Black comedy, also known as dark comedy or gallows humor, is a comic style that makes light of subject matter that is generally considered taboo, particularly subjects that are normally considered serious or painful to discuss. Comedians often use it as a tool for exploring vulgar issues, thus provoking discomfort and serious thought as well as amusement in their audience. Popular themes of the genre include death and violence (murder, suicide, abuse, domestic violence, graphic violence, rape, torture, war, genocide, terrorism, corruption), discrimination (chauvinism, racism, sexism, homophobia, transphobia), disease (anxiety, depression, nightmares, drug abuse, mutilation, disability, terminal illness, insanity), sexuality (sodomy, homosexuality, incest, infidelity, fornication), religion, and barbarism.
Black comedy differs from blue comedy which focuses more on crude topics such as nudity, sex, and bodily fluids. Although the two are interrelated, black comedy is also different from straightforward obscenity in that it is more subtle and does not necessarily have the explicit intention of offending people. In obscene humor, much of the humorous element comes from shock and revulsion, while black comedy might include an element of irony, or even fatalism. For example, an archetypal example of black comedy in the form of self-mutilation appears in the English novel Tristram Shandy. Tristram, five years old at the time, starts to urinate out of an open window for lack of a chamber pot. The sash falls and circumcises him; his family reacts with both hysteria and philosophical acceptance.
Whereas the term black comedy is a relatively broad term covering humor relating to many serious subjects, gallows humor tends to be used more specifically in relation to death, or situations that are reminiscent of dying.
History and etymology
Origin of the term
The term black humor (from the French humour noir) was coined by the Surrealist theorist André Breton in 1935 while interpreting the writings of Jonathan Swift. Breton's preference was to identify some of Swift's writings as a subgenre of comedy and satire in which laughter arises from cynicism and skepticism, often relying on topics such as death.
Breton coined the term for his book Anthology of Black Humor (Anthologie de l'humour noir), in which he credited Jonathan Swift as the originator of black humor and gallows humor (particularly in his pieces Directions to Servants (1731), A Modest Proposal (1729), A Meditation Upon a Broom-Stick (1710), and in a few aphorisms). In his book, Breton also included excerpts from 45 other writers, including both examples in which the wit arises from a victim with which the audience empathizes, as is more typical in the tradition of gallows humor, and examples in which the comedy is used to mock the victim. In the last cases, the victim's suffering is trivialized, which leads to sympathizing with the victimizer, as analogously found in the social commentary and social criticism of the writings of Sade.
Adoption in American literary criticism
Among the first American writers who employed black comedy in their works were Nathanael West and Vladimir Nabokov, although at the time the genre was not widely known in the US. The concept of black humor first came to nationwide attention after the publication of a 1965 mass-market paperback titled Black Humor, of which the editor was Bruce Jay Friedman. The paperback was one of the first American anthologies devoted to the concept of black humor as a literary genre. With the paperback, Friedman labeled as "black humorists" a variety of authors, such as J.P. Donleavy, Edward Albee, Joseph Heller, Thomas Pynchon, John Barth, Vladimir Nabokov, Bruce Jay Friedman himself, and Louis-Ferdinand Celine. Among the writers labeled as black humorists by journalists and literary critics are today also Roald Dahl, Kurt Vonnegut, Warren Zevon, and Philip Roth. The motive for applying the label black humorist to all the writers cited above is that they have written novels, poems, stories, plays, and songs in which profound or horrific events were portrayed in a comic manner. Comedians, like Lenny Bruce, that since the late 1950s have been labeled for using "sick comedy" by mainstream journalists, have also been labeled with "black comedy".
Nature and functions
Sigmund Freud in his 1927 essay Humour (Der Humor) puts forth the following theory of black comedy: "The ego refuses to be distressed by the provocations of reality, to let itself be compelled to suffer. It insists that it cannot be affected by the traumas of the external world; it shows, in fact, that such traumas are no more than occasions for it to gain pleasure." Some other sociologists elaborated this concept further. At the same time, Paul Lewis warns that this "relieving" aspect of gallows jokes depends on the context of the joke: whether the joke is being told by the threatened person themselves or by someone else.
