LAUGTER

AN ESSAY ON THEh^fEANING
THE:-JfviEANING
OF THE COMIC

BY

HENRI BERGSON
MEMBER OF THE INSTITUTE
MEMBBR INSTITUTE
raOll'ESSO:a
PROFESSOR .T .T TUB: COLLEGE ])2
THE COL.LiGE DS FRANCB
FRANCE

AUTHORISED TRANSLATION

BY

CLOUDESLEY BRERETON
L. BS L.
L. ES (PARIS), M.A.
L. (PARIs), M.A. (CANTAB.)
(CANTAB.) ; AND
; Am)

FRED ROTHWELL
l3..
B.A. A. (Lt :iDON)

NdD ~tltk
THE MACMILLAN COMPANY
1921

.411
j&l rigbts
rights reser'l1ed
reserved
 CoPYRIGHT,
COPYRIGHT, 19II,
igii,

Bv
BY THE MACMILLAN COMPANY.
COMPANY.

Set up and
Set up and dectrotyped. Publlshed November,
dectrotyped. Published November, 1911.
1911.
 TRANSLATORS' PREFACE
work, by
THIS work, by Professor
Professor Bergsan,
Bergson, has been
has been
revised
revised in
in detail by the
detail by the author
author himself,
himself, and
and the
the
present translatioll
present translation is
is the
the only
only authorised
authorised one.
one.
Für
For this ungrudging labour
this ungrudging labour ofof revision, for the
revision, for the
thoroughness
thoroughness with with which it has been carried
it has been carried

out,
out, and for
for personal sympathy in
personal sympathy in many
many aa
difficul ty of
difficulty of ward
word and
and phrase,
phrase, we desire
desire to
to affer
offer
our
our grateful acknowledgment
grateful acknowledgment to
to Professor
Professor
Bergson.
Bergson.
It
It may
may be be pointed
pointed out out that the essay
that the essay on
Laughter originally
Laughter originally appeared appeared in
in aseries
a series of
of
three
three articles
articles in one of
in one of the
the leading
leading magazines
magazines
in .France,
in 'France, the
the Revue
Revue de
de Parz·s.
Paris. This
This will
will
account
account forfor the
the relatively
relatively simple
simple form.
form ofof the
the
work and the the comparative
comparative absence
absence of of technical
technical
terms.
terms. It will also
It will also explain
explain why why the
the author has
confined himself to
confined himself to exposing
exposing and illustrating
illustrating
his novel theory
his novel theory of
of the
the comic without entering
entering
into
into aa detailed discussion of
detailed discussion of other
other explanations
explanations
v
 VI
vi LAUGHTER
already
already in th~ ~~~c!.
in th$ field, .H.e
ile none the less indicates,
tne less indicates,
when discussihg·: sundry examples,
discussirig' sundry examples, why the
- why the
principal theories,
principal theories, to to which
which theythey have
have given
given
rise, appear
rise, appear to
to hirn
him inadequate.
inadequate. Ta
To quote
quote only
only
aa few,
few, ane may mention
one may mention those based on
those based on con-
con-
trast, exaggeration,
trast, exaggeration, and degradation.
degradation.
The book book hashas beenbeen highly
highly successful
successful in in
France,
France, where
where it
it is
is in
in its
its seventh
seventh edition.
edition. It
It
has
has been translated into
been translated into Russian,
Russian, Polish,
Polish, and
and
Swedish.
Swedish. German and H ungarian
Hungarian translations
translations
are
are under
under preparation.
preparation. Its
Its success
success is is due
due
partly
partly to
to the
the novelty
novelty of
of the
the explanation
explanation offered
offered
of the comic,
of the comic, and partly
partlyalsoalso toto the
the fact
fact that
that the
the
author
author incidentally
incidentally discusses
discusses questions
questions of
of still
still

greater interest and importance.

greater interest importance. Thus, Thus, oneone of
of
the
the best
best known and most frequently quoted
frequently quoted
passages of
passages the book is
of the that portion
is that portion ofof the
the last
last
chapter (pages
chapter (pages 150-162),
150-162), in
in which the
the author
author
outlines
outlines a a general
general theory
theory of of art.
art.
c. B.
C. B.
F. R.
F. R.
 CONTENTS
CHAPTER II
PAGB
PAGE
THE COMIC IN GENERAL - THE COMIC ELEMENT IN
FORMS AND MOVEMENTS - EXPANSIVE FORCE OF
THE COMIC i

CHAPTER 11
II

THE COMIC ELEMENT IN SITUATIONS AND THE COMIC

ELEMENT WORDS
IN WORDS. 67
67

CHAPTER 111
III

THE COMIC IN CHARACTER 132

vii
vii
 CHAPTER II

THE COMIC IN GENERAL - THE CO:M:IC

COMIC ELEMENT
IN AND l\10VE.l\1ENTS
FORMS MOVEMENTS - EXPANSIVE
FORCE OF THE COMIC

WHAT does
does laughter
laughter mean?
mean ? What is is the basal
the basal
element in in the
the laughable?
laughable? What common
ground
ground can we find
find between the grimace
between the grimace of of a
merry-andrew,
merry-andrew, a play upon
a play words, an equivocal
upon words, equivocal
situation
situation inin aa burlesque
burlesque and a a scene
scene of high
of high
comedy?
comedy? \Vhat
What Inethod
method of
of distillation
distillation will
will yield
yield
us
us invariably
invariably the
the same essence
essence from which so so
many
many different
different products
products borrow
borrow either
either their
their
obtrusive
obtrusive odour
odour or their delicate
or their perfume ?? The
delicate perfume
greatest
greatest of
of thinkers,
thinkers, from Aristotle
Aristotle downwards,
downwards,
have tackled
tackled this
this little problem, which has a
little problem,

knack of baffiing every

of baffling every effort,
effort, of
of slipping
slipping away
away
and escaping
escaping onlyonly to
to bob up again,
up again, apert
a pert
challenge
challenge flung
flung at
at philosophie
philosophic speculation.
speculation.
B
 2
2 LAUGHTER CHAP.

Gur excuse
Our excuse for far attacking
attacking the the problem
problem in in our
our
turn must
turn must lielie in
in the
the fact
fact that
that we shall shall not not aim
aim
at imprisoning
at imprisoning the s.gmic. §Pirit within
the comj^gpirit within aa defini-
defini-
tion.
tion. \i\le regard
We.reffi.rd it,
it. above
above all.
a11
i
as a llning
aft ? 1"*g thing
tbj.og.
trivial it
However trivial may be,
it may be, we shall treat it
shall treat it with
with
the respect
the respect due due to life. We
to life. Weshall confine our-
shall confine our-
selves to watehing it grow and
selves to watching it grow and expand. Passing expand. Passing
by imperceptible
by imperceptible gradations
gradations from from one form to
aue form to
another, it
another, \viII be
it will be seen
see11 to to achieve
achieve the the strangest
strangest
metamorphoses. We shall
metamorphoses. shall disdain
disdain nothingnothing we \ve
have seen.
have seen. Maybe
Maybe we may gain
may gain from from this
this
prolonged contact,
prolonged contact, for
for tl1e
the matter of
matter that, son1e..
of that, some-
t11ing more flexible
thing flexible than abstract definition,-
t11an an abstract definition,
aa practical,
practical, intimate
intimate acqllaintance,
acquaintance, SUCl1 such as as springs
springs
from
from aa long companionship.
long companionship. And maybe
maybe we
may
may alsoalso find
find that,
that, unintentionally,
unintentionally, we have have
made an acquaintance
acquaintance that that is is useful.
useful. Für
For thethe
~_~p,irit has a of its
comicjspirit has logic of its own, even in its
a logic own, even in its

wildest eccentricities.
wildest eccentricities. It has a
It 11as method in
a nlethod in its
its

madness.
madness. It It dreams,
dreams, ladmit,
I admit, but but it it conjures
conjures up up
in
in its dreams visions
its dreanls visions that that are
are at at once
once accepted
accepted
.3:nd
and understood
understood by by the
the whole of of a a social
social group.
group.
Can it it then
then fail
fail toto tI1row
throw lightlight for
for us
us on the
the
way
way that
that human imagination
imagination work:s, works, and more
particularly
particularly social"
social, , collective,
collective, and popular
popular
imagination?
imagination? Begotten Begatten of
of real
real life
life and akin
akin
Ii GENERAL
THE COMIC IN GEN.ERAL 33
to
to art, should it
art, should it not
not also
also have
have something
something of of its
its

own toto tell

tell us
us about
about art
art and life ?
and life ?

