Madolina, she belongs to him.
That’s what he thinks when he sees her.
Sees her standing in the background.
Encourages her to come forward.
The only courage she assembles is one of self-ridicule.
The body of a comedian.
Before someone else mocks her, she stabs herself preventively.
The pain more bearable, yet fatal in time.
Her audiences misunderstand and believe in an exchange of power.
They think if she does it, they can too.
And it makes them feel better.
What about her?
Madolina chokes on fake laughing fits.
Her skin not as thick as people think.
To reverse a joke, turn laughter into seriousness is a tricky business.
Madolina, disassociated from the joke, her pockets empty, not at her own expense.
If people cannot laugh about themselves they humiliate others.
Madolina becomes selective with her audience.
Her sense of humour will not be a weapon on the tongues of others.
Madolina will use her wit self-constructively, instead of beating herself up
To create some fake friendships and cheap admiration.
“Tratsch” by Eugene de Blaas (1843-1931)