistic or reasonable In general usage, absurdity may be synonymous with nonsense, meaninglessness, fancifulness, foolishness, bizarreness, wildness. In specialized usage, absurdity is related to extremes in bad reasoning or pointlessness in reasoning; ridiculousness is related to extremes of incongruous juxtaposition, laughter, and ridicule; and nonsense is related to a lack of meaningfulness. Absurdism is a concept in philosophy related to the notion of absurdity.
Witzelsucht is a set of rare neurological symptoms characterized by a tendency to make puns, or tell inappropriate jokes or pointless stories in socially inappropriate situations. It makes one unable to read sarcasm.
Appeal to the stone, also known as argumentum ad lapidem, is a logical fallacy that dismisses an argument as untrue or absurd. The dismissal is made by stating or reiterating that the argument is absurd, without providing further argumentation. This theory is closely tied to proof by assertion due to the lack of evidence behind the statement and its attempt to persuade without providing any evidence.
Comedy is a genre of dramatic performance having a light or humorous tone that depicts amusing incidents and in which the characters ultimately triumph over adversity. For ancient Greeks and Romans, a comedy was a stage-play with a happy ending. In the Middle Ages, the term expanded to include narrative poems with happy endings and a lighter tone. In this sense Dante used the term in the title of his poem, the Divine Comedy.
Humor research is a multifaceted field which enters the domains of linguistics, history, and literature. Research in humor has been done to understand the psychological and physiological effects, both positive and negative, on a person or groups of people. Research in humor has revealed many different theories of humor and many different kinds of humor including their functions and effects personally, in relationships, and in society.
Although humor is a phenomenon experienced by most humans, its exact cause is a topic of heavy debate. There are many theories of humor which attempt to explain what it is, what social functions it serves, and what would be considered humorous. Although various classical theories of humor and laughter may be found, in contemporary academic literature, three theories of humor appear repeatedly: relief theory, superiority theory, and incongruity theory. These theories are used as building blocks for the rest of the theories. Among current humor researchers, there has yet to be a consensus about which of these three theories of humor is most viable. Some proponents of each theory originally claimed that theirs, and theirs alone, explained all cases of humor. However, they now acknowledge that although each theory generally covers its area of focus, many instances of humor can be explained by more than one theory. Similarly, one view holds that theories have a combinative effect; Jeroen Vandaele claims that incongruity and superiority theories describe complementary mechanisms that together create humor.
A parody is a creative work designed to imitate, comment on, and/or mock its subject by means of satirical or ironic imitation. Often its subject is an original work or some aspect of it, but a parody can also be about a real-life person, event, or movement. Literary scholar Professor Simon Dentith defines parody as "any cultural practice which provides a relatively polemical allusive imitation of another cultural production or practice". The literary theorist Linda Hutcheon said "parody ... is imitation, not always at the expense of the parodied text." Parody may be found in art or culture, including literature, music, theater, television and film, animation, and gaming.
Comedy is a genre that consists of discourses or works intended to be humorous or amusing by inducing laughter, especially in theatre, film, stand-up comedy, television, radio, books, or any other entertainment medium. The term originated in ancient Greece: In Athenian democracy, the public opinion of voters was influenced by political satire performed by comic poets in theaters. The theatrical genre of Greek comedy can be described as a dramatic performance pitting two groups, ages, genders, or societies against each other in an amusing agon or conflict. Northrop Frye depicted these two opposing sides as a "Society of Youth" and a "Society of the Old". A revised view characterizes the essential agon of comedy as a struggle between a relatively powerless youth and the societal conventions posing obstacles to his hopes. In this struggle, the youth then becomes constrained by his lack of social authority, and is left with little choice but to resort to ruses which engender dramatic irony, which provokes laughter.
In logic, reductio ad absurdum, also known as argumentum ad absurdum or apagogical arguments, is the form of argument that attempts to establish a claim by showing that the opposite scenario would lead to absurdity or contradiction.
Gelotophobia is a fear of being laughed at, a type of social phobia. While most people do not like being laughed at, in his clinical observations, German psychotherapist and psychoanalyst Michael Titze (1996) discovered that some of his patients seemed to be primarily worried about being laughed at. They tended to scan their environment for signs of laughter and ridicule. Furthermore, they reported that they had the impression of being ridiculous themselves. Additionally, Titze observed a specific movement pattern among them when they thought they were being laughed at—awkward, wooden movements that resembled those of wooden puppets. He described this state as "Pinocchio-syndrome".
Cognitive humor processing refers to the neural circuitry and pathways that are involved in detecting incongruities of various situations presented in a humorous manner. Over the past decade, many studies have emerged utilizing fMRI studies to describe the neural correlates associated with how a human processes something that is considered "funny". Conceptually, humor is subdivided into two elements: cognitive and affective. The cognitive element, known as humor detection, refers to understanding the joke. Usually, this is characterized by the perceiver attempting to comprehend the disparities between the punch line and prior experience. The affective element, otherwise known as humor appreciation, is involved with enjoying the joke and producing visceral, emotional responses depending on the hilarity of the joke. This ability to comprehend and appreciate humor is a vital aspect of social functioning and is a significant part of the human condition that is relevant from a very early age. Humor comprehension develops in parallel with growing cognitive and language skills during childhood, while its content is mostly influenced by social and cultural factors. A further approach is described which refers to humor as an attitude related to strains. Humorous responses when confronted with troubles are discussed as a skill often associated with high social competence. The concept of humor has also been shown to have therapeutic effects, improving physiological systems such as the immune and central nervous system. It also has been shown to help cope with stress and pain. In sum, humor proves to be a personal resource throughout the life span, and helps support the coping of everyday tasks.
Mockery or mocking is the act of insulting or making light of a person or other thing, sometimes merely by taunting, but often by making a caricature, purporting to engage in imitation in a way that highlights unflattering characteristics. Mockery can be done in a lighthearted and gentle way, but can also be cruel and hateful, such that it "conjures images of corrosion, deliberate degradation, even subversion; thus, 'to laugh at in contempt, to make sport of' (OED)". Mockery appears to be unique to humans, and serves a number of psychological functions, such as reducing the perceived imbalance of power between authority figures and common people. Examples of mockery can be found in literature and the arts.
The Bible and humor is a topic of Biblical criticism concerned with the question of whether parts of the Bible were intended to convey humor in any style. Historically, this topic has not received much attention, but modern scholars generally agree that humor can be found in biblical texts.