Reginald D. Hunter and the cowardice of the comedy class

The brave clown who speaks the truth and shames the devil is a showbiz tradition, from Charlie Chaplin to Lenny Bruce. The comedian more than any other creative is best-placed to play the role of the cheeky urchin who points out that the Emperor has no clothes. But in recent years, drolls have ceased to be outlaws – and have become lapdogs of the liberal establishment at best and boot-boy bullies of Jews at their very worst.

The apparent antipathy towards the Jewish people on the comedy circuit is noticeably greater than that in, say, music or acting. Does it stem – as so much anti-Semitism does – from envy, as ‘Jewish humour’ is such a thing, and Jews have been so historically successful in the comedy racket? To the kind of men who are drawn to comedy – often driven by the kind of suppressed rage which comes from being socially awkward (many comedians say that they became clowns to avoid being picked on) and not physically attractive even when young – I imagine this must be very galling.