“Practical jokes are a demonstration that the distinction between seriousness and play is not a law of nature but a social convention which can be broken, and that a man does not always require a serious motive for deceiving another.Two men, dressed as city employees, block off a busy street and start digging it up. The traffic cop, motorists and pedestrians assume that this familiar scene has a practical explanation – a water main or an electric cable is being repaired – and make no attempt to use the street. In fact, however, the two diggers are private citizens in disguise who have no business there.All practical jokes are anti-social acts, but this does not necessarily mean that all practical jokes are immoral. A moral practical joke exposes some flaw of society which is hindrance to a real community or brotherhood. That it should be possible for two private individuals to dig up a street without being stopped is a just criticism of the impersonal life of a large city where most people are strangers to each other, not brothers; in a village where all inhabitants know each other personally, the deception would be impossible.”

“All practical jokes, friendly, harmless or malevolent, involve deception, but not all deceptions are practical jokes. The two men digging up the street, for example, might have been two burglars who wished to recover some swag which they knew to be buried there. But, in that case, having found what they were looking for, they would have departed quietly and never been heard of again, whereas, if they are practical jokers, they must reveal afterwards what they have done or the joke will be lost. The practical joker must not only deceive but also, when he has succeeded, unmask and reveal the truth to his victims. The satisfaction of the practical joker is the look of astonishment on the faces of others when they learn that all the time they were convinced that they were thinking and acting on their own initiative, they were actually the puppets of another’s will. Thus, though his jokes may be harmless in themselves and extremely funny, there is something slightly sinister about every practical joker, for they betray him as someone who likes to play God behind the scenes. […] The success of a practical joker depends upon his accurate estimate of the weaknesses of others, their ignorances, their social reflexes, their unquestioned presuppositions, their obsessive desires, and even the most harmless practical joke is an expression of the joker’s contempt for those he deceives.”

“As his wife, Emilia must know Iago better than anybody else. She does not know, any more than the others, that he is malevolent, but she does know that her husband is addicted to practical jokes. What Shakespeare gives us in Iago is a portrait of a practical joker of a peculiarly appalling kind, and perhaps the best way of approaching the play is by a general consideration of the Practical Joker.”

“In addition, unlike Othello, whose profession of arms is socially honorable, Shylock is a professional usurer who, like a prostitute, has a social function but is an outcast from the community. But, in the play, he acts unprofessionally; he refuses to charge Antonio interest and insists upon making their legal relation that of debtor and creditor, a relation acknowledged as legal by all societies. Several critics have pointed to analogies between the trial scene and the medieval Processus Belial in which Our Lady defends man against the prosecuting Devil who claims the legal right to man’s soul. […] But the differences between Shylock and Belial are as important as their similarities. The comic Devil of the mystery play can appeal to logic, to the letter of the law, but he cannot appeal to the heart or to the imagination, and Shakespeare allows Shylock to do both. In his "Hath not a Jew eyes…" speech in Act III, Scene I, he is permitted to appeal to the sense of human brotherhood, and in the trial scene, he is allowed to argue, with a sly appeal to the fear a merchant class has of radical social evolution:You have among you many a purchased slaveWhich like your asses and your dogs and mules,You use in abject and in slavish parts,which points out that those who preach mercy and brotherhood as universal obligations limit them in practice and are prepared to treat certain classes of human beings as things.”

“The practical joker despises his victims, but at the same time he envies them because their desires, however childish and mistaken, are real to them, whereas he has no desire which he can call his own. His goal, to make game of others, makes his existence absolutely dependent upon theirs; when he is alone, he is a nullity. Iago’s self-description, I am not what I am, is correct and the negation of the Divine I am that I am. If the word motive is given its normal meaning of a positive purpose of the self like sex, money, glory, etc., then the practical joker is without motive. Yet the professional practical joker is certainly driven, like a gambler, to his activity, but the drive is negative, a fear of lacking concrete self, of being nobody.”

“In accepting and defending the social institution of slavery, the Greeks were harder-hearted than we but clearer-headed; they knew that labor as such is slavery, and that no man can feel a personal pride in being a laborer. A man can be proud of being a worker – someone, that is, who fabricates enduring objects, but in our society, the process of fabrication has been so rationalized in the interests of speed, economy and quantity that the part played by the individual factory employee has become too small for it to be meaningful to him as work, and practically all workers have been reduced to laborers. It is only natural, therefore, that the arts which cannot be rationalized in this way – the artist still remains personally responsible for what he makes – should fascinate those who, because they have no marked talent, are afraid, with good reason, that all they have to look forward to is a lifetime of meaningless labor. This fascination is not due to the nature of art itself, but to the way in which an artists works; he, and in our age, almost nobody else, is his own master. The idea of being one’s own master appeals to most human beings, and this is apt to lead to the fantastic hope that the capacity for artistic creation is universal, something nearly all human beings, by virtue, not by some special talent, but due to their humanity, could do if they tried.”

“In actual fact, however, the revolt of Ibsen and Shaw against the conventional nineteenth century drama could very well be described as a return to Shakespeare, as an attempt once again to present human beings in their historical and social setting and not, as playwrights since the Restoration had done, either as wholly private or as embodiments of the social manners of a tiny class. Shakespeare’s plays, it is true, are not, in the Shavian sense, "dramas of thought," that is to say, not one of his characters is an intellectual: it is true, as Shaw says, that, when stripped of their wonderful diction, the philosophical and moral views expressed by his characters are commonplaces, but the number of people in any generation or society whose thoughts are not commonplace is very small indeed. On the other hand, there is hardly one of his plays which does not provide unending food for thought, if one cares to think about it.”