Shaggy-dog story | |
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Features | Extensive narration of typically irrelevant incidents and terminated by an anticlimax |
In its original sense, a shaggy-dog story or yarn is an extremely long-winded anecdote characterized by extensive narration of typically irrelevant incidents and terminated by an anticlimax. In other words, it is a long story that is intended to be amusing and that has an intentionally silly or meaningless ending. [1]
Shaggy-dog stories play upon the audience's preconceptions of joke-telling. The audience listens to the story with certain expectations, which are either simply not met or met in some entirely unexpected manner. [2] A lengthy shaggy-dog story derives its humour from the fact that the joke-teller held the attention of the listeners for a long time (such jokes can take five minutes or more to tell) for no reason at all, as the long-awaited resolution is essentially meaningless, with the joke as a whole playing upon people's search for meaning. [3] [4] The nature of their delivery is reflected in the English idiom spin a yarn , by way of analogy with the production of yarn.
As a comic device, the shaggy-dog story is related to unintentional long-windedness, and the two are sometimes both referred to in the same way. While a shaggy-dog story is a comic exaggeration of the real life experience, it is also deliberately constructed to play off an audience who are expecting a comedic payoff and uses that expectation to subvert expectations and create comedy in unexpected ways. In such kind of humorous story, the humor lies in the pointlessness or irrelevance of the plot or punch line. [5]
Humanities scholar Jane Marie Todd observed that the shaggy-dog story demonstrates the nature of desiring humor and how that process occurs. [4]
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The eponymous shaggy dog story serves as the archetype of the genre. The story builds up a repeated emphasizing of the dog's exceptional shagginess. The climax of the story culminates in a character reacting to the animal by stating: "That dog's not so shaggy." The expectations of the audience that have been built up by the presentation of the story, both in the details (that the dog is shaggy) and in the delivery of a punchline, are thus subverted. Ted Cohen gives the following example of this story:
A boy owned a dog that was uncommonly shaggy. Many people remarked upon its considerable shagginess. When the boy learned that there are contests for shaggy dogs, he entered his dog. The dog won first prize for shagginess in both the local and the regional competitions. The boy entered the dog in ever-larger contests, until finally he entered it in the world championship for shaggy dogs. When the judges had inspected all of the competing dogs, they remarked about the boy's dog: "He's not that shaggy." [2]
However, authorities disagree as to whether this particular story is the archetype after which the category is named. Eric Partridge, for example, provides a very different story, as do William and Mary Morris in The Morris Dictionary of Word and Phrase Origins.
According to Partridge and the Morrises, the archetypical shaggy-dog story involves an advertisement placed in the Times announcing a search for a shaggy dog. In the Partridge story, an aristocratic family living in Park Lane is searching for a lost dog, and an American answers the advertisement with a shaggy dog that he has found and personally brought across the Atlantic, only to be received by the butler at the end of the story who takes one look at the dog and shuts the door in his face, saying, "But not so shaggy as that, sir!" In the Morris story, the advertiser is organizing a competition to find the shaggiest dog in the world, and after a lengthy exposition of the search for such a dog, a winner is presented to the aristocratic instigator of the competition, who says, "I don't think he's so shaggy." [6] [7]
In the collection of stories by Isaac Asimov titled Buy Jupiter and Other Stories is a story titled "Shah Guido G." [8] In his background notes, Asimov identifies the tale as a shaggy-dog story, and explains that the title is a play on "shaggy dog".
Jim Steinman recorded "Love, Death and an American Guitar" on the album Bad for Good, the followup to Bat Out of Hell. In this spoken-word piece, a young man goes on a rampage with his Fender guitar, finally creeping into his parents' bedroom. Just as he is about to bring the guitar crashing down onto the bed, his father wakes to remonstrate with him about what he's doing to "an expensive musical instrument". The young man replies "... you got a helluva lot to learn about rock and roll!"
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