All Comedy is Conservative

SKEPTICISM IS REALISM:

Grumpy Old…Men? (Jeannette Cooperman, July 3, 2025, Common Reader)

But curmudgeons grow people up, too.

Lou Grant, shirtsleeves rolled up, scowling across his desk at Mary Tyler Moore. Abe Vigoda as Fish on Barney Miller; Redd Foxx as Fred Sanford, Hugh Laurie as Dr. Gregory House. Samuel Johnson, John Adams, even the man called Ove. I loved those guys. Too much sweetness, too much palaver and perky optimism and influencer smarm, and you need an antidote. Grumpiness is honest, and there is often wisdom beneath its crust. I regularly pull out Montaigne as a yardstick: “Nothing is so firmly believed as that which we least know.” Samuel Johnson stopped me cold by observing, “He who makes a beast of himself gets rid of the pain of being a man.” Thomas Szasz stopped me, too, when he defined happiness as “an imaginary condition, formerly attributed by the living to the dead, now usually attributed by adults to children, and by children to adults.” H.L. Mencken presaged Trump’s sales of golden sneakers with the weary aphorism: “Nobody ever went broke underestimating the taste of the American public.” And Voltaire left us an even sharper lesson: “To succeed in claiming the multitude you must seem to wear the same fetters.”

Politics is a curmudgeon’s favorite playground. In his Devil’s Dictionary, Bierce defined political life as “a strife of interests masquerading as a contest of principles. The conduct of public affairs for private advantage.” He defined “alliance,” in international politics, as “the union of two thieves who have their hands so deeply inserted into each other’s pocket that they cannot safely plunder a third.” He defined history as “an account, mostly false, of events, mostly unimportant, which are brought about by rulers, mostly knaves, and soldiers, mostly fools.”

Curmudgeons, you see, have standards. Sherlock Holmes could not abide being fooled, and Statler and Waldorf suffered no foolish puppets. Mark Twain rolled his eyes at idiocy of all sorts, and Lewis Black skewers it. “Curmudgeon” once implied that you were a “surly, ill-mannered, bad-tempered fellow,” which certainly explains why women could not qualify, as none of those adjectives are sanctioned for us. But environmentalist Edward Abbey noted in self-defense that the label’s meaning had evolved “to refer to anyone who hates hypocrisy, cant, sham, dogmatic ideologies, the pretenses and evasions of euphemism, and has the nerve to point out unpleasant facts and takes the trouble to impale these sins on the skewer of humor and roast them over the fires of empiric fact, common sense, and native intelligence. In this nation of bleating sheep and braying jackasses, it then becomes an honor to be labeled curmudgeon.”

What saves a curmudgeon from bitterness is the acceptance that man is Fallen and those standards will not be met much.

ALL COMEDY IS CONSERVATIVE:

Why conservatives Should Prize Eccentricity (SEAN WALSH, 7/27/24, Country Squire)

Oakeshott was, arguably, the most influential defender of the conservative worldview to write in the 20th century. His writings urge rightful scepticism concerning what we might call “Utopian experimentalism”: those philosophies of both right and left which hold that the role of politics is to “impose a universal plan of life” on society. Such a template will often assume some version of historicism, the contention that there is an arc of history towards which society must bend, either by destiny or human coercion. Further, they will tend to be naively (but dangerously) optimistic about the perfectibility of the human soul.

But to the mind of the conservative philosopher, if there is such an arc, then its curvature is beyond the discernment of the human intellect, and it is conceited to assume otherwise; and the fact of human imperfectability is the primary lesson of the earlier chapters of the book of Genesis. We are Fallen and it is beyond the abilities of a Marx or a Sartre to raise us again.

To be a conservative, Oakeshott suggested, is to cultivate habits of thought, emotion and action which prefer “the convenient to the perfect; present laughter to Utopian bliss”.

It’s the Anglospheric difference and how we avoided thdisastrous e Reason of the Continent.

IF I CAN’T SEE IT, IT CAN’T SEE ME:

Stephen Fry: What Jeeves and PG Wodehouse taught me about life: The actor fell in love with stories about ‘silly asses in spats and monocles’ as a teenager. Fifty years after the author’s death, he celebrates his comic genius (Stephen Fry, 5/18/25, Times uk)

It is true that, on the surface, the world of Wodehouse seems trapped in time — a time we might very well think has passed its sell-by date. His cast of imperious aunts, stern and gooseberry-eyed butlers, disapproving uncles, sporty young girls, natty young men who throw bread rolls in club dining rooms yet blush and stammer in the presence of the opposite sex — all may be taken as evidence of a man stuck in a permanent childhood, a view attested by George Orwell primus inter pares. (If that’s the right phrase, Jeeves? “Perfectly correct, sir. Although the common English equivalent ‘first among equals’ would perhaps serve as well.” Thank you, Jeeves.) As many have pointed out, Wodehouse never grew up, making his world and outlook, as Waugh put it, “Eden before the Fall”.

European culture never really recovered from WWI, while he simply ignored it.