At the outset
the outset we shall
shall put forward
put forward three
three
observations which we look
observations which look upon
upon as
as funda-
funda-
mental.
mental. TheyThey have
have less
less bearing
bearing on
on the
the actually
actually
comic
comic than on on the field within
the field within which
which it it roust
must
be sought.
be sought.

II
The first
first point
point to
to which
which attention
attention should
should be
be
called 'is ·'that
called"'is "that the
the comic
comic doesdoes notnot exist
exist outside
outside
the pale of
the pale of what isis strictly human.
.strictly
human. A
Alandscape
landscape
may
may be
be beautiful,
beautiful, charmirig~and
charming and sublime,
sublime, or
or
insignificant
insignificant and ugly ugly; it
;
it ,viII never be
will never be laugh-
laugh-
able.
able. YOll may
You laugl1.
may laugh at
at an animaI,
animal, but but only
only
beca~se you
because you have
have detected
detected in in it
it same
some human
attitude
attitude or or expression.
expression. Y Oll may
You may laughlaugh at
at aa
hat, hut
hat, but what you are making
you are making fun
fun of, in this case,
of, in this case,

not the
is not
is the piece
piece ofof felt
feIt or straw, but
or straw, but thethe shape
shape
that men have
that have given
given ijn:,
i, -
;
the human caprice
the caprice
whose mould it it has
has assumed.
assumed. It I t is
is strange
strange
that so
that so important
important aa fact,
fact, and such such aa simple
simple one
too, has
too, has not
not attracted
attracted to to aa greater
greater degree
degree thethe at-
at-
tention of
tention of philosophers.
philosophers. Several Several have defineddef1ned
man asas"" an animal
animal which' laughs." They
which; laughs." They might
might
equally well
equally weIl have defin~ed him
have definied hirn asas an animal
animal
44 LAUGHTER CHAP.
CHAP.

which
which is is laughed
laughed at; at far
;
for if if any
any other
other animal,
animal, or or
some
some lifeless
lifeless object,
object, produces
produces the same effect,
the same effect, itit

is always because
is always because of of some resemblance
resemblance to man, to man)
of the stamp
of the stamp he
he gives
gives it
it or
or the use
the use he puts it
he puts it to.
to.

~ Here II would
"Here would point·
point 'out,out, asas a a symptoln
symptom
equally
equally worthyworthy of
of notice,
notice, the
the abse1zce
absence 0/ /eeli1zg
of feeling
which laughter~l
which usually accompanies laughter.) It seems
usually accompanies It seems
as though the
as though th~ comic
comic couldcould not not produce
produce its its

disturbing
disturbing effect unless it
effect unless it fell,
fell, so to say,
so to say, onon tlle
the
surface
surface of of a a soul
soul tllat
that is thoroughly calm and
is thorougllly calm and
unruffled.
unruffled. Indifference
Indifference is is its natural eIlviron-
its natural environ-
ment,
ment, for for laughter
laughter has has no no greater
greater foe than
foe than
emotion.
emotion. II da
do not
not mean that that we couldcould not not
laugh
laugh at
at a
a person who inspires us with pity, for
person WIlD inspires us with pity, for
instance,
instance, or
or even
even with
with affection,
affection, but
but in
in such
such aa
case we must,
case must, for the moment,
for the moment, put put aur
our affection
affection
out of court
out of court and impose
impose silence upon our
silence upon our pity.
pity.
In
In a saciety composed
society composed of
of pure intelligences
pure intelligences
there
there would probably probably be
be no
no more tears, though
tears, though
perhaps there
perhaps there would stilt stilt be be laughter;
laughter; whereas
whereas
highlyemotional
highly emotional souls, jln tune
souls, in and unison
tune and unison with
with
life,
life, in every eVe}lt
in whom every would be
evept would be sentiIl1ent.
sentiment-.
ally prolonged and rf~
ally prolonged . echoed, would
re-echoed, would neitller
neither
know Dar nor understand laughter. Try, für
understand laughter. Try, for a
a
moment,
moment, to
to become i\nterested
interested in
in everything
everything
that
that isis being said
being said an~
and done;
done; act,
act, in
in imagina--
imagina-
Ii THE COMIC IN GENERAL 5
5

tion,
tion, with
with tl10se
those who act, act, and
and feel
feel with
with those
those
who feel;
feel; inin a a ward,
word, give your sympathy its
give your sympathy its

widest expansion: as
widest expansion: as though
though at at the
the touchtouch of of
aa fairy
fairy wand you will see the flimsiest
you will see the flimsiest of of
objects
objects assume importance,
importance, and a a gloomy
gloomy hue hue
spread
spread over everything.
everything. No\v
Now step
step aside,
aside, look
look
upon
upon life as a
life as a disinterested spectator many
disinterested spectator: :
many aa
drama will
will turn
turn into
into aa comedy.
comedy. It
It is
is enough
enough
for
for us
us to
to stap
stop aur
our ears
ears to
to the
the sound
sound of
of music
music in
in
aa room,
room, where dancing dancing is is going on,
going on, for for the
the
dancers at anee to appear
dancers at once to appear ridiculous. ridiculous. How
many
many human actions actions would
would stand
stand aa similar
similar test?
test?
Should we not not seesee many
many of of them suddenly
suddenly pass pass
from grave
grave toto gay,
gay, on isolating
isolating them fromfrom the the ac.
ac-.
cOlnpallying
companying music
music of
of sentiment?
sentiment? "··.To
-To produce*~
produce
the whole of
the of its
its effect, then, the
effect, then, the comic demands
something
something like momentary anesthesia
like aa momentary anesthesia of of the
the
heart.
heart. Its appeal is to intelligence,
Its appeal is to intelligence, pure pure and
simple.
simple.
~this
/This intelligence,
intelligence, however,
however, must. always
must always
remain in
remain in touch
touch with
with other intelligences. ' And
other intelligences.
here
here is the
is the third
third fact
fact to wl1ich attention
to which attention should
be drawn.
be drawn. You hardly appreciate
YOll would hardly appreciate the
comic if you
comic if you felt
feIt yourself
yourself isolated
isolated from others.
others.
Laughter appears
Laughter appears to to stand
stand inin need of
of an echo.
echo.
Listen to
Listen it carefully:
to it carefully: itit is articulate,
is not an articulate,
6
6 LAUGHTJiK CHAP.

clear,
clear, ,vell-defined,pound;
well-defined ^ound it ;
it is
is something which
something which
\vould
would fainfain be prolonged by
be prolonged by reverberating
reverberating fram from
one
one to
to another, something beginning with a
allotller, sOtnetlling beginning "\vith a
crash,
crash, to
to continue
continue in
in successive
successive rumblings,
rumblings, like
like
thunder
thunder in in a a mOul1tain.
mountain. Still, Still, tllis
this reverbera-
reverbera-
tion
tion cannot
cannot go go on on for ever, ~ IItt can
for ever. j
travel
can travel
\vithin
within as wide a circle as you please the circle
as wide a circle as you please :: the circle
remains,
remains, none
none the
the less,
less, a
a closed
closed one.
one. .Gur
jQur
!aughter
laughter is is always
always the the lauO"llter
laughter
of
of a errou
^a gro up.
' It It

