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Comedies often end with a marriage because that is the key fitness-change event that can arise from mate-choice procedures. I will argue that tragedy and comedy quintessentially represent explorations of the domains of status competition tragedy , and mate choice comedy. Both forms have high intrinsic attention-grabbing power because they are intensified conversations in the social domains that, because they affect our fitness most, we are most interested in. It follows from what we know about the human mind that social information will have high attention-grabbing potential, and in particular information about how others in the social group around us are trying to maximize their fitness. As Aristotle argues in Chapter 4 of the Poetics, the dramatic mode was developed in the fifth and fourth centuries B. The only 3 films of the top 20 RoI remaining that are not predominantly a mating game, and not a status game are: We hope that a more peaceable social order will descend on us; that coalitions and consensus will hold ambition at bay; but there is a gap between what we might hope for, the fragile and cherished good of cooperation, and what happens. One man struggles the reach the top; he does so by a combination of direct power and coalition; in turn he is displaced by the next generation coming up behind. This was not always the case. Its denouement is therefore marriage. It is never long before the next challenge, be it battle or murder or rebellion, comes along… We have seen how the evolutionary principles expounded in general terms compellingly apply to a representative comedy and a tragedy [Twelfth Night and Richard III]. Instead the argument has been that fictional representations must compete to garner human attention, and this influences the way that cultural traditions, drama in this case, evolve. Thus, drama is a mimetic art… Drama consists in the creation of a fictional tight-knit social group. Comedies typically involve conflicts that tend to the ridiculous and which are positively resolved. These characteristics already mean that dramatic presentations should have high attention-grabbing power for our evolved social cognitive mechanisms. It is remarkable how many dramas, from any historical era, can be fitted easily into one of the four cells in this matrix… The purpose of this paper has not been to argue that the dramatic mode, or comedy and tragedy, are in any way innate or direct products of our evolved psychology. They are social constructions with a particular historical origin and cultural history.
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