Black comedy has the social effect of strengthening the morale of the oppressed and undermines the morale of the oppressors. According to Wylie Sypher, "to be able to laugh at evil and error means we have surmounted them."
Black comedy is a natural human instinct and examples of it can be found in stories from antiquity. Its use was widespread in middle Europe, from where it was imported to the United States. It is rendered with the German expression Galgenhumor. The concept of gallows humor is comparable to the French expression rire jaune (lit. yellow laughing), which also has a Germanic equivalent in the Belgian Dutch expression groen lachen (lit. green laughing).
Italian comedian Daniele Luttazzi discussed gallows humour focusing on the particular type of laughter that it arouses (risata verde or groen lachen), and said that grotesque satire, as opposed to ironic satire, is the one that most often arouses this kind of laughter. In the Weimar era Kabaretts, this genre was particularly common, and according to Luttazzi, Karl Valentin and Karl Kraus were the major masters of it.
There are multiple recorded instances of humorous last words and final statements. For example, author and playwright Oscar Wilde was destitute and living in a cheap boarding house when he found himself on his deathbed. There are variations on what his exact words were, but his reputed last words were, "Either that wallpaper goes or I do."
Examples of gallows speeches include:
- In Edo period Japan, condemned criminals were occasionally executed by expert swordsmen, who used living bodies to test the quality of their blade (Tameshigiri). There is an apocryphal story of one who, after being told he was to be executed by a sword tester, calmly joked that if he had known that was going to happen, he would have swallowed large stones to damage the blade.
- One of the first convicts transported in Australia by the British Empire, John Caesar, escaped the penal colony in 1789 and lived as a bushranger in the wilderness. He survived by raiding garden patches with a stolen gun. When he was eventually caught, according to colonial governor David Collins he was "so indifferent about meeting death, that he declared in confinement that if he should be hanged he would create a laugh before he was turned off, by playing some trick upon the executioner." He was reprieved but died six years later from gunshot wounds after escaping a second time.
- Murderer James French has been attributed with famous last words before his death by electric chair: "How's this for a headline? 'French Fries'."
- As Sir Thomas More climbed a rickety scaffold where he would be executed, he said to his executioner: "I pray you, Mr. Lieutenant, see me safe up; and for my coming down, let me shift for myself."
- At his public execution, the murderer William Palmer is said to have looked at the trapdoor on the gallows and asked the hangman, "Are you sure it's safe?"
- Sir Walter Raleigh was beheaded in the Old Palace Yard at the Palace of Westminster on 29 October 1618. "Let us dispatch", he said to his executioner. "At this hour my ague comes upon me. I would not have my enemies think I quaked from fear." After he was allowed to see the axe that would behead him, he mused: "This is a sharp Medicine, but it is a Physician for all diseases and miseries." According to many biographers – Raleigh Trevelyan in his book Sir Walter Raleigh (2002) for instance – Sir Walter's final words (as he lay ready for the axe to fall) were: "Strike, man, strike!"
- Mathias Kneißl, robber, had killed two policemen that had tried to arrest him. On a Monday, he was sentenced to death for intentionally murdering them (the only charge he had denied), and commented: "Now this week really is starting nicely."
- Ronald Reagan, upon being transported to the emergency room after being shot by John Hinckley, Jr., is reported to have said to his doctors, "“Please tell me you’re Republicans."
- The Prefect of Rome executed Saint Lawrence in a great gridiron prepared with hot coals beneath it. He had Lawrence placed on it, hence St Lawrence's association with the gridiron. After the martyr had suffered pain for a long time, the legend concludes, he cheerfully declared: "I'm well done. Turn me over!" From this derives his patronage of cooks, chefs, and comedians.
Military life is full of gallows humor, as those in the services continuously live in the danger of being killed, especially in wartime. For example:
- The Japanese Navy Mitsubishi G4M Isshikirikkou (イッシキリッコウ) "Betty" bomber airplane was called "Hamaki" (葉巻 or はまき, meaning cigar) by the Japanese crews not only because its fuselage was cigar-shaped, but because it had a tendency to ignite on fire and burn violently when it was hit. The American nickname was "flying Zippo".