may,
may, perc anee, have
perchance, have happened
happened to to you,
you, when
seated in a railway carriage or at table ä
seated in a railway carriage or at tabte hote, to
cFhbte, to
hear
hear travellers
travellers relating
relating to
to oue
one another
another stories
stories
\vhich
which roust
must have been comic to
have been to them,
them, for for they
they
laughed heartily.
laughed heartily. Had you
you been
been one
one of
of tl1eir
their
company,
company, you you would
would have have laughed
laughed like them,
like them,
but, as
but, as you were not,
you were not, you
you had no desire desire what-what-
ever
ever toto da do so.so. A man who was once once asl<:ed
asked
why he did
why did notnot weep
weep at at a a sermon when every- every-
body else
body else was slledding
shedding tears replied:
tears replied "I
"
: I don
don't 't
"
belang
belong to to the
the parish!"
parish ! What that that man thought
thought
of tears would be
of tears be still
still more true true ofof laughter.
laughter.
However spontaneous
spontaneous it
it seems,
seems, laughter
laughter alwaysalways
implies
implies a a kind
kind of of secret
secret freemasonry,
freemasonry, or or
even complicity,
complicity, with other
other laughers,
laughers, real
real or
or im-
im-
aginary.1;
aginary. How
Ho\v often
often has
has it
it been said that the
said that the
fuller
fuller the theatre,
theatre, the tlle more uncontrolled
uncontrolled the the
Ii THE COJ\1IC
COMIC IN GENERAL 7
7

laughter
laughter of of the audience rOll
the audience ! On t11e
the other
other hand\
hand,
how often
often hashas thethe remark
remark been been made
made that that
many
many comic effects
effects areare incapable
incapable of of translation
translation
from one language anotl1er,
language to another, because they
to because they
refer
refer to
to the
the customs
customs and and ideasideas ofof aa particular
particular
social
social group!
group ! It
It is
is tl1rough
through not
not understanding
understanding
the
the ilnportance
importance of of this
this double
double factfact that
that thethe
comic has been looked looked upon upon as
as a
a mere
mere curiosity
curiosity
in
in which the the mind finds finds amusement,
amusement, and and
laughter
laughter itself
itself asas astrange,
a strange, isolatedisolated pheno-
pheno-
menon,
menon, without any
any bearing on tl1e
bearing the rest
rest ofof
human activity.
activity. Hence tl10se
those definitions
definitions \vhich
which
tend
tend toto make tl1e the comic
comic into into an abstract
abstract rela-
rela-

tion between ideas:

tion ideas "an
:
"
intellectual contrast,"
an intellectual contrast,"
"a patent
patent absurdity,"
absurdity," etc., etc., definitions
definitions \vhich,
which,
even were they they really
really suitable
suitable to to every
every form of of
the conlic,
the comic, would not not in the least
in the explain \vhy
least explain why
the
the comic makes us laugh.
us laugh. Hovv, indeed,
How, indeed,
should it
should it come about
about thatthat this
this particular
particular logical
logical
relation, as
relation, as soon
soon as as it it isis perceived,
perceived, contracts,
contracts,
expands and
expands and shakes
shakes our lin1bs, whilst
our limbs, \vhilst all
all other
other
relations leave
relations leave the body unaffected
the body unaffected?? It It is
is not
from this
from this point
point ofof view
view thatthat we shall shall approach
approach
the problem.
the problem. To Ta understand lallghter, we must
understand laughter,
put
put it back
itback into
into its natüräIenvrr;;~men(which
Üs natural'lmwonment, which
is soci~ty,' and
is society, and above
above all
all must
must we determine
dctermine
88 LAUGHTER CHAP.

the utility of
the utility of its
its function, which is
function, which a social
is a social one.
one.
Such,
Such, let
let usus say
say atat once, be the
\viII be
once, will the leading
leading
idea
idea of
of all
all our
our investigations.
investigations.
Laughter
Laughter must
ariswer
answer to to certain
certain requirements
requirements of of life
life in
in
cO,l}1n1on.
common. It It roust have a
must have social si nific ·Q..n.
a soc'l:al signifisatiap*
Let us clearly
Let us clearly mark t
the point towards
e point towards which
our three
our preliminary observations
three preliminary observations are are con-
con-
verging.
verging. The comic will come into
comic will being, it
into being, it

appears,
appears, wl1enever
whenever aa groupgroup of of men concentrate
concentrate
their attention
their attention on one on one of
of their
their number, im..
number, im-
posing silence
posing silence on theirtheir emotions
emotions and calling calling
iota
into play nothing
play nothing hut
but their
their intelligence.
intelligence.
W11at,
What,
now,
now, isis the
the particular point on
particular point on ,vl1ich their
which their
attention
attention willwill have
have to be concentrated,
to be concentrated, and
what will here be
will here the function
be the function of of intelligence?
intelligence ?
Ta reply to
To reply these questions
to these questions will be at
will be once to
at onee to
come to closer grips
to closer grips withwith tl1e
the problem.
problem. But here
here
aa few examples
examples have
have become indispensable.
indispensable.

11
II

Aman, running along

man, running the street,
along the street, stumbles
stumbles
and falls;
falls the passers-by
the
;
burst out
passers-by burst out lallghing.
laughing.
They
They would not
not laugh
laugh at
at hirn,
him, I
I imagine,
imagine, could
could
they
they suppose
suppose that the whim had suddenly
that the suddenly
1

seized hin1
seized sit down on the
to sit
him to ground. They
the ground. They
laugh
laugh because his
his sittil1g
sitting down is
is involuntary.
involuntary.
 Ii THE COMIC IN GENERAL 9
9
Consequently,
Consequently, it it is
is not
not his
his sudden
sudden changechange of of
attitude
attitude thatthat raises
raises a a laugh,
laugh,
hut
but rather
rather the
the in-
in-
voluntaryelement
voluntary element in
in this
this change,
change, - his his clum-
clum-
siness,
siness, in
in fact.
fact. Perhaps there was a stone on
Perhaps there was a stone on
the
the road.
road. He should
should havehave altered
altered his his pace
pace oror
avoided
avoided the the obstacle.
obstacle. Instead of
Instead of that,
that, through
through
lack
lack of of elasticity,
elasticity, through
through absentmindedness
absentmindedness
and a kind of of physical obstinacy, as
physical obstinacy, as aa result,
result^ in
in "
fact,of
fac^ of rigziiity
rigidity or of momentum,
or of momentum, the the museIes
muscles .'
continued
continued to to perform
perform the the same
same movement when when
the circumstances of the case
the circumstances of the case called for some-called for same·
thing
thing else.
else. That is is the
the reason
reason of of the
the man's
man's
fall, and also
fall, also of of the
the people's
people's laughter.
laughter.
Now, take the
N OW, take the case
case of of a person who attends
a person attends
to the
to petty occupations
the petty occupations of
of his
his everyday life
everyday life

with mathematical
with mathematical precision.precision. The objects objects
around him, hirn, however,
however, have have all been tampered
all been tampered
with by
. with by aa mischievous
mischievous wag, wag, thethe result
result being
being
that when he
that he dips
dips hishis pen
pen into
into the
the inkstand
inkstand
he draws
he draws it it out
out all
all covered
covered withwith mud,
mud, when he
faneies he
fancies he isis sitting
sitting down on
asolid
a chair he
solid chair
finds himself sprawling
finds himself sprawling on the
the floor,
floor, in
in a word
a ward
his actions
his actions are are all
all topsy-turvy
topsy-turvy or or mere beating
beating
the air,
the air, while
while in in every
every casecase the
the effect
effect is is invari-
invari-
ably one
ably one of of momentum. Habit has given
given thethe
impulse: what
impulse: what was was wanted was to to check the the
10
io LAUGHTER CHAP~
CHAP,

movement or or deflect
deflect it.
it He diddid nothing
nothing of of
the
the sort,
sort, hut
but continued
continued like like a a machine
machine in in the
the
same straight
same straight line. line. The victim, then, of a
victinl, then, of a
practical joke
practical joke is
is in
in a
a position
position similar
similar to
to that
that of
of
aa runner
runner who falls,falls, - he
he is
is comic
comic forfor the
the same
reason.
reason. :'The
The laughable
laughable element
element in in both c~ses
both cases
consists of a certain mechanz·cal z·nelastzcity,
consists of a certain mechanical inelasticity, just just
where
where one would expect
one would expect toto find
find the
the wideawake
adaptabilityand
adaptability and the the livingpliablenessof
livingpliablenessof ahumana human
heing.
being. The only
only difference
difference inin the
the two
two cases
cases isis
that the former happened of itself,
that the former happened of itself, whilst the ,vhilst the
latter
latter was
was obtained
obtained artificially.
artificially.
In
In the
the first
first

