can neatly divide the social universe. That is not what they were intended to do. As clowns are constantly reminding us, all typologies are fallible. As William Willeford has noted, "The fool breaks down the boundary between chaos and order, but he also violates our assumption that that boundary was where we thought it was and that it had the character we thought it had" (108).
Steward knew that there were problems with his categories, and he admitted to considerable overlap, but this did not give him cause to discard them as insignificant. Indeed, Steward would probably agree with Paul Friedrich: "[A]ll representation is misrepresentation, but there is truth in some misrepresentation" (quoted in Combs-Schillingxiv).
Steward's categories do hold up well to their intended purpose: they "provide a least common denominator to the humor of the world and thus clear the ground for sounder psychological theorizing" ( Ceremonial Buffoon187). Through exploring these universal themes, we will gain a better understanding of how culture and society influence "what is laughable" (187), and, through the process, we may use our perceptions of the fool on the outside to better discern, laugh at, and learn from the fool that is within.
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