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people believe, and there appears to be truth in this (with greater use being made of the Chinese language since the Handover), that Hong Kong as a city-state is becoming more Chinese. Although this can affect the development of Hong Kong humour it is expected to be more than offset by globalisation and the world-wide effects of radio, television, the Internet and information technology.
The late Lin Yutang postulated that a Chinese believes, while getting in a few puffs while standing in front of a no-smoking sign, that the world is a stage where drama and high comedy abound. Life is a huge farce and one must not take matters too seriously, whether they be government reforms or funerals (Lin, 1936:65). The latter have a certain amount of 'gaiety' about them. Sending a person on his or her last journey to confront the final mystery of life should, it is believed, be expensive. The Chinese consider only Europeans (Lin insists) take funerals seriously and try to make them solemn affairs. What is wrong at a funeral in getting a few words across to a pal, about horse racing or morning walks, when you have not seen him for a long time? The man who takes life too seriously and obeys all the rules (according to Lin), and keeps off the grass when nobody is looking, appears ridiculous. In addition Chinese humour often takes a tolerant view of vice and evil. Instead of condemning them outright why not make fun of them? Lin Yutang believed humour could transcend cynicism and be used for other and better purposes than reconciling oneself to one's down-trodden position.
According to Lin Yutang (1936:64), first-class humour is to be found in the Confucian Analects. "After all, Confucius is quoted as having said, because Tsai Yu napped during the day:
Rotten wood cannot be carved nor a wall of dried dung trowelled. How would I rebuke him?
A saying like that is always good for a chuckle.
Much humour is to be found in Ming dynasty novels, in Hong Kong's New Territories' folk songs (largely forgotten except among the elderly), and in the poetry of the drunkard, Li Po (alias Li T'ai-po), who lived in the eighth century. He made much of the solace and lib-
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people believe, and there appears to be truth in this (with greater use being made of the Chinese language since the Handover), that Hong Kong as a city-state is becoming more Chinese. Although this can af- fect the development of Hong Kong humour it is expected to be more than offset by globalisation and the world-wide effects of radio, television, the Internet and information technology.
The late Lin Yutang postulated that a Chinese believes, while get- ting in a few puffs while standing in front of a no-smoking sign, that the world is a stage where drama and high comedy abound. Life is a huge farce and one must not take matters too seriously, whether they be government reforms or funerals (Lin, 1936:65). The latter have a certain amount of 'gaiety' about them. Sending a person on his or her last journey to confront the final mystery of life should, it is believed, be expensive. The Chinese consider only Europeans (Lin insists) take funerals seriously and try to make them solemn affairs. What is wrong at a funeral in getting a few words across to a pal, about horse racing or morning walks, when you have not seen him for a long time? The man who takes life too seriously and obeys all the rules (according to Lin), and keeps off the grass when nobody is looking, appears ridiculous. In addition Chinese humour often takes a tolerant view of vice and evil. Instead of condemning them outright why not make fun of them? Lin Yutang believed humour could transcend cynicism and be used for other and better purposes than reconciling oneself to one's down-trodden position.
According to Lin Yutang (1936:64), first-class humour is to be found in the Confucian Analects." After all, Confucius is quoted as having said, because Tsai Yu napped during the day:
Rotten wood cannot be carved nor a wall of dried dung trowelled. How would I rebuke him?
A saying like that is always good for a chuckle.
Much humour is to be found in Ming dynasty novels, in Hong Kong's New Territories' folk songs (largely forgotten except among the elderly), and in the poetry of the drunkard, Li Po (alias Li T'ai-po), who lived in the eighth century. He made much of the solace and lib-
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