instance,
instance, thethe passer..
passer-by by does
does nothing
nothing but but look
look
on, but in
on, but in the
the second
second the the mischievous
mischievous wag wag
intervenes.
intervenes.
All the
All the same,
same, in
in both
both cases
cases the'
the result
result has
has
been brought
been brought about by an extemal
about by external circumstance.
circumstance.
The comic
comic is
is therefore
therefore accidental
accidental : it
it remains,
remains, so
: so
to
to speak,
speak, inin superficial
superficial contact
contact with
with the person.
the person.
How is is it
it to
to penetrate within ?
penetrate within ? Tl1e
The necessary
necessary
conditions
conditions willwill be fulfilled when mechanical
be fulfilled mechanical
rigidity langer requires
no longer
rigidity DO requires far
for its manifestation
its manifestation

a stumbling-block
stumbling-block which which either
either the
the hazard
hazard ofof
circumstance
circumstance or or human knavery
knavery hashas set
set in
in its
its

way,
way, but extracts
extracts by by natural
natural processes, from its
processes, from its

own store,
store, an
an inexhaustible
inexhaustible series of oppor..
series of oppor-
ri THE COMIC IN GENERAL 11
11

tunities
tunities forfor externally revealing its
externally revealing its presence.
presence.
Suppose,
Suppose, then,
then, we imagine
imagine a
a mind
mind always
always
thinking
thinking of of what it it has
has just clone and never of
just done and never of
what itit is
is doing, like
doing, like a a song
song which
which lags behind
lags behind
its
its accompaniment.
accompaniment. Let Let us us try to picture to
try to picture to
ourselves a
ourselves a certain
certain inborn
inborn lacklack of of elasticity
elasticity of
of
both senses
both senses and intelligence, which brings
intelligence, which brings it to
it to
pass
pass that
that we continue
continue to
to see
see what
what is is no
no langer
longer
visible,
visible, to to hear what is
hear what is no
longer audible, to
no lOllger audible, to
say
say whwhatat is
is no langer to
longer to the the point:
point in
: in short,
short, to to
adapt
adapt ourselves
ourselves to
to a
a past and therefore
past and therefore imagi- imagi-
nary situation,
nary situation, when we ought
ought to to be
be shaping
shaping our our
conduct
conduct in in accordance
accordance with with thethe reality
reality which
which is is

present. This time

present. time the the comic
comic willwill take
take upup itsits

abode
abode in the person
in the himself; it
person himself ;
it is
is the person
the person
who will supply it
will supply with everything
it with
everything - matter matter and
form,
form, cause
cause and opportunity.
opportunity. 15
Is it then sur-
it then sur-
prising that the absent-minded
prising that the absent-minded individual-for
individual for
this is
this is the
the character
character we have have just been describ-
just been describ-
ing - has
ing usually fired
has usually fired the imagination of
the imagination of comic
comic
authors?? When La Bruyere
authors Bruyere came across across this
this
particular type,
particular type, he
he realised,
realised, on analysing
analysing it, it, that
that
he had got
he had got hold
hold of of aa recipe
recipe forfor the
the wholesale
wholesale
manufacture of
manufacture of comic effects. As aa matter
conlic effects. matter of of
fact he overdid
fact he overdid it, it, and gave
gave us
us far
far tao
too lengthy
lengthy
and
and detailed
detailed a
a description
description of
of Menalque,
Menalque, comingcoming
12 LAUGHTER CHAP.

back to
back to his
his subject, dwelling and expatiating or~
subject, dwelling and expatiating on
it
it beyond all
beyond all bounds.
bounds. T~e
The very
very facility of the
facility of the
subject
subject fascinated
fascinated him. hirn. Absentmindedness,
Absentmindedness, in- in-

deed,
deed, is
is not
not perhaps
perhaps the
the actual
actual fountain-head
fountain-head
of the comic,
of the comic, hut but surely
surely it it is
is contiguous
contiguous to to a',
a;

certain stream
certain stream of of facts
facts and faneies which flows
fancies \\Thich flows 1
i

straight from the fountain-head.

straight from the fountain-head.
It
It is
is sit~ated,
situated,
so
so toto say,
say,
on
on ane
one of
of the
the great
great natural
natural water-
water-
sheds
sheds of Iaughter.
of laughter.
Now, the
Now, the effect
effect of of absentmindedness
absentmindedness may may
gather strength
gather strength in
in its
its turn.
turn. (There
{There is
is aa general
general
law,
law, the
the first
first example
example of
of which
which we have
have just
just
encountered,
encountered, and which which we will will formulate
formulate in in
the follawing
the following terms terms: : when a
a certain comic
certain comic ef- ef-
feet has its
fect has its origin
origin in
in a
a certain
certain cause,
cause, thethe more
natural
natural we regard regard the the cause ~o be, ~he
to be, the more
comie
comic shall
shall we find find thethe effect..
effect. Even now we
laugh
laugh at
at absentmindedness when presen~ed to
presented to
us
us as
as a a simple
simple fact.
fact. Still
Still more laughable
laughablfe will
will
be the
the absentmindedness
absentmindedness we have seen spring..
have seen spring-
ing up
ing up and growing
growing beforebefore aur our very
very eyes, with
eyes, with
whose origin
origin we are
are acquainted
acquainted and whose
whose
life-history
life-history we can reconstruct.
reconstruct. Ta
To clloose
choose aa
definite
definite example:
example suppose
:
suppose a man has has taken
taken to
to
reading nothing
reading nothing hut
but romances af love
of love and
chivalry.
chivalry. Attracted
Attracted and fascinated
fascinated by his
by his
Ii THE COMIC IN GENERAL 13

heroes,
heroes, his his thoughts
thoughts and and intentions
intentions gradually
gradually
turn
turn more and more towards towards them,them, till
till one
one fine
fine
day
day we find find hirn
him walking
walking among among us us like
like a a
somnambulist.
somnambulist. His actions are distractions.
His actions are distractions.
But
But then
then his
his distractions
distractions can can be be traced
traced back back to to
rafa definite,
definite, positive
positive cause.
cause. They
They are are no no Ipnger
longer
,cases
cases of absence of
of abse'Jzce of mind,
mind, purepure andand simple;
simple they
; they
ffind
find their
their explanation
explanation in in the presence of
the presence of the
the
individual in
individual in quite definite, though
quite definite, though imaginary imaginarYJI
surroundings.
surroundings. Doubtless
Doubtless a a fall
fall is
is always a
always a fall, fall,

but it
J:>ut it is
is one thing
thing to to tumble
tumble intointo aa weIl
well because,
because
you
you were looking anywhere
looking anywhere hut
but in
in front
front of you,
of you,
it
it isis quite
quite another
another thing
thing to
to fall
fall inta
into it
it because
because
you were intent
you upon astar.
intent upon a star. It certai'~fy·
was certainly
It was

~ star at
ja
star at which I2.2..~..Q.u~xote
Don Quixote was gazing.gazing. How
profound
profound is
is the
the comic
comic element
element in
in the
the over-
over-
romantic, Utopian
romantic, U topian bent bent of of mind!
mind ! And yet, yet, if
if

reintroduce the
you reintroduce
.,OU the idea
idea ofof absentmindedness,
absentmindedness,
which'
which acts acts as
as a
a go-between,
go-between, you you will
will see see this
this
profound comic
profound comic element
element uniting
uniting withwith the the most
,superficial
superficial type. type. Yes,Yes, indeed,
indeed, these whimsical
these whimsical
wild enthusiasts,
wild enthusiasts, thesethese madmen who are yet are yet so
so
strangely reasonable,
strangely reasonable, excite
excite us
us to
to laughter
laughter by by
playing
playing on
on the
the same
same chords
chords wit11in
within ourselves,
ourselves,
by setting
by setting in in motion
motion the the same innerinner mechanism,
mechanism,
as does the
as does the victim victim of
of a
a practical
practical joke joke or or the
the
 14
14 LAUGHTER CHAP.
CHAP.

