Comic, irony, humor and grotesque: could we consider those as human weapons against our crysis? I belive that is one of the most discussed and actual question in art and litterature. Very often, in the history of litterature, art has been influenced by political diktats. And when a thinker, a "beatiful mind" has not the freedom to say what he really thinks, Irony and Grotesque become the only way to discharge the soul by everyday's moral onus. Just some examples: during the V century B.C. in Athens men were a part of a complex and active political system: the democracy. The equality between cityziens, provided them of the freedom to express their own opinions. After some years, with the birth of Macedonian Empire, men are not more free and this political detachement is evident in Menander's commedies a lot. At the same time, the soft irony of the Menandrean "bourgeois" characters took tha place of the grotesque pantomimes of Aristophane's commedies. Several centuries after, during the Puritan Age, Martin Luther's protestant ideas and the consequential Contro-riforma created in men a strong desire of death, and the focus on this topic became fondamental. Intellectuals in crysis decided to follow two different ways: the refuge in an idilliac and innatural world, dominated by peace and individualism, and to exalt the contraddictions of their ages putting their sights on death and grotesque and hyperbols (Shakespeare's theatre is enterely drove by those themes). At the end, we arrive to Modernism and to the Two Wold wars' horrors: men become puppets doomed to death and non-sense; life is not a source of joy but simply the consequence of the Chance, of the Caos (Martin Heiddeger was the first philosopher who gave to man the label, the definition of "thrown project"). Writers rected in different ways: some decided to impose the worship of Ideal Beauty, but it is only an utopistic way to deny reality (Wilde, d'Annunzio, Proust, Huyssmann...), others decided to escape from reality refuging in corpse: their soul (Kafka, Montale, Eliot...). In my opinion, the most realist were those poet who found an answer in the Risus, in the laugh. The majority of them preached a new form of theatre where Irony and Grotesque become symbling faces of a same sour Nothing: life (Beckett, Pirandello, Svevo...). Now my question is this: we need of irony only in a context of crysis. Actually world in in crysis, tha human kind is in crysis: laughing could yet be a good answer also today?