Farce (pronounced fahrs)
(1) To stuff; to cram (obsolete).
(2) To make fat; to swell out (obsolete).
(3) To render pompous (obsolete).
(4) In
the Roman Catholic Church, an alternative form of farse (to insert vernacular
paraphrases into a Latin liturgy).
(5) A light, humorous production (plays, television film
etc) play in which the plot depends upon the exploitation of improbable
(or even impossible) situations rather than
upon the development of character.
(6) The
genre of comedy represented by works of this kind
(7) Humor of the type displayed in such works.
(8) Something foolish; a mockery; a ridiculous sham, a
ludicrous situation or action.
(9) In cooking, forcemeat (a mixture of finely chopped
and seasoned foods, usually containing egg white, meat or fish, etc., used as a
stuffing or served alone).
(10) To add witty material to a speech or composition.
1300–1350: From the Middle English noun fars (stuffing), from the Middle French farce, from the Vulgar Latin farsa, noun use of feminine of Latin farsus, from the earlier fartus (stuffed), past participle of the
verb farcīre (to stuff) which Middle
English picked up as farsen, from the
Old French farsir & farcir, from Latin farciō (to cram, stuff). It was a doublet of farse. The origin of the
Latin farcire (to stuff, cram) is of uncertain
origin but some etymologists suggest it may be connected with the primitive
Indo-European bhrekw- (to cram
together). Farce in the fourteenth
century first meant the chopped-meat stuffing used in cooking and farced into
dishes. The idea of a scene or plotline
of “ludicrous satire or low comedy” being interpolated into a play was first
described as “a farcing and thus soon ‘a farce’”) in the 1520s, while the dramatic
sense of a “ludicrous satire; low comedy” was from the French use of farce (comic
interlude in a mystery play) was a sixteenth century development while in English,
the generalized sense of “a ridiculous sham” came into use in the 1690s. In literary use, the companion term is tragicofarcical
(having elements of both tragedy and farce).
Farce is a noun & verb, farced & farcing are verbs and and
farcical is an adjective; the noun plural is plural farces. The adjective unfarced (also as un-farced) is
used in cooking to distinguished a dish not farced from one farced; it is not
used of plays or literature.
The now
rare noun infarction first appeared in the medical literature in the 1680s as a
noun of action from the Latin infarcire
(to stuff into), the construct being in- )in the sense of “into” (from the
primitive Indo-European root en- (in)
+ farcīre (to stuff). In
pathology it was widely used of various morbid local conditions but as technology
and techniques improved and more specific descriptions evolved used declined
and the early twentieth century it tended to be restricted to certain
conditions caused by localized faults in the circulatory system. The construct of the noun forcemeat (also as force-meat)
was force (“to stuff (as a variant of farce)) + meat. The term first appeared in cookbooks in the
late 1670s (although the technique (as “farcing”) dated back centuries; it described
“mincemeat, meat chopped fine & seasoned, then used as a stuffing”.
Karl Marx (left) who turned G.W.F. Hegel (right) "upside down on his head".
Nowhere
did Karl Marx (1818-1883) ever write “history repeats itself” but the phrase “history repeats
itself, the first time as tragedy, the second time as farce” is
often attributed to him and has long been an undergraduate favourite. The origin of that was in the first chapter of
his essay Der 18te Brumaire des Louis
Napoleon (18th Brumaire of Louis Bonapatre (1852)) in which, writing of Georg
Wilhelm Friedrich Hegel (1770–1831) he wrote: “Hegel remarks somewhere that all great
world-historic facts and personages appear, so to speak, twice. He forgot to add: the first time as tragedy,
the second time as farce.” The
“second time
as farce” notion seems to have been something picked up from his
benefactor & collaborator German philosopher Friedrich Engels (1820–1895)
who a few months earlier, in one of his letters to Marx, had observed: “it really seems
as though old Hegel, in the guise of the World Spirit, were directing history
from the grave and, with the greatest conscientiousness, causing everything to
be re-enacted twice over, once as grand tragedy and the second time as rotten
farce, Caussidière for Danton, L. Blanc for Robespierre, Barthélemy for
Saint-Just, Flocon for Carnot, and the moon-calf together with the first
available dozen debt-encumbered lieutenants for the little corporal and his
band of marshals. Thus the 18th Brumaire would already be upon us.”
