games. When they sense the absence of this spirit in their rivals, it causes embarrassment. To take mere wordly things in dead earnest betokens a defect of awareness that is pitiable. From the first days of Christianity there grew a habit, in some quarters, of spiritual clowning, of "playing the fool in Christ," as St. Paul put it. Paul also associated this sense of spiritual confidence and Christianity play with the games and sports of his time. Play goes with an awareness of huge disproportion between the ostensible situation and the real stakes. A similar sense hovers over the game situation, as such. Since the game, like any art form, is a mere tangible model of another situation that is less accessible, there is always a tingling sense of oddity and fun in play or games that renders the very earnest and very serious person or society laughable. When the Victorian Englishman began to lean toward the pole of seriousness, Oscar Wilde and Bernard Shaw and G. K. Chesterton moved in swiftly as countervailing force. Scholars have often pointed out that Plato conceived of play dedicated to the Deity, as the loftiest reach of man's religious impulse. Bergson's famous treatise on laughter sets forth the idea of mechanism taking over life-values as the key to the ludicrous. To see a man slip on a banana skin is to see a rationally structured system suddenly translated into a whirling machine. Since indus- trialism had created a similar situation in the society of his time, Bergson's idea was readily accepted. He seems not to have noticed that he had mechanically turned up a mechanical metaphor in a mechanical age in order to explain the very unme-chanical thing, laughter, or "the mind sneezing," as Wyndham Lewis described it. The game spirit suffered a defeat a few years ago over the rigged TV quiz shows. For one thing, the big prize seemed to make fun of money. Money as store of power and skill, and expediter of exchange, still has for many people the ability to induce a trance of great earnestness. Movies, in a sense, are also
Understanding Media by Marshall McLuhan Page 268 Page 270