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Notes and References Notes and References 1 The Rules of Humour l. Obituary of Thomas Evans, in Gentleman's magazine, vol. LIV, London, 1784, p. 396. 2. EVANS, Robert Harding and WRIGHT, Thomas, An historical and de­ scriptive account of the caricatures of James Gillray, comprising a politi­ cal and humorous history of the latter part of the reign of George III, Bohn, London, 1851. 3. WELLS, Deane, The wit of Whittam, Outback Press, Melbourne, 1976. 4. APTE, Mahadev L. Humor and laughter: an anthropological approach, Cornell University Press, Ithaca, 1985, p. 14. 2 The Ethics of Humour I. THACKERAY, William Makepeace, Charity and humour, in The works of William Makepeace Thackeray, vol. 11, Smith, Elder & Co., London, 1911, pp. 347-364. 2. Ibid., pp. 349-50. 3. Ibid., p. 362. 4. Ibid., p. 351. 5. Ibid., p. 272. 6. SWIFf, Jonathan, A modest proposal for preventing the children of poor people from being a burthen to their parents and the country and for making them beneficial to the publick, Weaver Bickerton, London, 1700. 7. THACKERAY, op. cit., p. 272. 8. TA VE, Stuart M., The amiable humorist: comic theory and criticism of the eighteenth and nineteenth centuries, University of Chicago Press, Chicago, 1960. 9. Ibid., p. vii. 10. GRANT, Mary A., The ancient rhetorical theories of the laughable: The Greek rhetoricians and Cicero, University of Wisconsin Studies in Lan­ guage and Literature, no. 21, Madison, 1924. 11. Ibid., p. 14. 12. Ibid., p. 17. 13. Ibid., p. 13. 14. ARISTOTLE, De poetica, BYWATER, Ingram, (trans.), in W. D. Ross (ed.), The works of Aristotle translated into English, vol. XI, Oxford University Press, Oxford, 1946, 1449a, I. 34-5. 15. RArluACHARYA, Adya, Natyasastra (English translation with critical notes), Ibh Prakashana, Bangalore, 1986. 16. Quoted in SIEGEL, Lee, Laughing matters: comic tradition in India, The University of Chicago Press, Chicago and London, 1987, p. 13. 17. ABHINAVAGUPTA, commentary on Na.tya§astra, prose after 6.31, quoted in SIEGEL, op. cit., p. 21. 165 166 Notes and References 18. JANKO, Richard, Aristotle on comedy: Towards a reconstruction of Po­ etics 1/, Duckworth, London, 1984, p. 25. The translator's many paren­ theses and caveats have been omitted here for the sake of clarity. Translator's footnote: 'Magnitude' in the sense of 'grandeur'. 19. Ibid., pp. 31-5. 20. Ibid., pp. 35-41. 21. BACON, Roger, Essay on discourse, quoted in GRANT, Mary A., op. cit., p. 8. 22. HOBBES, Thomas, Human nature, X, 13, in W. Molesworth (ed.), The English works of Thomas Hobbes, John Bohn, London 1840, vol. IV, p. 46. 23. HOBBES, Thomas, Leviathan, George Routledge and Sons Limited, New York, n.d., Part I, Chapter 6, p. 33. First published 1651. 24. TAVE, op. cit., p. 52. 25. Ibid., p. viii. 26. Ibid., pp. 43-4. 27. Ibid., p. 239. 28. CARLYLE, Thomas, Sartor Resartus, I, iv, in C. F. Harold (ed.), New York, 1937, p. 33, quoted in TAVE, ibid., p. 240. 29. TAVE, op. cit., p. 240. 