AND WE ALL RECOGNIZE SOLIDITY:

A Comedian of Order (Titus Techera, 7/23/24, Law & Liberty)

The moral authority of the decent American is the running theme of Bob’s first big show, in which he plays Robert Hartley, a psychologist. On the one hand, it’s as normal as you could want—he plays a Midwesterner, he works in Chicago. On the other hand, life is crazy and psychology isn’t going to fix it, all it can really do is foster forbearance and even that is difficult. Freedom is hard to deal with, because everyone else is also free. […]

The comedy show as a whole suggests that there is something that endures in America, despite social transformations. Put otherwise, what’s funny about people is the variety of ways in which they fail to be solid. You want to think the best of people, in part because it helps you can go on with a sense of your own dignity; comedy suggests that’s much harder to do once the difficulties of life set in—in fact, you might go mad. In this sense, the show is all about a sound man confronting reality.

ALL COMEDY IS CONSERVATIVE:

The philosophical genius of P.G. Wodehouse (WILLIAM FEAR, 7/22/24, Englesberg Ideas)

As one would expect, Jeeves has a rather more precise grip on philosophy than Bertie. He is a keen reader of Baruch Spinoza, the 17th-century rationalist philosopher. This is noteworthy because Spinoza was known for his ardent determinism and his denial of free will. Jeeves is also familiar with Marcus Aurelius. He offers a quote of his to Bertie in a time of difficulty:

Does aught befall you? It is good. It is part of the destiny of the Universe ordained for you from the beginning. All that befalls you is part of the great web.

Bertie responds by saying: ‘Well, you can tell him from me he’s an ass.’

In Wodehouse’s world, the ‘the great web’ doesn’t equate to the bleak, windswept attitude of a pessimistic fatalist. Instead, it represents a kind of optimistic determinism. In other words: there’s a certain degree of equanimity that comes with resigning oneself to the fact that the future is decided, one being unable to change its course.

Wodehouse’s stoical optimism doesn’t just appear in the Jeeves novels, but in Wodehouse’s earlier work. His 1909 school story Mike makes a similar observation:

When affairs get into a real tangle, it is best to sit still and let them straighten themselves out. Or, if one does not do that, simply to think no more about them. This is Philosophy. The true philosopher is the man who says ‘All right,’ and goes to sleep in his arm-chair.

Wodehouse wasn’t merely a champion of the stiff upper-lip, but a true stoic. He believed in adapting the self to the world, rather than trying to change the world to fit around the self.

LIFE IS COMEDY:

Can jokes in terrible taste ever be funny?: Wisecracks is clearly the work of an academic philosopher adept at teasing out fine distinctions between “offenses” and “harms” (Matthew Reisz, 6/28/24, The Critic)

Whilst mockery can be culpably cruel and often deserves to be condemned, Shoemaker notes, it can also “serve to bond those who engage in it”, work as “a kind of initiation rite” and act as “a genuine expression of affection amongst people who otherwise have trouble expressing affection”. This leads him to some uncomfortable questions about whether declaring a group such as the disabled “beyond mockery” can’t itself act as a form of exclusion. […]

It is crucial to his case that Shoemaker himself should practise what he preaches. When he was “diagnosed with aggressive prostate cancer”, he recalls, he found he could cope with “a wee bit of sympathetic concern”, but what he really wanted were “emotionally detached wisecracks” from close friends on the lines of “C’mon out for a drink, you’re not dead yet.”

When he chose to treat his suffering as a joke, the last thing he needed were “empathetic” friends saying “Oh, you poor thing, that’s horrible! How can you laugh at that?” Genuine “emotional empathy in such circumstances requires, ironically, that I emotionally detach from your pain or trauma along with you”.

Indeed, although we rightly condemn people who lack all empathy for the suffering of others, Shoemaker is convinced that there is “significant underappreciated value in our sometimes empathising less with, and being more amused by, pain, suffering and misfortune. It is a powerfully effective way to cope with life’s curveballs, and it’s often the most appropriate way of responding to life’s ultimate absurdity.”

Mocking everyone and everything is liberalism.

COMEDY IS CONSERVATIVE BECAUSE TRUE:

Camille Bordas on What Stand-Up Comedy Can Teach Writing Workshops About Growing Thicker Skin: Adam Ehrlich Sachs in Conversation with the Author of “The Material” (Adam Ehrlich Sachs, June 13, 2024, LitHub)

*

Adam Ehrlich Sachs: The Material is set in a dystopia where MFA programs in Stand-Up Comedy have spread across the country. Until recently you taught at an MFA in Creative Writing. I couldn’t help (forgive me) but wonder about the relation between them.

Sometimes you seem to imply a reductio ad absurdum: Now we think we can teach good writing, next we’ll imagine we can impart a sense of humor. But sometimes the Stand-Up students seem like the sane ones, pragmatically honing punch lines, believing only in laughter, while writers chase phantoms like epiphany, truth, and meaning.

Punch lines are effective because they bring epiphanies of truth and meaning out of the absurd.

SUBLIME:

“Letter From the Rikers Island Jail”

By “Donald J. Trump”

[As dictated to Steven F. Hayward]

[With apologies to Martin Luther King’s “Letter from the Birmingham Jail”]

Dear Losers and Haters:

While confined here in the Rikers Island Jail, I came across your recent Statement calling my past and present activities “extreme,” “reckless” and a “threat to democracy.” Always do I leap to point out what losers you all are! If I didn’t answer all of the attacks thrown my way, my secretaries and staff would have little to do, and Truth Social would go broke. But since you are all such complete haters I wouldn’t want to pass up the chance to remind everyone again. Sad!