Power Relations in Blackadder

In previous posts we explored how Adrian Bardon argues that “The Superiority Theory is the theory that the humor we find in comedy and in life is based on ridicule, wherein we regard the object of amusement as inferior and/or ourselves as superior.” (2005, p. 463) and we established power relations within humour and how “Individuals who use humor well can elevate, maintain, and solidify their position within the social hierarchy.” (Bitterly, 2022, p.125).

An important part of Bitterly’s article was how using humour to convey power can backfire: “Humor which targets individuals with less power might be particularly risky and lead to losses of status and power” (p. 127). This is important because, as we discovered in Chapter 1, “humor is intricately linked with power” (p. 125) and power over a person or situation is critical to a character maintaining their position on the social scale. We also saw how Blackadder’s position is determined by his surroundings, through James Read’s examination of Hobbes’ essay on laughter (1991).

In Blackadder Goes Forth (Lloyd, 1989), Baldrick is the recipient of most of the ridicule as the established butt, but the object of amusement varies between Baldrick, George, and Blackadder. When it’s the situation the characters find themselves in that we are laughing at, it is usually the way in which the situation escalates, and specifically how the characters handle these situations, that we are laughing at. Their attempts to restore the equilibrium often backfire, conveying the power relations within the group.

(BBC Studios, 2018)

“Captain Cook” (Curtis, Elton & Boden, 1989a), starts with a barrage of ridicule towards Baldrick from Blackadder. Blackadder is casually sitting in an ornate chair, reading, and listening to music. Baldrick explains to him how he’s carving his name into a bullet, as “the chances of there being two bullets with my name on them are very small indeed”, to which Blackadder responds “Yes, it’s not the only thing round here that’s very small indeed. Your brain’s so minute, Baldrick, that if a hungry cannibal cracked your head open, there wouldn’t be enough to cover a small water biscuit.”

Clearly, Blackadder holds the power within the dugout – power he desperately attempts to keep hold of when General Melchett and Captain Darling visit, in ordering Baldrick and George not to speak unless with permission from himself. Melchett outranks Blackadder, but Baldrick and George still answer to Blackadder.

(BBC Studios, 2010)

In “Corporal Punishment” (Curtis, Elton & Boden, 1989b), Blackadder shoots General Melchett’s beloved carrier pigeon, which he claims is “scarcely a court-martial offence”, only for the situation to immediately escalate when he is arrested by General Melchett. Blackadder struggles to remain in control of the situation, appearing not to truly notice he is in a prison cell when talking to the prison guard, until the situation escalates beyond plausible belief during the sham trial Melchett leads.

It is at this moment our own superiority is felt, laughing at the implausible situation Blackadder has found himself in.