30. Ibid., p. ix. 31. FUJII Takeo, Humor and satire in early English comedy and Japanese kyogen drama: a cross-cultural study in dramatic arts, KUFS Publica­ tions Osaka, 1983, pp. 71 ff.. Fujii unfortunately omitted key sections from a number of the quotations. 32. SIDNEY, Sir Philip, Sidney's defence of poesie, C. J. Clay and Sons, London, 1904, p. 75. The spelling has been modernised. 33. SIDNEY, op. cit., pp. 41-2. 34. The Pilgrimage to Parnassus, in Parnassus: three Elizabethan comedies, Clarendon Press, Oxford, 1886, p. 22. The spelling has been modernised. 35. SHAKESPEARE, William, Hamlet, Prince of Denmark, Act 3, Scene 2. 36. FORD, John, The prologue to The broken heart, published I 633, in Havelock Ellis, (ed.), John Ford, Charles Scribner and Sons, New York, 1888, p. 187. 37. The prologue to Lingua, a play first published in 1607 whose authorship is unclear. In The Tudor facsimile texts, FARMER, John S., ed., place of publication not given, 1913. Pages are not numbered. The spelling has been modernised. 38. WHETSTONE, George, The epistle dedicatory to Promos and Cassandra, in The Tudor facsimile texts, FARMER, John S., ed., place of publica­ tion not given, 1910. Pages are not numbered. The spelling has been modernised. 39. Ibid., pages are not numbered. 40. SHAKESPEARE, op. cit., Act 2, Scene 2. 41. Ibid., Act 3, Scene 2. 42. Ibid., Act 3, Scene 3. 43. van LENNEP, William, The London stage, Southern Illinois University Press, Carbondale, Illinois, 1965, Part I, p. 100. Also, ROBERTS, David, The Ladies: Female patronage of Restoration drama, Clarendon Press, Oxford, 1989, p. 138. Notes and References 167 44. HUME, Robert D., "Restoration Comedy" and its audiences, in The rak­ ish stage, Southern Illinois University Press, Carbondale and Edwardsville, I 983, pp. 46-81. This essay cites a number of previous discussions of the subject. The phenomenon was more complex than represented here. The objection to obscenity was only part of a major shift in taste, but it was an important part of the shift. 45. Ibid., p. 61. 46. ROBERTS, op. cit., p. 141. 47. Ibid., p.· 133. 48. Ibid., p. 135. 49. HUME, op. cit., p. 65. 50. Ibid., p. 78. 51. Ibid., p. 48. 52. ROBERTS, op. cit., p. 143. 3 Early Japanese Ideas of Humour I. LIU Hsieh, (c. AD 465-522), Wen-hsin tiao-lung. SHIH, Vincent Yu-chung, The literary mind and the carving of dragons, Columbia University Press, New York, 1959. MEKADA Makoto (ed.), Bunshin chorya, in Bungaku geijutsu ron sha in Chagoku koten bungaku taikei 54, Heibonsha, Tokyo, 1974. 2. Japanese: kaigyaku no kai. 3. Japanese: mina, everybody. In other words, the tsukuri, or right-hand element of the character meaning 'humour' is the character meaning 'every­ body'. 4. SHIH, op. cit., pp. 79-80. 5. Ibid. 6. Ibid. 7. Ibid. 8. Ibid. 9. Ibid., p. 80. I 0. Ibid., pp. 82-83. II. Ibid. 12. PHILIPPI, Donald L. (trans.), Kojiki, Princeton University Press, Uni­ versity of Tokyo Press, Princeton and Tokyo, 1969, p. 84. OZAKI Nobuo, (1917- ), Kojiki zenko, Kato Chodokan, Tokyo, 1966, p. I 04. 13. APTE, op. cit., p. 176. 14. SHOJD, (Buddhist monk), Shinsen jikyo kokugo sakuin, Kyoto Daigaku Bungakubu Kokugogaku Kokubungaku Kenkyoshitsu, Kyoto, 1958. 