passer.. by who slips down in the street.

passer-by who slips down in the street. They,
They,
too, are
too, are runners
runners who fall
fall and
and simple
simple souls
souls who
are being
are being hoaxed
hoaxed - runners after
runners after the
the ideal
ideal who
WIlD
stumble over realities, child-like
stumble over realities, child-like dreamers for dreamers for
whom life life delights
delights to to lie
lie inin wait.
wait. But,But, above
above
all, they
all, they areare past-masters
past..masters in in absentmindedness,
absentmindedness,
with this superiority over
with this superiority over their fellows their fellows that that
their absentmindedness
their absentmindedness is is systematic
systematic and or- or-
ganised around one
ganised around one central
central idea,
idea, and
and that
that their
their
mishaps are
mishaps are also
also quite
quite coherent, thanks to
coherent, thanks to the
the
inexorable logic which reality
inexorable logic which reality applies to the applies to the
correction
correction of of dreams,
dreams, so that they
so that they kindle
kindIe in in
those around
those around them, them, byby aseries
a series of of cumulative
cumulative
effects,
effects, a a hiIarity capable of unlimited ex-
hilarity capable of unlimited ex-
pansion.
pansion. .~
Now, let
Now, let usus gogo aa little
little further.
further. "Might
Might not not
certain
certain vices
vices havehave the relation to
the same relation"' to char-
char-

~~t~r
acter ._~~~t
.
_~.h.e
that..,'
-
the "r~~~~~y
" ,Q, J,
fixed id~a
of a fixed
rigidity of, idea has, ~,o
has to
intellect??
intellect Whether as as a a moral
moral kink kink or or a a
crooked
crooked t'wist
twist given
given toto the
the will,
will, vice
vice hashas often
often
the
the appearance
appearance of of aa curvature
curvature of of thethe soul.
soul.

Doubtless
Doubtless there
there are
are vices
vices inta
into which
which the
the soul
soul
plunges deeply with
plunges deeply with all
all its pregnant potency,
its pregnant potency,
which it it rejuvenates
rejuvenates and drags
drags along with
along with it it

into
into aa moving
moving circle circle of
of reincarnations.
reincarnations. Those
are
are tragic
tragic vices.
vices. But the
the vice
vice capable
capable of of
Ii THE COMIC IN GENERAL 15
15

making
making us us comic is, is, on
on the
the contrary, that which
contrary, that which
is brought
is brought from without, without, like like a a ready-made
ready-made
frame
frame inta into which we are are toto step.
step.
It
It lends
lends us us
its
its own rigidity instead of borrowing
rigidity instead of borrowing from us from us
our
our flexibility.
flexibility. We do do notnot render
render it it more
more
complicated;
complicated on the ;
contrary, it
the contrary, it simplifies
simplifies us. us*
Here,
Here, as as we shall
shall seesee later
later onon inin the
the conclud-
conclud-
ing
ing section
section of
of this
this study, lies the
study, lies the essential essent~a1..
difference
difference between comedy comedy and drama. drama. ;,[A A
drama, eve~
drama, even ~4~'~~ portraying passions
when portraying passions or or vices'
vices'
th'ät····be'är' ~ ~ame, so completely
that 'bear a name, so completely incorporated incorporates'
them in in the person that
the perso,n that their
their names are are for-
for-

gotten,
gotten, their
their general
general characteristics
characteristics effaced,
effaced, and
and
we no langer
longer think
think of
of them at
at all,
all, hut
but rather of
rather of
the person' in
the person in whom they they areare assimilated;
assimilated ;

hence,
hence, the
the title
title of
of a
a drama can seldorn
seldom any~
be any-
be
thing
thing elseelse than
than a proper nou~:.
a proper noun. On the the other
other
hand, many comedies
hand, many comedies have a
a c6mmon noun as
as
their title: l'Avare,
their title :
VAvare, le le Joueur,
Joueur, etc*
etc. Were you you
asked to
asked to think
think ofof aa play
play capable
capable of of being
being called
cal1ed
le Jaloux,
le Jaloux, for for instance,
instance, you you would find find that
that
Sganarelle or George
Sganarelle or George Dandin Dand~in would occur
occur to
to
your mind,
your mind, but but not Othello:: le
not Othello le Jaloux
Jaloux could could
only be
only be the
the title
title of
of aa comedy.
comedy. ,,', The reason reason is is
that, however intimately
that, however intimately vice, vice, when comic, comic, is is

associated with persons,

associated with persons, it
it none the
the less
less retains
retains
 16
16 LAUGHTER CHAP.

its simple, independent

its simple, independent existence,existence, it it remains
remains
the central
the central character,
character, present
present though
though invisible,
invisible,
to which
to which thethe characters
characters in in flesh
flesh and
and bloodblood onon
'.the stage are attached.
.the stage are attached. ' At tirnes
times it
it delights
delights in in
dragging them
dragging them down with with its its own weight
weight and
making them
making them share
share in in its
its tumbles.
tumbles. More fre- fre-
quently, however, it plays on
quently, however, it plays on them as on an
as on an
instrument or pulls tl1e strings
instrument or pulls the strings as though they as though they
were puppets.
were puppets. Look closely: closely: you you will will find
find
that the
that the art
art of the comic
of the comic poet poet consists
consists in in
making us
making us so weIl acquainted
so well acquainted with with the the par-
par-
ticular vice, in introducing us,
ticular vice, in introducing us, the spectators, the spectators,
to such
to such a a degree
degree of of intimacy
intimacy with with it, that in
it, that in
the
the endend we getget hold
hold of of some of of the
the strings
strings of of
the
the marionette
marionette with with which he he is is playing, and
playing,
actually
actually work them ourselves;
ourselves this it
;
this it is
is that
that ex..
ex-
plains part
plains part of
of the
the pleasure
pleasure we feel.
feel. Here, toD,
Here, too,
it is
it is really
really a kind of
of a?t9.~at.~~1?~hat
automatism that makes us
laugh
laugh - an automatis'm,
automatism, as as we havehave already
already re· re-

marked" closely
marked, closely akin
akin to
to mere absentminded-
absentminded-
ness.
ness. ,'Ta To realise this more fully,
realise this fully, it
it need onlyonly
be noted
noted that
that a a comic
comic character
character is is generally
generally
comic in in proportion
proportion to his ignorance
to his ignorance of
of hi~self
himself..
.The
The comic person is unconscious..
comic person is unconscious. ,' As though
though
wearing
wearing the
the ring
ring of
of GygE7s
Gyges with
with reverse
reverse effect,
effect,
he becomes invisible
invisible to' himself while
to himself while remain-
remain-
Ii THE COMIC IN GENERAL 17

ing
ing visible
visible to to all
all the
the world.
world. A character
character in in a a
tragedy
tragedy willwill make no change in
no change in his
his conduct
conduct
because
because he will
will know how it
it is
is judged
judged by by us;
us ;

he
he may
may continue
continue therein
therein even
even though
though fullyfully con..
con-
scious
scious ofof what he he is is and
and feeling
feeling keenlykeenly the the
horror
horror he inspires in
inspires in us. us. But
But a defect that is
adefeet that is

ridiculous,
ridiculous, as
as soon
soon as
as it
it feels
feels itself
itself to
to be
be so,
so,
endeavours
endeavours to to modify
modify itself
itself or
or at
at least
least to
to appear
appear
as though
as though it
it did.
did. Were Harpagon
Harpagon to
to see us
see us
laugh
laugh at
at his
his miserIiness, I da not
miserliness, I do not say that he say that he
would getget rid
rid of it, but
of it, but he he would
would either
either show show
it
it less or show it
less or it differently.
differently.
Indeed,
Indeed, it it is
is in
in

this
this sense
sense only
only that
that laughter
laughter "correets
"corrects men's men's
manners."
manners." It
It makes us
us at
at once endeavour
once endeavour to to
appear
appear what we ought ought to to be,be, what
what same some day day
we shall perhaps end in
shall perhaps being.
in being.
It
It is unnecessary to
is unnecessary to carry
carry thisthis analysis
analysis any any
further. From the
further. the runner
runner who \vho falls
falls to to the
the
simpleton who is
simpleton is hoaxed,
hoaxed, from aastate state of of be-
be-
ing hoaxed
ing hoaxed to to one
one of of absentmindedness,
absentmindedness, from
absentmindedness
absentmindedness to to wild
wild enthusiasm, from
enthusiasm,
enthusiasm to
wild enthusiasm
wild to various
various distortions
distortions of of char-
char-
acter and
acter and will,
,viII, we have have followed
followed the the line
line ofof
progress along
progress along which
which the the comic
comic becomes more
and
and more deeply
deeply imbedded
imbedded in the
in the person,
person, yetyet
without ceasing,
without ceasinl:>cy, in
in itsits subtler
subtier manifestations,
manifestations.
•
 18
i8 LAUGHTER CKAP.
CHAP.

