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I have invented a literary style of Serious Farce, though I think it exists unidentified in literary satire of the sort that a typical reader might not find as "funny" but only as absurd, perhaps, even annoying. It is modelled on Sterne's The Life and Opinions of Tristram Shandy, Gentleman and Swift's Gulliver's Travels and has currency in the modern novels of Muriel Spark, for example. I mean also to distinguish farce in drama where it originated from that which I call serious farce, not "humor," in narrative prose.

Farce (n.) http://www.etymonline.com/index.php?term=farce
late 14c., "force-meat, stuffing;" 1520s, in the dramatic  sense "ludicrous satire; low comedy," from Middle French farce "comic interlude in a mystery play" (16c.), literally "stuffing," from Old French farcir "to stuff," (13c.), from Latin farcire  "to stuff, cram," which is of uncertain origin, perhaps from PIE *bhrekw- "to cram together," and thus related to frequens "crowded."
According to OED and other sources, the pseudo-Latin farsia was applied 13c. in France and England to praise phrases inserted into liturgical formulae (for example between kyrie and eleison) at the principal festivals, then in Old French farce was extended to the impromptu buffoonery among actors that was a feature of religious stage plays. Generalized sense of "a ridiculous sham" is from 1690s in English.

“My dear, I find farce delicious.” [Farce = A comedy characterized by broad satire and improbable situations.]
“Poulet ou la dinde?” [Farce = Stuffing of mixture of ground raw poultry and mushrooms with pistachios and truffles and onions and parsley and lots of butter and bound with eggs.]
“Molière.”

(1)    “Low comedy” of puns and confusion over words.

In theatre, a farce is a comedy that aims at entertaining the audience through situations that are highly exaggerated, extravagant, and thus improbable.  Farces are often highly incomprehensible plot-wise (due to the many plot twists and random events that occur), but viewers are encouraged not to try to follow the plot in order to avoid becoming confused and overwhelmed. [Wikipedia]

(2)    Time-slipping, to borrow a technique from fantasy and science fiction, which, in that sense means a person or group of people seem to travel through time by unknown means for a period of time, can be used for serious farce to convolute the plot to effect (a) universal meaning of events by juxtaposing timelines for the same cause-and-effect [see my “The Night of the Rising Sun Over Baghdad” for a simple example]; and (b) interpose fantasy upon reality and vice-versa [the Iliad myth in hallucination in my Remembrances and Reconciliation carried further in a completely different context/plot in its sequel as if it is all so logical, and serious, in fact].

(3)    Name-identity confusion. Shakespeare’s “Comedy of Errors” has masters/twins Antipholus’s and servants/twins Dromio’s. In simple farce this can be for laughs, but in serious farce the premise is built upon the so-called Problem of the Universals of there being a real Form/Essence of a thing-in-itself to match (we might hope) an epistemological thing which we call “thing” but anyone can call it anything.  Obviously, there is only something amusing in this application as a parody of the Problem of the Universals, that Wizards of Smart have been toiling over for millennia, if one can appreciate such, as no one can say that Elizabeth Pertwee misidentified as “Cathy” and called “Miss P.” or “Elspeth” by others [in my R&R] is knee-slapping funny unless there be funny plot confusions as in “Comedy of Errors,” and there are none. Its name-identity confusion is irrelevant to the plot, but neither is it just there. Amusing to those in the know, as much as I would say Swift’s Gulliver’s Travels and The Abbess of Crewe by Muriel Spark (The Prime of Miss Jean Brodie) are funny to the cognoscenti. These are only funny, or let’s say, funnier, in the context of knowing the background stories unwritten by the authors.

Election speech by Sister Alexandria in The Abbess of Crewe by Muriel Spark ---
A Lady has style; but a Bourgeoise does things under the poplars and in the orchard.
A Lady is cheerful and accommodating when dealing with the perpetrators of a third-rate burglary; but a Bourgeoise calls the police.
A Lady recognizes in the scientific methods of surveillance, such as electronics, a valuable and discreet auxiliary to her natural capacity for inquisitiveness; but a Bourgeoise regards such innovations in the light of demonology and considers it more refined to sit and sew.
A Lady may or may not commit the Cardinal Sins; but a Bourgeoise dabbles in low crimes and safe demeanours.
A Lady bears with fortitude that Agenbite of Inwit, celebrated in the treatise of that name in Anglo-Saxon by my ancestor Michel of Northgate in the year 1340; but a Bourgeoise suffers from the miserable common guilty conscience.
A Lady may secretly believe in nothing; but a Bourgeoise invariably proclaims her belief, and believes in the wrong things.
A Lady does not recognize the existence of a scandal which touches upon her own House; but a Bourgeoise broadcasts it urbi et orbi, which is to say, all over the place.

It might be inferred from the previous post as much that I am critical of what the authoress Tara K. Harper has to say, and that is not true.

She has much to say and says it well.

http://www.tarakharper.com/k_creatv.htm

I have never seen this analysis, but my instinct concords with it:

6.  Inner motivation

This is the driving force to create, not for reward but for its own sake.  For the enjoyment, satisfaction, challenge.  Research has consistently shown that work evaluation, supervision, competition for prizes, and restricted choices in how to perform an activity -- all these undermine intrinsic motivation and inhibit creativity in workers . Research on children has also supported these results.  A June 25, 1994 summary article in Science News magazine (which summarizes papers and publications in various science fields) reported that, in studies with children, creativity in artwork and written stories drops significantly for children who receive or expect to receive prizes or other rewards.

“Elena!”
Oh, the sound of her words is always like chalk on a board. I’ve missed a stitch. Yes. My quinceañera. His kiss. Yes. The kiss, only nearly a proper kiss; that is, a most improper kiss, almost on the mouth, just slyly off the cheek onto my lips, lingering. Yes. I felt his breath across my nostrils. Eager Paris. Yes.
“Alexandros.”
Yes. I answer Andrea.
“Your husband, my husband’s brother, cuñado, your Paris.”

         Instead of, for example:

“Elena!” Andrea yelled as she entered the room.
I was sewing when I heard her, and she made me miss a stitch Oh, the sound of her words is always like chalk on a board.  I was just remembering my quinceañera and the first time Paris kissed me.
“Alexandros.”
"Yes," I answer Andrea.
“Your husband, my husband’s brother, cuñado, your Paris.”

             has no head hopping and an absolute single POV - that of Elena who throughout is thinking onto which the sounds of Andrea's words (explicit in quotation) impose. Elena only once "speaks to the reader" in narration to provide context for the reader by Yes. I answer Andrea. but this is thought-blended, and not explicit in quotation, with previous "Yes"s of a different context -- having the effect of offering no specific line between what Elena thinks and what she says.