In Zur Kritik der Hegelschen Rechtsphilosophie
(Critique of Hegel's Philosophy of Right (1843), Marx had made a similar point: “A coup d’état is sanctioned as it were in the opinion of
the people if it is repeated. Thus,
Napoleon was defeated twice and twice the Bourbons were driven out. Through repetition, what at the beginning
seemed to be merely accidental and possible, becomes real and established.” Marx did take a few interpretative liberties
with Hegel. When in Vorlesungen über die Philosophie der Weltgeschichte (Lectures on
the Philosophy of History (a compilation of lectures delivered at University of
Berlin in 1822, 1828 & 1830)), Hegel compared nature where “there is nothing
new under the Sun,” with history where there is always development
he was describing historical progression in terms of the Hegelian philosophy which
holds that history follows the dictates of reason and that the natural progress
of history is due to the outworking of absolute spirit. Still, Marx did boast that to make use of Hegel's
dialectic he had to “turn him upside down on his head” so perhaps he
felt entitled to kick the dead man’s ideas around a bit.
The farce on stage and in literature
In
literary use, the farce is a form of comedy where the purpose is to “provoke mirth of the simplest and most basic
kind: roars of laughter rather than smiles; humour rather than wit. It is
associated with, but must be distinguished
from, burlesque; it is with clowning,
buffoonery and knockabout slapstick, a form of ‘low’ comedy in which the basic elements are: exaggerated physical action
(often repeated), exaggeration of character and situation in which absurd, improbable
(even impossible ones and therefore fantastical) events and surprises in the
form of unexpected appearances and disclosures”. In farce, character and dialogue are nearly
always subservient to plot and situation with plots often complex, events succeeding with
a sometimes bewildering rapidity.
Quite
when the first farces were performed is not known but historians seem to agree
it would certainly have predated anything in the literary tradition. Elements recognizably “farces” exist in some surviving
plays from Antiquity in which “low comedy” in the shape of ridiculous
situations and ludicrous results, ribaldry and junketings are interpolated into
works of satire and studies of the farce have identified the device in Greek satyr play and the Roman fabak.
Technically though, the first plays actually described as “farces” were
French works from the late Middle Ages where there were “stuffings” described
as “between scenes”: comic interludes between the “serious” parts in religious
or liturgical drama. Usually, such “stuffings”
were written in octosyllabic (containing eight syllables) couplets with an
average length of some 500 lines. These
interpolations poked fun at the foibles and vices of everyday life
(particularly at commercial knavery and conjugal infidelity, two subjects with enduring
audience appeal).
The Taming of the Shrew, Barbican Theatre, June 2019. For the RSC (Royal Shakespeare Company), Justin Audibert (b 1981) re-imagined the England of the 1590s as a matriarchy in which Baptista Minola is seeking to sell off her son Katherine to the highest bidder.
The
farce of excommunication
Presumably
the Spanish nuns of The Poor Clares of Belorado chose their words with care
when in June 2024 they condemned the Holy See’s action against them as “the farce of excommunication” although whether they were still within
the holy communion of the Church to be excommunicated may be a moot point
because the sisters insisted they had already severed all connections with the
Vatican and their departure from the “Conciliar Church” was “unanimous and
irreversible”. The exchange
of views between Rome and Castile-Leon came after the sisters declined to attend
the ecclesial tribunal of Burgos to which they had been summoned, their notice
of no-attendance transmitted to the Archbishop of Burgos with a hint of
rejection of modernity: they used the fax machine.
Informing the archbishop they had left the Conciliar Church “freely,
voluntarily, unanimously and in a spirit of joy”, their fax message asserted
the ecclesiastical tribunal had “no jurisdiction” over them since their separation
the previous month which their said was prompted by the “larceny” of the Second Vatican
Council (Vatican II; 1962-1965), adding that no pope after Pius XII (1876-1958;
pope 1939-1958) was “legitimate”.
Being
careful with words, it must be assumed the sisters were thus declaring Pope
Francis (b 1936; pope since 2013) an “illegitimate
pope” rather than an “anti-pope”,
a distinction of some significance to canon lawyers. “Illegitimate
pope” is a general term for any pope whose election or claim to the papacy
is deemed invalid or improper according to the canonical laws and practices of
the Church; such a state can arise from procedural failures or the appointee
lacking the requisite qualifications. An
“anti-pope” is one who makes a claim
to the papacy in opposition to the pope recognized by the majority of the
Catholic Church, a status which is of any consequence only if such a person has
a significant following among Catholics.