to recall
to recall to
to us
us same trace
some trace of
of what
what we noticed
noticed
in its
in its grosser
grosser forms,
forms, an effect
an effect of
of automatism
automatism
and of
and of inelasticity.
inelasticity. Now we can can obtain
obtain aa first
first
gIimpse-a
glimpse
distant
a distant one, one, it
it is
is true,
true, and
and still
still

hazy and
hazy and confused
confused - of of the
the laughable
laughable side side ofof
human nature
human nature and and ofof the
the ordinary
ordinary function
function of of
laughter.
laughter.
What life life and
and society
society require
require of of each
each of of us
us
is aa constantly
is constantly alertalert attention
attention that that discerns
discerns the the
outlines
outlines of the present
of the present situation, together with
situation, together with
aa certain
certain elasticity
elasticity of
of mind and body body to to enable
enable
u.s to
us to adapt adapt ourselves
ourselves in
in consequence.
consequence. Te"z-
Ten-
sion and
sion and elastzcity
elasticity are
are two forces, mutually com..
forces, mutually com-
plementary, which life
plementary, brings into play.
life brings into
play. If
If

these
these two two forces
forces are lacking in
are lacking in the
the bodybody to to
any considerable
any considerable extent, extent, we have
have sickness
sickness and
infirmity
infirmity and accidents
accidents of
of every
every kind.
kind. If
If they
they
are
are lacking
lacking in
in the
the mind,
mind, we find
find every degree
every degree
of
of mental deficiency, every
mental deficiency, every variety
variety of of insanity.
insanity.
Finally, if
Finally, if they they are
are Iacking
lacking in
in the
the character, we
character,
have
have cases cases of of the
the gravest
gravest inadaptability
inadaptability to to
social
social life,
life, which are are the
the sources
sources of of misery
misery and
at
at times
times the the causes
causes of of crime.
crime. Once these these
elements
elements of
of inferiority
inferiority that
that affect
affect the
the serious
serious
side of
side of existence
existence are are removed - and they they tend
to
to eliminate
eliminate themselves'
themselves in in what has has been
been called
called
Ii THE COMIC IN GENERAL 19
the
the struggle
struggle forfor life
life - the person can
the person can live,
live, andand
that
that in in common with with other persans. But
other persons. But
society
society asksasks farfor something
something more; more; it it isis not
not
satisfied
satisfied with
with simply living,
simply living, it
it insists on
insists on livingliving
well What it
weIl. it now has has to to dread
dread is is that
that each
each
one
one of us, content
of US, content with paying attention
with paying attention to to
what affects the essentials of life, will,
affects the essentials of life, will, so far as so far as
the
the rest
rest isis concemed,
concerned, give the easy
give way way to to the easy
automatism
automatism of of acquired
acquired habits.
habits. Another thing
thing
it
it must fear
fear isis that the members oI
that the of whom it it is
is

made up, up, instead

instead of
of aiming
aiming afterafter an
an increasingly
increasingly
delicate
delicate adjustment
adjustment of
of wills
wills which
which will
will fit
fit more

and more perfectly

perfectly intointo oneone another,
another, will will con-
con-
fine
fine themselves
themselves to respecting simply
to respecting simply the the funda-
funda-
mental
mental conditions
conditions of of this
this adjustment:
adjustment: a a cut-
cut-
and-dried
and-dried agreement
agreement among among the persons will
the persons will
not
not satisfy
satisfy it,
it, it
it insists
insists on a a constant
constant striv- striv-

ing after reciprocal adaptation.

ing after reciprocal adaptation. Society
Society will will .

therefore
therefore be be suspicious
suspicious of all inelast'icity
of all inelasticity of of
character,
character, of of mind and even even of because
body, because
of body,
it
it is the possible sign of a slumbering activity
is the possible sign of a slumbering activity
as weIl as
as well as ofof an
an activity
activity with
with separatist
separatist tend- tend..
encies, that i1?-clines
encies, that inclines to to swerve from the the common
centre
centre ra,und
round which which society gravitates: in
society gravitates:
in
short,
short, because
because it it is
is the
the sign
sign of of an eccentricity.
eccentricity.
And yet, society
yet, society
cannot
cannot intervene
intervene at
at this
this stage
stage
20 LAUGHTER CHAP

material repression,
by material
by since
repression, since
it
it is not affected
is not affected
in
in aa material
material fashion.
fashion. It
It is is confronted
confronted with with
something it
something that makes it uneasy, but only as
that makes uneasy, hut only as aa
symptom
symptom - scarcely
scarcely a
a threat,
threat, at
at the
the very
very most
most
aa gesture.
gesture.
A gesture,
gesture,
therefore,
therefore, will
will be its
be its

Laughter m~t be.

reply.
reply. Jeughter must be s01m..z.thi~f
something of this this
kind, a... sort cf social
kind, a, sprtofjw^g/ gesture. gestu,:e. By the
By the fear fear
which
which it it inspires,
inspires, it
it resfi'äins
restrains eccentricity,
eccentricity, keeps keeps
constantly
constantly awake and in in mutual contactcontact certain
certain
acti vities of
activities of a a secondary
secondary order which might
order which might
retire inta
retire into their
their shell
shell and go to sleep,
go to sleep, and in
in
short,
short, softens
softens down whatever whatever the the surface
surface of of the
the
social
social body
body may may retain
retain of of mechjlnical
mechanical inelasticity.
inelasticity.
Laughter, then, does
Laughter, then, does not belong not belang to to the province
the province
of
of esthetics
esthetics alone,
alone, since
since unconsciously
unconsciously (and (and even
even
immorally
immorally in in many particular instances)
many particular instances) it it pur-
pur-
sues
sues a a utilitarian
utilitarian aim of of general improvement.
general improvement.
And yet yet there
there is is something esthetic
something esthetic about it, it,

since
since the the comic comes inta into being
being just just when
society
society and the
the individual,
individual, freed
freed from
from the worry
the worry
of
of self-preservation,
self-preservation, begin begin to to regard
regard themselves
themselves
as
as works
works of
of art.
art. l, '~~in
'..In a
a ward,
word, if if aa circle
circle bebe
drawn round those those actions
actions and dispositions-
dispositions
implied
implied in
in individual
individual or
or social
social life
life - to to which
their
their natural
natural consequences
consequences bring bring their their own
penalties,
penalties, there
there remains outside
outside this
this sphere
sphere of of
Ii GENERAL
THE COMIC IN GENE,RAL 21
21

emotion
emotion and struggle struggle - and witllin within a a neutral
neutral
zone
zone in in which man simply exposes
simply exposes himself
himself to
to
man's curiosity-a
man's curiosity certain rigidityof body,
a certain rigidity of body, mind mind
and character
al1d character that that society
society would
would still still like
like to to
get
get rici
rid of
of in
in order
order to
to obtain
obtain from
from its
its members
members
the
the greatest
greatest possible
possible degree
degree of of elasticity
elasticity and
and
sociability.
sociability. This rigidity
rigidity is the comic, and
is the comic, and
laughter
laughter is
is its
its corrective.
corrective.
Still,
Still, we roust
must not this formula
accept this
not accept formula as as aa
definition of
definition the comic.
of the comic. It is
It is suitable
suitable only only
for cases that
for cases that are are elementary,
elementary, theoretical and
theoretical and
perfect,
perfect, in
in which the
the comic
comic is
is free
free from
from all
all