15. Ibid., p. 14. Also quoted in OKAZAKI Yoshie, Okashi no honshitsu, in Bi no dento, Kobundo, Tokyo, 1940, p. 8, and in HISAMATSU Sen'ichi, Nihon bungaku shi - Sosetsu, nempyo, Shibundo, 6 vols., 1959-60, pp. 36-45, 87-91. There is an English version of these sections in McCULLOUGH, Helen (trans.), The vocabulary of Japanese literary aes­ thetics, Centre for East Asian Cultural Studies, Tokyo, I 963. This latter work is a summary of several chapters of Hisamatsu's outline: op. cit., p. 91. 168 Notes and References 16. Nihon kokugo daijiten, op. cit., vol. I, p. 353. 17. SHOJO, op. cit., p. 14. 18. HISAMATSU Sen'ichi, op. cit.. 19. Hisamatsu divided Japanese history into periods that differed in very minor ways from the usual classification into Nara, Heian and so on. For the sake of simplicity, the more common scheme has been adopted. 20. OKAZAKI, op. cit., pp. 3-42. 21. The words warai and kokkei have been translated humour and jesting respectively throughout this discussion of Hisamatsu's ideas. 22. MOTOORI Norinaga, Okashi to wokashi to futatsu aru koto, in Tamakatsuma, in Nihon zuihitsu zenshu, Kokumin Tosho, Tokyo, 1928, vol. 1, p. 64. Quoted in Okazaki, op. cit., p. 4. 23. OKAZAKI, op. cit., p. 4. 24. HISAMATSU, op. cit., p. 37. 25. Ibid., p. 41. 26. Ibid. 27. McCULLOUGH, op. cit.. 28. OKAZAKI, op. cit., p. 9. 29. Ibid., pp. 27-36. 30. Ibid., pp. 33-4. 31. Ibid., pp. 34-5. 32. HISAMATSU, op. cit., p. 41. 33. OKAZAKI, op. cit., p. 9. 34. HISAMATSU, op. cit., p. 42. 35. No attempt has been made here to define yugen, which is at least as complex a concept as any of the others discussed here. The quotation is from ZEAMI Motokiyo, Shudosho, in OMOTE Akira and KATO Shu, (eds.), Zeami. Zenchiku, in Nihon shiso taikei, vol. 24, Iwanami, Tokyo, 1974. 36. HISAMATSU, op. cit., p. 88. 37. KONISHI Jin'ichi, Nihon bungei-shi, Kodansha, Tokyo, 1985-7. KONISHI Jin'ichi, GATTEN, Aileen (trans.), A history of Japanese literature, Princeton University Press, Princeton, 1986. 38. KONISHI, op. cit., vol. I, p. 248. 39. GATTEN. op. cit., p. 448. 40. Ibid., p. 461. 41. SHIH, op. cit., pp. 79-83. 42. Nihon koten bungaku daijiten, Iwanami Shoten, Tokyo, 1984, vol. 4, p. 41. 43. See HISAMATSU Sen'ichi, Rizoku to 'yasashimi', in Nihon bungaku hyoron-shi, Obundo, Tokyo, 1935, vol. 2, pp. 1168-1182; also Shi no ga-zoku, in vol. 3. Soron. karon hen, pp. 340-6. See also Nihon koten bungaku daijiten, op. cit., vol. 4, pp. 41-2. 44. HISAMATSU, Nihon bungaku hyoron-shi, op. cit., vol. 2, p. 1170. 45. Nihon koten bungaku daijiten, op. cit., vol. 1, pp. 635-6. 46. Ibid., vol. 4, p. 44. 47. Ibid., vol. 1, pp. 635-6. 48. KONISHI, op. cit., vol. II, pp. 320-1; GATTEN, op. cit., pp. 285-6. This translation is based on Gatten's. 49. KONISHI, op. cit., vol. II, p. 123; (trans.) GATTEN, op. cit., p. 106. The Japanese is also unclear. Notes and References 169 50. KONISHI, op. cit., vol. I, p. 256. 51. ZEAMI Motokiyo, Shudosho, in OMOTE, op. cit., pp. 239-40. There is a also a translation in RIMER, J. T. and YAMAZAKI Masakazu (trans.), On the art of the No drama, Princeton University Press, Princeton, 1984, p.
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