- When the survivors of HMS Sheffield, sunk in 1982 in the Falklands War, were awaiting rescue, they were reported to have sung the Monty Python song, "Always Look on the Bright Side of Life".
- Soviet pilots in World War II joked that the true meaning of the type designation of the LaGG-3 was Lakirovanny Garantirovanny Grob, "varnished guaranteed coffin".
- Soviet military vehicle BMP-1 was called Bratskaya Mogila Pekhoty ("mass grave of infantry") by soldiers, as the hit would kill all the crew.
- Overnight, in the Battle of Jutland (31 May – 1 June 1916), the destroyer HMS Tipperary was sunk; only 13 survived out of a crew of 197, in her engagement with heavily armed German dreadnought SMS Westfalen. The survivors were identified in the gloom by Royal Navy rescuers because they were heard in the distance, singing, "It's a long way to Tipperary". Their rescuers said, "We knew it was you".
- During the Winter War the Soviet Union bombed Helsinki, and after Soviets claimed they were air-dropping food to the "starving people of Helsinki" the Finnish people dubbed the Soviet bombs "Molotov bread baskets", and in return called their firebombs Molotov cocktails, as "a drink to go with the food."
- During World War II, the Soviet soldiers dubbed the 45 mm anti-tank gun M1937 (53-K) "Good bye, Motherland!", as its penetration was proving to be inadequate for the task of destroying German tanks, meaning a crew operating one was practically defenseless against the enemy tanks.
- During World War II, United States ships in the Escort Carrier category were given the Ship Prefix 'CVE'. Crews joked that this stood for "Combustible, Vulnerable, Expendable" due to the ship's complete lack of armor and high numbers of ships constructed.
- During World War II, British and American soldiers referred to the Landing Ship, Tank, abbreviated LST, as 'Long Slow Target' or 'Large Slow Target' when facing German forces. It was 382 ft (116 m) long, but some could only manage 10-12 knots fully laden.
- After Finnish coastal defence ship Ilmarinen went down with 271 souls after hitting a mine on 13 September 1941 the 132 survivors were nicknamed "Ilmarisen uimaseura", "Ilmarinen's swimming club."
In popular culture
- In the conclusion to Monty Python's Life of Brian, a group of crucified criminals joyfully sing "Always Look on the Bright Side of Life".
- The Shel Silverstein song, "25 Minutes to Go".
- In Stephen King's science fiction novel The Tommyknockers (1987), the main character reflects on a joke he "heard once". In the joke, as a man is about to be executed, the firing squad leader offers him a cigarette. The man replies, "No thanks, I'm trying to quit."
- From William Shakespeare's play Romeo and Juliet, Act 3, Scene 1:
Romeo: "Courage, man; the hurt cannot be much."
Mercutio: "No, 'tis not so deep as a well, nor so wide as a church-door; but 'tis enough, 'twill serve: ask for me to-morrow, and you shall find me a grave man."
- Dark Humor. Edited by Blake Hobby. Chealsea House Press.
- "Black humour". britannica.com. Retrieved 15 April 2018.
- Garrick, Jacqueline and Williams, Mary Beth (2006) Trauma treatment techniques: innovative trends pp.175-6
- Lipman, Steve (1991) Laughter in hell: the use of humor during the Holocaust, Northvale, N.J:J Aronson Inc.
- Kurt Vonnegut (1971) Running Experiments Off: An Interview, interview by Laurie Clancy, published in Meanjin Quarterly, 30 (Autumn, 1971), pp.46-54, and in Conversations with Kurt Vonnegut, quote:
The term was part of the language before Freud wrote an essay on it—'gallows humor.' This is middle European humor, a response to hopeless situations. It's what a man says faced with a perfectly hopeless situation and he still manages to say something funny. Freud gives examples: A man being led out to be hanged at dawn says, 'Well, the day is certainly starting well.' It's generally called Jewish humor in this country. Actually it's humor from the peasants' revolt, the forty years' war, and from the Napoleonic wars. It's small people being pushed this way and that way, enormous armies and plagues and so forth, and still hanging on in the face of hopelessness. Jewish jokes are middle European jokes and the black humorists are gallows humorists, as they try to be funny in the face of situations which they see as just horrible.