adulteration.
adulteration. Nor da offer it,
do we offer it, either,
either, as as an
an
explanation.
explanation. We prefer
prefer toto make it,
it, if
if you
you
will,
will, the
the leitmotiv
leitmotiv which
which is
is to
to accompany
accompany all all

explanations. We must
our explanations. must ever ever keep keep it it in
in

mind, though without

mind, though without dwelling
dwelling on on it it too much,
too much,
somewhat as as aa skilful
skilful fencer
fencer must think think of of the
the
'discontinuous
discontinuous movements of of the lesson whilst
the lesson whilst
his body is
his body is given
given up up to to the
the continuity
continuity of of the
the
fencing-match. We will
fencing-match. will now endeavour
endeavour to to
reconstruct the
reconstruct the sequence
sequence of of comic
comic forms,farms, taking
taking
up again
up again thethe thread
thread that
that leads
leads fromfrom the the horse-
horse-
play of
play of aa clown
clown up up to
to the
the most
most refined
refined effects
effects
of comedy,
of following this
comedy, following this thread
thread in in itsits often
often
unforeseen windings,
unforeseen windings, halting
halting atat intervals
intervals to lo~k
to look
22 LAUGHTER C~.

around,
around, and
and finally getting back, if possible, to
finally getting back, if possible,
to
the point at
the point at which
which the thread is
the thread is dangling and
dangling and
where
where we shall perhaps find
shall perhaps find - since
since the
the comic
comic
oscillates between
oscillates between life
life and art
art - the
the general
general re-
re-

lation that
lation that art
art bears
bears toto life.
life.

111
Ill

Let
Let us begin at
us begin the simplest
at the point. What
simplest point.
is
is aa comic
comic physiognomy?
physiognomy? Where does does a a
ridiculous expression
ridiculous expression of
of the
the face
face come from?
from ?
And what what is, is, in
in this
this case,
case, the
the distinction
distinction be-be-
tween the
tween the comic
comic and the ugly?? Thus stated,
the ugly stated,
the question could
the question could scarcely
scarcely be be answered
answered in in
any
any other
other than
than an arbitrary
arbitrary fashion.
fashion. Simple
Simple
though
though it
it may appear,
may appear, it
it is,
is, even
even now,
now, toD
too
subtle to
subtle to allow
allow of of aa direct
direct attack.
attack. We should
should
have
have to
to begin
begin with
with adefinition
a ugliness,
definition of ugliness, and
of
then
then discover
discover what addition addition the the comic
comic makes
to it;
to it ;
now,
now, ugliness
ugliness is is not much easier
not easier to to
analyse
analyse than is beauty. However~
is beauty. However, we will will
employ
employ an artifice
artifice which
which will
will often
often stand
stand us
us in
in
good
good stead.
stead. will exaggerate
We will exaggerate the t11e problem,
problem,
so
so to speak, by
to speak, by magnifying
magnifying the the effect
effect to
to the
the
point of
point of making
making the cause visible.
the cause visible. Suppose,
Suppose,
then,
then, we intensify ugliness
intensify ugliness to
to the
the point of
point of
Ii FORMS 23
23
defarmity,
deformity, and study study the transition from
the transition from thethe
deformed
deformed to to the
the ridiculous.
ridiculous.
N ow, certain
Now, certain deformities undoubtedly pos-
deformities undoubtedly pos-
sess over
sess over others
others the
the sorry privilege
sorry privilege of
of causing
causing
same
some persons
persons to
to laugh;
laugh;
same
some hunchbacks,
hunchbacks, for for
instance,
instance, willwill excite
excite laughter.
laughter. Without
Without at at this
this
point entering iota useless
point entering into useless details, details, we will
will
simply
simply ask
ask the
the reader
reader to
to think
think of
of a
a number of
of
deformities,
deformities, and and thenthen to divide them inta
to divide into two
two
groups:
groups on the
: the oueone hand, those which
hand, those which nature
nature
has
has directed towards the ridiculous; and on
directed towards the ridiculous; and on
the
the otller,
other, those
those which
which absolutely diverge
absolutely diverge from
from
it.
it. No doubt he will hit
he will hit upon
upon thethe following
following
law A
law: : A deform'ity
deformity that that maymay become
become tomzc
comic isz·s a
deformt:ty
deformity that
that a normally
normally buz"lt
built person
person could
could
successfully
successfully im~~tll:.te.
in^Hate.
Is it
Is it not,
not, then,
then, the the case that the
case that the hunchback
suggests the appearance
suggests the appearance of of a
a person
person who holdsholds
himself
himself badlybadly?? His His back
back seems
seems to to have con..
con-
tracted
tracted an ugly ugly stoop.
stoop. By
By aa kind
kind of physical
of physical

obstinacy, by
obstinacy, by ngz·dt:ty,
rigidity^ in
in aa ward,
word, it persists
it persists

in the habit
in the habit it
it has
has contracted.
contracted. Try
Try to to see

with your
with your eyeseyes alone.
alone. A void reflection,
Avoid reflection, and
above
above all, all, da
do notnot reason.
reason. Abandon all all your
your
prepossessions
prepossessions; seek ; seek to
to recapture
recapture a fresh,
fresh,
direct
direct and primitive impression.
primitive impression. The vision
vision
24 LAUGHTER CHAP.
CHAP.

you
you will reacquire will
will reacquire be one
will be one of
of this kind.
this kind.

You
You will have before
will have before you
you a a man bent
bent on
on culti-
culti-

vating a certain rigid attitude whose body,

vating a certain rigid attitude whose body, if
if
one may
one use the
may use the expression,
expression, is is one vast grin.
one vast grin.
N OW,
Now, let
let us
us go
go back
back to
to the
the point
point we wished
wished
to
to clear up: By
clear up; By toning
toning down a a deforlnity that .
deformity that
is laughable,
is laughable, we ought
ought to
to obtain an ugliness
obtain an ugliness
that
that isis comic.
comic. A laughable
laughable expression
expression of tl1e
of the
face,
face, then,
then, isis one that will
one that will make us us think
think of of
something
something rigid and, so
rigid and, so to to speak,
speak, coagulated,
coagulated,
in the wonted nlobility
in the wonted mobility of
of the
the face.
face. What we
shall
shall see will be
see will be an
an ingrailled twitching or
ingrained twitching or a a
fixed
fixed grimace.
grimace* It may be
It may be objected
objected thatthat every
every
habitual expression of the face,
habitual expression of the face, even when even
graceful
graceful and
and beautiful, gives us
beautiful, gives us t11is
this same
same im..
im-
pression of
pression of something stereotyped? Here an
something stereotyped? an
important
important distinction
distinction must
must be drawn. When
be drawn.
we speak of
speak of expressive beauty or
expressive beauty or even
even ex.
ex-.
pressive ugliness,
pressive ugliness, when we say that a
say that a face
face
possesses expression,
possesses expression, we mean expression that
expression that
may
may be
be stable,
stable, but which we conjecture
but which conjecture to
to be
be
mobile.
mobile. It maintains, in
It maintains, in the
the midst
midst of its fixity,
of its fixity,
certain indecision
a certain indecision in
in which areare obscurely
obscurely
portrayed
portrayed all
all possible
possible shades
shades of
of the
the state
state ofof
mind it
it expresses, just as the sunny
expresses, just as the sunny promise
promise
of
of a warm day
day manifests
manifests itself
itself in
in the
the haze of
haze of
Ii FORMS 25

