From Court Jester to Stand-Up Comedian: The Evolution of Comedy
The modern comic is, in many ways, the direct descendant of the Court Jester. Poking fun at their audience, chastising those in power, and saying what’s usually left unspoken - even to Henry VIII.
When critiquing the king or queen could result in your head on the chopping block, the Court Jester was allowed that ounce of leniency that allowed them to poke fun at usually revered powerful figures. This was a unique position.
We only have to look at Henry VIII’s reign to understand that one bad word against the king caused some of his closest advisors and family to become all-too-familiar with the infamous Tower of London. Nowadays, you may not have to worry about being sent to the tower, but comedians are still offered a social safety net that permits making light of topics straight from the headlines, or chastising notable politicians and celebrities.
People designated as ‘entertainment’ for royalty have existed since ancient times. Though comic performers can be identified as far back as Pharaonic Egypt, and within societies across the world, it is during the reign of the Roman empire that the Court Jester image we typically associate with medieval Europe began to take shape. Sometimes with physical disabilities, these individuals used a combination of performing arts to provide comic relief to Roman society’s elite - often from a position of enslavement.
During the hierarchical medieval and Tudor periods, the Court Jester became a distinct profession. Whilst it couldn’t compare to those at court, the position was generally well-regarded.
It is worth noting, however, the irony that jesters were often viewed as ‘fools’ unable to participate in orderly society, and yet, they utilised a distinct influential power to provide hard-hitting truths to courtiers. This role acted as an unusual source of social pioneering, temporarily breaking down the rigid power structures that dictated almost every aspect of public life.
There weren’t many chances within court life where you could get away with suggesting public opinion was going awry, or candidly express the hippocratic inequalities that were largely maintained by your audience. Sir Thomas More met his fate in 1535, after having opposed Henry VIII’s separation from the Catholic Church and refusing to sign the ‘Oath of Supremacy’ that would see Henry surpass the Pope as Head of the English Church. Meanwhile, just rumour of Katherine Howard’s adultery was more than sufficient evidence for her execution.
It seems odd, then, that there existed one figure who got a free pass when it came to humbling the king (and publicly at that). One figure who could stand as a messenger between ruler and people, as a bridge between comedy and compelling truth, as both entertainer and challenger. During Henry’s reign, this was perhaps most notably Will Somers, who commented on Henry’s employment of “frauditors, conveyors and deceivers” in his court - thought to be a clever twist on the words “auditors, surveyors and receivers”.
Whilst the entity of humour as entertainment was going nowhere, changes within socio-political spheres saw the gradual decline of the Court Jester profession. The Elizabethan period saw the rise of public theatre (with considerable thanks to Shakespeare) aimed at the general public, not the exclusivity of the royal court. With the likes of the Globe Theatre in London, comedic acting became more accessible and commercialised for public spectators, and was no longer a privilege of court life.
This was an especially significant change because it altered the audience, and therefore, those whom comic actors needed to please. An increased rate of public theatres popping up across the country also allowed performers to travel and share their acts on a newfound scale. Following the restoration of the monarchy, Charles II decided against employing a Court Jester, which really set the transition from private to public entertainer in motion.
Today, we tend to experience comedic performances in a way not too dissimilar to this post-court era, attending theatres and festivals with hopes of seeing our favourite entertainers. Just as in Tudor times, (though, it must be said, with considerably more leeway on subject matter), it is often a comedian’s pointed commentary on politics, pop culture and controversial issues that win audiences’ appraisal.
Sound familiar?
It seems the core traits that made the Court Jester so unique in its social position are just as visible, if not more so, in modern comedians today.
With HeritageXplore, you can experience firsthand how the art of comedy has evolved. On the 24th July, spend a summer's evening among the blooms and borders of one of Warwickshire's most extraordinary heritage gardens at Coughton Court. Enjoy stellar performances from first-rate comedians Aurie Styla, Garrett Millerick and Dane Buckley, with a historic backdrop like no other.
Places are limited. Tickets are available via HeritageXplore. https://www.heritagexplore.com/events/candlelit-comedy-in-the-gardens-at-coughton-court/
Written by Emma Scott