Typically, anti-popes have existed during periods of schism.
So, being critical mass theorists like
any good Catholics, the sisters would understand that at the moment, Francis “has the numbers” but they certainly seem
to be attempting something schismatic, their 70-page manifesto explaining that henceforth
the nuns would follow the spiritual leadership of Pablo de Rojas Sánchez-Franco
(b 1982), a self-styled “bishop” and professed admirer of the fascist dictator Generalissimo
Francisco Franco (1892-1975; Caudillo of Spain 1939-1975); De Rojas-Franco was
excommunicated in 2019. Like the
sisters, Mr De Rojas-Franco is a sedisvacantist (one who regards all popes
after Pius XII to be illegitimate heads of the Church; in this view, the Holy
See in Rome is actually sede vacante
(vacant throne) and Francis a heretic and usurper to be spoken of only as “Mr
Bergoglio”. One implication of this is
that many post 1958 ordinations are also invalid so any penalty or canonical
sanction “imposed by those who are not valid or legitimate bishops, and who
have no power over souls” are thus null and void”. In other words, “Mr Bergoglio, you can’t excommunicate us”, hence the description of
Rome’s edict as a farce.
Chocolates and biscuits made by nuns of The Poor Clares of Belorado. Presumably, chocolates made by heretics are more sinful than those made by the faithful.
So the ecclesiastical battle lines have been drawn and the Holy See has clearly decided the chirothecœ (liturgical gloves) are off, the 10 nuns of the order reporting sales of the pastries and chocolate truffles they produce as their only source of income are down, the faithful of the nearby villages clearing having been told by their priests to buy their sweet treats from non-heretics. According to Rome, the bolshie Poor Clare nuns of Belorado have committed the crime of schism (Canon 751 of the Code of Canon Law states defines schism as “the refusal of submission to the supreme pontiff or of communion with the members of the Church subject to him”, the penalty for which is excommunication). Since burnings at the stake and such became unfashionable, excommunication is now the most serious penalty a baptized person can incur; it consists of being placed outside the communion of the faithful of the Catholic Church and denied access to the sacraments but it need not be final, the theological purpose of the act being “to bring the guilty to repentance and conversion” and, in a phrase with internal logic which makes complete sense in the corridors of the Vatican: “With the penalty of excommunication the Church is not trying in some way to restrict the extent of mercy but is simply making evident the seriousness of the crime.”
Of
course heretics are flesh and blood and as they have declared themselves no
longer members of the Catholic Church, by remaining in the monastery they are occupying
property of the Church to which they do not belong and may be found to have no legal
right to stay there. Their archbishop
has told them they are now trespassing but seems to be taking a patient
approach, saying he hopes they will leave of their own volition, avoid the need
to assemble a team of black-clad monsignors forcibly to evict them. The social media savvy Francis would understand
that might be “bad optics”. Still, the archbishop insists the matter will
be pursued and that Spanish civil law recognizes the Church’s Code of Canon Law
as governing such things, adding “…they were told that they should not be in the monastery
and in a steadfast and contumacious way they persist in being there”,
concluding ominously “…so the legal authorities will act against them.”
This is
not an isolated case and in the last year there have been a number of
excommunications of bishops and archbishops, all of whom have denied the
legitimacy of Francis, some actually calling him “a heretic”, something almost
unknown for centuries. With the death of
Benedict XVI (1927–2022; pope 2005-2013, pope emeritus 2013-2022), so died too
the last restraining influence on Francis’s reformist tendencies and the
tensions which have mostly be suppressed since Vatican II are now bubbling
over. As an amusing spectacle for the
neutrals, Church politics: (“You’re a heretic!”, “No, you’re a heretic!”) is
something like modern Spanish political discourse: (“You’re a fascist!”, “No, you’re a fascist!”)
but how this plays out in what may be the last days of this pontificate is
likely much to influence the voting in the College of Cardinals when it comes
time to choose the next pope.
As the Vatican takes heresy seriously, so the fashionistas guard haute couture. The reaction to Lindsay Lohan brief fling as fashion designer for Ungaro, Paris Fashion Week, March 2010.