According to the silent instructions of psychological aesthetics, tragic beauty shortens the height of looking up, and comedic beauty maintains the distance of looking down, but each loses something. Tragic beauty loses the necessary solemnity, and comedic beauty loses ordinary reason. As a result, psychological feelings will gradually fade and blunt.

The solution to these ills is to merge the two.

When tragic beauty and comedic beauty are no longer pure, there is the possibility of reaching out to each other. First there is a small fusion, then a large fusion, and finally they become indistinguishable from each other. It is not that joy is sadness, and sadness is joy, but joy is sadness, and sadness is joy.

For this question, we must first pass the approval of psychological aesthetics.

There have been many scholars in Europe who have objected to the mixture of joy and sorrow, and the French theorist F. Sassay has argued

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CEY) has the clearest attitude. He said that the mixture of joy and sorrow is feasible in creation, but not in acceptance. Because the audience's psychology needs to have a rough line of refuge, and thus form a psychological inertia, it is impossible to quickly convert. What's more, the audience is a huge and complex group, and it is even more difficult to switch quickly. Sasai likens the auditorium to "a cart full of goods" that makes it difficult to make frequent sharp turns. If you don't get it right, it will overturn.

Sassai said that as long as the audience enters the tragedy, they want to cry all the time, while in the theater of comedy, they want to laugh all the time, forming a precious overall psychological atmosphere, which is both inducing and contagious. Since it is difficult to build, it would be a pity to dissolve it easily.

However, the facts negate Sasay's view.

In addition to transformation, the human psyche also has overlapping and interpenetrating functions. When these features are created, the difficulty of conversion is no longer there.

The simplest example is a piece of real news. According to reports, an American veteran was wounded in the Vietnam War and was dragging a prosthetic leg to get by. He was unmarried, had no family, ran out of pensions, and in protest, committed suicide by jumping off a bridge and throwing himself into a river in full view of everyone in the city center. But he didn't expect that the buoyancy of his prosthetic leg would make him unable to sink. He struggled desperately under the bridge, not with fate, with death, but with prosthetics.

This scene is obviously comical. But the more funny it is, the more it makes people cry, and the more it makes people cry, the more funny it is. Tragedy and comedy, where they are synthesized and developed into each other, have reached heights that are difficult to reach in a one-way rush. Here, the difficulty of mental transformation, as Sasseh speaks, is completely absent.

The synthesis of tragedy and comedy is an artistic exploration at first glance, but in fact it is a psychological exploration. It turns out that the "desire to look up" and the "desire to look down" of human beings can be blended together. Looking up and looking down are the two poles of psychological balance, and they have long been mutually beneficial. When tragedy and comedy are combined, this kind of interconnectedness becomes a public structure, which is shocking.

Judging from the height of psychological aesthetics, it is easier to look up at the structure created by tragedy, and it is more difficult to look down at the structure created by comedy, and it is the state of integration of the two that is in the highest position.