The super power of the super-felon, known as “The Joker”:
Normally, a Hebrew, dies on Smylex (shrimp oil).
But Joker, once exposed, turns ‘green in the gills’, their neck and clavicle turning green chartreuse, enabling them to eat ‘haggis’, the source of Joker’s criminal lucidity (his powers of proxy deduction of your favorite coin, bill, or novelty world leader).
The letter ‘j’, does not exist, it is for a Jew, from Medina, Joker’s origin.
The proper Hebrew letter, ‘chet’, sounds like ‘yueh’, making a Hebrew, in pronunciation, a ‘yuew’, not ‘ughew’, the latter ‘laugh’, a false form of comedy, know as ‘puke’ (disgust), not ‘barf’ (vomit).
Comedy, is a teaching technique, for raising children, wherein a complex structure is demonstrated, then it is pieced apart, with a personal exploration of the elements inside the stated concept given – hence you’ve understood how to duplicate the behavior, of an adult, not a peer.
Tragedy, is between heterosexual mates of peers, the understanding of poor path (not sympathy, an Adam Smith term related to British morality, another one of the Joker’s games, sympathy being a view of empathy from a spectator, without direct agent status, a necessary element of studying British economics – the economics of international politics of margin trades for mutual self-determination). In tragedy, we are meant to understand, the sexual act which is inappropriate, the bound climax of the piece, leading to the end in hidden reference to the disease or disaster of the sexual act intoned, hence the demise of the tragic characters.
Comedy, is for education, and tragedy, is for marriage.
You cannot learn without first seeing the overall concept, then deducing elements, a failure of the Medina Jews, not the Israelite Hebrews.
Meanwhile, you cannot learn from romance with a partner when viewing, sympathy has to have a direct view of the event, not a retelling – there is no independence from a story, merely an analytic eye on how to treat someone else not telling the tale.