Uncomfortable Laughter in "'Tis Pity"

In the morally upside-down world of "'Tis Pity", there seems to be an uncomfortable proximity between laughter and rage (an incestuous proximity, perhaps?). For example, in I.ii Annabella equates the two when she begs Giovanni "Do not betray me to your mirth or hate, / Love me, or kill me, brother"; in III.viii, Hippolita notes that Soranzo would sadistically "laugh to see me weep"; and in IV.iii Annabella bursts into masochistic laughter as she is abused (verbally and physically) by Soranzo ("Ha, ha, ha, the man's merry!"). Perhaps the most notable example of this is the sudden and violent murder of Bergetto, the play's only real comic relief, in III.vii, a death scene that Bergetto himself comically narrates as he bleeds to death.

Given our discussion in class last week about the prevalence of genre-challenging laughter in "The White Devil", does Ford's play reveal a later (that is, Caroline) and more mature perversion of the boundary between tragic action and comedy? How is the use of laughter in "'Tis Pity" different than it was in "The White Devil"?