- Bloom, Harold (2010) Dark Humor, ch. On dark humor in literature, pp.80-88
- Freud (1927) Humor
- Merhi, Vanessa M. (2006) Distortion as identity from the grotesque to l'humour noir
- Real, Hermann Josef (2005) The reception of Jonathan Swift in Europe, p.90 quote:
At least, Swift's text is preserved, and so is a prefactory note by the French writer André Breton, which emphasizes Swift's importance as the originator of black humor, of laughter that arises from cynicism and scepticism.
- Lezard, Nicholas (2009-02-21). "From the sublime to the surreal". The Guardian. London.
- "black humor - Dictionary definition of black humor - Encyclopedia.com: FREE online dictionary". www.encyclopedia.com. Retrieved 15 April 2018.
- "black humor - Hutchinson encyclopedia article about black humor". Encyclopedia.farlex.com. Retrieved 2010-06-24.
- André Breton introduction to Swift in Anthology of Black Humor, quote:
When it comes to black humor, everything designates him as the true initiator. In fact, it is impossible to coordinate the fugitive traces of this kind of humor before him, not even in Heraclitus and the Cynics or in the works of Elizabethan dramatic poets. [...] historically justify his being presented as the first black humorist. Contrary to what Voltaire might have said, Swift was in no sense a "perfected Rabelais." He shared to the smallest possible degree Rabelais's taste for innocent, heavy-handed jokes and his constant drunken good humor. [...] a man who grasped things by reason and never by feeling, and who enclosed himself in skepticism; [...] Swift can rightfully be considered the inventor of "savage" or "gallows" humor.
- Thomas Leclair (1975) Death and Black Humor in Critique, Vol. 17, 1975
- Rowe, W. Woodin (1974). "Observations on Black Humor in Gogol' and Nabokov". The Slavic and East European Journal. 18 (4): 392–399. JSTOR 306869.
- Merriam-Webster, Inc (1995) Merriam-Webster's encyclopedia of literature, entry black humor, p.144
- O'Neill, Patrick (2010). "The Comedy of Entropy: The Contexts of Black Humor". In Harold Bloom; Blake Hobby. Dark Humor. Bloom's Literary Themes. New York, New York: Infobase Publishing. p. 82. ISBN 9781438131023. Retrieved March 25, 2017.
- James Carter Talking Books: Children's Authors Talk About the Craft, Creativity and Process of Writing, Volume 2 p.97 Routledge, 2002
- Paul Lewis, "Three Jews and a Blindfold: The Politics of Gallows Humor", In: "Semites and Stereotypes: Characteristics of Jewish Humor" (1993), ISBN 0-313-26135-0, p. 49
- Obrdlik, Antonin J. (1942) "Gallows Humor"-A Sociological Phenomenon, American Journal of Sociology, Vol. 47, No. 5 (Mar., 1942), pp. 709-716
- Mariah Snyder, Ruth Lindquist Complementary and alternative therapies in nursing
- Wylie Sypher quoted in ZhouRaymond, Jingqiong Carver's short fiction in the history of black humor p.132
- Kurt Vonnegut (1971) Running Experiments Off: An Interview, in Conversations with Kurt Vonnegut quote:
The term was part of the language before Freud wrote an essay on it -- 'gallows humour.' This is middle European humour, a response to hopeless situations. It's what a man says faced with a perfectly hopeless situation and he still manages to say something funny. Freud gives examples: A man being led out to be hanged at dawn says, 'Well, the day is certainly starting well.' It's generally called Jewish humour in this country. Actually it's humour from the peasants' revolt, the thirty years' war, and from the Napoleonic wars. It's small people being pushed this way and that way, enormous armies and plagues and so forth, and still hanging on in the face of hopelessness. Jewish jokes are middle European jokes. And the black humourists are gallows humourists, as they try to be funny in the face of situations which they see as just horrible.
- Redfern, W. D. and Redfern, Walter (2005) Calembours, ou les puns et les autres : traduit de l'intraduisible , p.211 quote:
Des termes parents du Galgenhumor sont: : comédie noire, plaisanterie macabre, rire jaune. (J'en offre un autre: gibêtises).
