Raymond Wilson's short narrative poem, "Two's Company," is a brilliantly executed piece of comic satire. Far from being a mere spooky tale, the poem is a carefully constructed humorous critique of arrogance, overconfidence, and the universal human tendency towards hypocrisy when faced with fear. The entire framework of the poem—from its paradoxical subtitle to the final, conversational punchline—is engineered to elicit laughter through the progressive humiliation of its protagonist.
The humor in "Two's Company" is not accidental; it is generated systematically through a blend of literary devices, primarily irony, juxtaposition, dramatic asides, and a meticulously crafted narrative structure that builds tension only to deflate it with absurdity. This post will delve into the specific techniques Wilson employs to transform a potentially gothic setting into a stage for light-hearted, yet insightful, comedy.
1. The Humour of Misleading and Contrasting Titles
The first layer of humor is established before the main narrative even begins, in the poem’s subtitle: "The sad story of a man who didn't believe in ghosts."
- Ironic Subtitle: The phrase "sad story" is a complete misnomer. The reader quickly realizes that the protagonist's experience is entirely deserved, and the outcome is more a source of schadenfreude (pleasure derived from another person's misfortune) than true sorrow. The story’s moral is a common one—pride comes before a fall—and the "sadness" is reserved for the humbled ego of the central character.
- The Proverbial Title: The main title, "Two's Company," ironically refers to the common proverb, “Two’s company, three’s a crowd.” Initially, the man is alone and believes himself to be the sole "company" in the house. The ultimate humor is the literal fulfillment of the title when he discovers he has an unexpected (and supernatural) roommate. This establishes a witty playfulness that undermines the expected horror genre.
2. Satire through Hypocrisy and Cognitive Dissonance
The central engine of the poem's humor is the satire of the overconfident rationalist. The protagonist, a man of excessive self-assurance, makes himself a laughing stock by demonstrating that his actions entirely contradict his loudly proclaimed beliefs.
Initial Arrogance and Dismissal
In the opening lines, the protagonist's contempt for "superstition" is expressed with verbose dismissal, which immediately paints him as arrogant:
he laughed at them and said, 'Tut, tut!
I never heard such tittle-tattle
as ghosts that groan and chains that rattle;
The onomatopoeic and childish interjection "Tut, tut!" coupled with the dismissive phrase "tittle-tattle" reveals his condescending attitude towards his friends. He is not merely skeptical; he is arrogant in his skepticism, which sets him up for a richly deserved comeuppance. The reader finds humor in the anticipation of his inevitable terror.
The Contrast Between Thought and Deed
As the night unfolds and the noises begin, the comedy escalates through a brilliant use of juxtaposition, specifically the man's attempt to logically explain his fear while simultaneously acting upon it. His inner thoughts, which he uses to rationalise his terror, are hilariously undermined by his physical reactions:
| Inner Thought (Rationalisation) | Action (Panic) | Humor Generated |
| "Come, come, it’s merely nerves, he’s certain." | (but just the same he draws the curtain) | He admits to feeling fear but cannot admit the source, performing a ridiculous half-measure for protection. |
| "of course he knows that no-one’s there," | He shuts the door and turns the lock. | He states a firm belief in the non-existence of a threat while undertaking strenuous physical precautions against it. |
| "Not that there's anything to fear" | The cupboard’s strong—he creeps inside. | The final, most desperate action—hiding in a small, enclosed space—is directly preceded by a lie to himself, exposing his deep, undeniable fear. |
These bracketed phrases function as dramatic asides, akin to a stage direction or a narrator's whisper to the audience, guaranteeing that the reader is let in on the joke. The asides confirm the protagonist’s hypocrisy and expose the true extent of his rising panic, creating a powerful, progressive comic effect.
3. Structural and Linguistic Contributions to Comedy
Wilson uses the formal structure and the narrative pace to heighten the humor.
The Role of Rhyming Couplets
The poem is structured entirely in rhyming couplets (AABB CC DD, etc.). This structure contributes significantly to the comic tone in several ways:
Lightness and Pace: The fast-paced, regular rhythm prevents the poem from settling into a genuinely frightening mood. The sing-song quality makes the events feel light and less serious, maintaining a humorous, almost nursery-rhyme-like tone.
Highlighting the Punchline: The couplets often place the key point—the rationalisation or the action—at the end of the line, providing a quick, snappy rhythm that is essential for comic timing. The final couplet, in particular, is an example of perfect comedic timing.
The Climax of Absurd Politeness
The poem’s ultimate moment of humor is the climax, where the protagonist, having desperately squeezed himself into the "safest place," encounters the ghost. The scene’s comic brilliance lies in the sudden reversal of power and the ghost’s absurd civility.
when at his ear
a voice breathes softly, 'How do you do!
I am the ghost. Pray who are you?
Anticlimax and Deflation: The expectation, built up by the Gothic sounds ("chains that rattle," "screech-owls calling," "someone screamed!"), is a terrifying, dramatic encounter. Instead, the horror is deflated by the ghost’s polite, conversational tone. The ghost’s introduction and question are models of British politeness, which is utterly ridiculous in the context of a haunted house.
The Final Irony: The ghost, the agent of irrational terror, is the one who acts with decorum and social grace. The protagonist, the supposed rationalist, is reduced to a cowering wreck, hiding in a closet. The ghost is unperturbed, asking a simple question of identity, which is the final, crippling blow to the man's ego. The terror for the man is not just the presence of a ghost, but the social embarrassment of being found by the ghost in such a cowardly, undignified state.
4. The Satirical Theme: The Folly of Overconfidence
Ultimately, the humor in "Two's Company" serves a satirical purpose: to expose the human weakness of overconfidence.
The protagonist’s downfall is self-inflicted. He did not need to prove his point; his desire to "contradict all superstition" stems from an arrogant superiority complex. The poem suggests that such self-assured certainty is often a mask for inner insecurity, and that an open mind is preferable to a closed, boastful one.
Wilson uses humor—the universal language of critique—to make this serious point palatable and memorable. The lesson is simple and enduring: the people who laugh loudest at the beliefs of others are often the ones most easily caught out by their own unacknowledged fears. The poem's legacy is its enduring, lighthearted reminder that in the face of the unknown, a little humility goes a very long way.
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