- Müller, Walter (1961) Französische Idiomatik nach Sinngruppen, p.178 quote:
humour macabre, humeur de désespéré, (action de) rire jaune Galgenhumor propos guilleret etwas freie, gewagte Äußerung
- Dupriez, Bernard Marie (1991) A dictionary of literary devices: gradus, A-Z, p.313 quote:
Walter Redfern, discussing puns about death, remarks: 'Related terms to gallows humour are: black comedy, sick humour, rire jaune. In all, pain and pleasure are mixed, perhaps the definitive recipe for all punning' (Puns, p. 127).
- Brachin, Pierre (1985) The Dutch language: a survey pp.101-2
- Claude et Marcel De Grève, Françoise Wuilmart, TRADUCTION / Translation Archived 2011-05-19 at the Wayback Machine., section Histoire et théorie de la traduction - Recherches sur les microstructures, in: Grassin, Jean-Marie (ed.), DITL (Dictionnaire International des Termes Littéraires), [22 Nov 2010]"
- (1950) Zaïre, Volume 4, Part 1, p.138 quote:
En français on dit « rire jaune », en flamand « groen lachen »
- Chédel, André (1965) Description moderne des langues du monde: le latin et le grec inutile? p.171 quote:
Les termes jaune, vert, bleu évoquent en français un certain nombre d'idées qui sont différentes de celles que suscitent les mots holandais correspondants geel, groen, blauw. Nous disons : rire jaune, le Hollandais dit : rire vert ( groen lachen ) ; ce que le Néerlandais appelle un vert (een groentje), c'est ce qu'en français on désigne du nom de bleu (un jeune soldat inexpéribenté)... On voit que des confrontations de ce genre permettent de concevoir une étude de la psychologie des peuples fondée sur les associations d'idées que révèlent les variations de sens (sémantique), les expressions figurées, les proverbes et les dictions.
- Pardo, Denise (2001) Interview with Daniele Luttazzi, in L'Espresso, February 1st, 2001 quote:
Q: Critiche feroci, interrogazioni parlamentari: momenti duri per la satira.
A: Satira è far ridere a spese di chi è più ricco e potente di te. Io sono specialista nella risata verde, quella dei cabaret di Berlino degli anni Venti e Trenta. Nasce dalla disperazione. Esempio: l'Italia è un paese dove la commissione di vigilanza parlamentare Rai si comporta come la commissione stragi e viceversa. Oppure: il mistero di Ustica è irrisolto? Sono contento: il sistema funziona.
- Daniele Luttazzi (2004) Interview, in the Italian edition of Rolling Stone, November 2004. Quote:
racconto di satira grottesca [...] L'obiettivo del grottesco è far percepire l'orrore di una vicenda. Non è la satira cui siamo abituati in Italia: la si ritrova nel cabaret degli anni '20 e '30, poi è stata cancellata dal carico di sofferenze della guerra. Aggiungo che io avevo spiegato in apertura di serata che ci sarebbero stati momenti di satira molto diversi. Satira ironica, che fa ridere, e satira grottesca, che può far male. Perché porta alla risata della disperazione, dell'impotenza. La risata verde. Era forte, perché coinvolgeva in un colpo solo tutti i cardini satirici: politica, religione, sesso e morte. Quello che ho fatto è stato accentuare l'interazione tra gli elementi. Non era di buon gusto? Rabelais e Swift, che hanno esplorato questi lati oscuri della nostra personalità, non si sono mai posti il problema del buon gusto.
- Marmo, Emanuela (2004) Interview with Daniele Luttazzi (March 2004) quote:
Quando la satira poi riesce a far ridere su un argomento talmente drammatico di cui si ride perché non c'è altra soluzione possibile, si ha quella che nei cabaret di Berlino degli Anni '20 veniva chiamata la “risata verde”. È opportuno distinguere una satira ironica, che lavora per sottrazione, da una satira grottesca, che lavora per addizione. Questo secondo tipo di satira genera più spesso la risata verde. Ne erano maestri Kraus e Valentin.
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