aspring
a spring morning.
morning. But But aa comiccomic expression
expression
of
of the
the face
face is is ane
one thatthat promises
promises nothing
nothing
than it
more than it gives.
gives. It
It is
is aa unique
unique and and per-per-
manent grimace.
grimace. One would
would say that the
say that the
person's
person's whole moral
moral life
life has
has crystallised
crystallised into
into
this
this particular
particular cast cast ofof features.
features. This
This is is thethe
reason why a face
reason why a face is all the is all the more comic,
comic, the the
more nearly
nearly it
it suggests to
suggests to us
us the
the idea
idea of
of same
some
simple
simple mechanical
mechanical action action in which its
in which its person-
person-
ality
ality would for ever be
for ever be absorbed.
absorbed. Same Some faces
faces
seem toto bebe always engaged in weeping,
always engaged in weeping, others others
in
in laughing
laughing or or whistling,
whistling, others,
others, again,
again, inin eter-
eter-

nally blowing
nally blowing an imaginaryimaginary trumpet,
trumpet, and and these
these
are the most comic
are the comic facesfaces ofof all.
all Here again
again is is

exemplified
exemplified the
the law
law according
according to
to which the
the
natural the
more natural the explanation
explanation of the cause,
of the cause, thethe
more comic is is thethe effect.
effect. Automatism, in-
Automatism, in-
elastzcz'ty, habit that has been
elasticity, habit that has been contracted contracted and
maintained, are
maintained, are clearly
clearly thethe causes
causes why why aa faceface
makes us us laugh.
laugh. But But this
this effect
effect gains
gains in in in-in-
tensity when we are
tensity are able
able to to connect
connect thesethese
characteristics
characteristics with with same
some deep-seated
deep-seated cause, cause,
a certain
a fundamental absentmindedness,
certain fundamental aosentm-indedness, as as
though the
though the soul
soul had had allowed
allowed itself
itself to
to be fasci-
fasci-
nated and hypnotised
nated hypnotised by by thethe materiality
materiality of of aa
simple action.
simple action.
 26
26 LAUGHTER CHAP.

We shall now
Weshall understand the
now understand the comic
comic element
element
in
in caqcatu:t:e.
caricature. Howeverregularwe
However regular we may mayimagine
imagine
aa face to be, however hannonious
face to be, however harmonious its i ts lines
lines and
and
supple its movements,
supple its movements, their
their adjustment
adjustment is
is never
never
altogether perfect:
altogether perfect:
there
there will
will always
always be be dis..
dis-

coverable
coverable the the signs
signs of of some impending
impending bias, bias,
the vague suggestion
the vague suggestion of of a possible grimace, in
possible grimace, in
short,
short, some
some favourite
favourite distortion
distortion towards
towards which which
nature
nature seems
seems to to bebe particularly
particularly inclined.
inclined. The
art
art ofof thethe caricaturist
caricaturist consists
consists in in detecting
detecting
this,
this, at times, imperceptible tendency, and in
at times, imperceptible tendency, in

rendering it
rendering it visible
visible toto all eyes by
all eyes
magnifying it.
by magnifying it.

He makes
makes his his models
models grimace,
grimace, as as they would
they would
do themsel ves
do themselves if they if they went to the end of
to the end of their their
tether.
tether. Beneath
Beneath the the skin-deep harmony of
skin-deep harmony of

form, he
form, he divines
divines tl1ethe deep-seated recalcitrance
deep-seated recalcitrance
of matter. He realises
of matter. realises disproportions
disproportions and de- de-
formations
formations which which mustroust have existed
existed in
in nature
nature
as
as mere inclinations,
inclinations, hut
but which
which have
have not
not suc..
suc-
ceeded in in coming
coming to to a
a head,
head, being held in
being held in check
check
by
by a higher
higher force.
force. His art, which
His art, which hashas a touch
a touch
of
of the diabolical,
diabolical, raises
raises up
up the
the demon who had
had
been overthrown by by the
the angel. Certainly,
angel Certainly, it
it is
is

an
an art
art that
that exaggerates,
exaggerates, and yet yet the
the definition
definition
would be very very far
far from complete
complete were exaggera--
exaggera-
tion
tion alone
alone alleged
alleged to
to be its
its aim and object,
object, far
for
Ii FORMS 27
there
there existexist caricatures
caricatures that that are more lifelike
are more lifelike
than
than portraits, caricatures in which the exag-
portraits, caricatures in which the exag-
geration is scarcely noticeable, whilst, inversely,
geration is scarcely noticeable, whilst, inversely,
it is quite possible
it quite to exaggerate
is possible to exaggerate to to excess
excess
without
without obtaining
obtaining areal
a real caricature.
caricature. For
For
exaggeration
exaggeration ta to be comic, it
be comic, it must
must not not appear
appear as as
an aim, but rather
an aim, but rather as a as a means that
that the artist is
the artist is

using
using in
in order
order to
to make manifest
manifest to
to our
our eyes
eyes the
the
distortions
distortions which which 11e he sees
sees in in embryo.
embryo. IItt is is

this
this process
process of distortion that
of distortion that isis of
of moment and and
interest.
interest. And that is precisely
that is precisely why why we shall
shall
look
look for for it
it even
even in in those
those elements
elements of of the
the faceface
that
that are incapable of
are incapable of movement,
movement, in the curve
in the curve of of
aa nose
nase or or the
the shape
shape of of all
an ear.
ear. For,
For, inin aur
our eyes,
eyes,
form is is always
always the
the outline
outline af a movement.
of a movement. The
caricaturist
caricaturist who alters alters the
the size
size afof a nase,
nose, but but
respects
respects its its ground plan,
ground plan, lengthening
lengthening it, it, for
for
instance,
instance, in in the
the very
very direction
direction in which it
in which it was

being lengthened
being lengthened by nature, by nature, is
is really making
really making
the nase indulge
the nose indulge in
in a
a grin.
grin. Henceforth we
shal1
shall always
always look upon the
look upon the original
original as having
as having
determined to lengthen
determined to lengthen itself itself and start grinning.
start grinning.
In this sense,
In this sense, one
one might
might saysay that
that Nature herself
herself
often
often meets
meets with
with thethe successes
successes of of aa caricaturist.
caricaturist.

111 the movement through

In the through which she has slit slit that
that

mouth, curtailed
mouth, curtailed thatthat chin
chin and bulgedbulged out that
28 LAUGHTER CHAP.

cheek,
cheek, sheshe would
would appear
appear to to have
have succeeded
in
in completing the intended grimace, thus out-
completing the intended grimace, thus out-
witting the restraining supervision of a more
witting the restraining supervision of a
reasonable force.
reasonable force. In
In that
that case,
case, thethe face
face we
laugh
laugh at at is, so to speak, its own caricature.
is, so to speak, its caricature.
Ta
To surn
sum up, whatever be the doctrine to
up, whatever be the doctrine to
which our
which our reason assents,
reason assents, Gur imagination has
our imagination has
aa very
very clear-cut philosophy of
clear-cut philosophy of its
its own:
own in
: in every
every
human formform it it sees
sees the
the effort
effort of of aa soul
soul which is is

shaping
shaping matter,
matter, a a soul
soul which is is infinitely
infinitely supple
supple
and perpetually
and perpetually in
in motion, stlbject
motion, subject to
to no law of
of
gravitation, for it is not the earth that attracts
gravitation, for it is not the earth that attracts
it.-'
it This
This soul
soul imparts
imparts apartion
a portion of of its
its winged
winged
lightness
lightness to to the body it
the body it animates:
animates: the the im~
im-
materiality
materiality which
which thus
thus passes
passes inta
into matter
matter is
is

what is is called
called gracefulness.
gracefulness. Matter,
Matter, however,
however,
is
is obstinate
obstinate and resists.
resists. It
It draws
draws to to itself
itself the
the
ever-alert activity of this higher
ever-alert activity of this higher principle, principle,
would fainfain convert
convert it to its
it to its own inertiainertia and
cause
cause it it toto revert
revert to to mere automatism.
automatism. It It

would fain
fain immobilise
immobilise the the intelligently
intelligently variedvaried
movements of of the body in
the body stupidly contracted
in stupidly contracted
grooves, stereotype
grooves, stereotype in
in permanent
permanent grimacesgrimaces ~he the
fleeting
fleeting expressions
expressions of the face,
of the face, in in short
short
imprint
imprint on the the whole person
person such
such an an attitude
attitude as
as
to make it it appear immersed and
appear and absorbed in
absorbed in
Ii MOVEMENTS 29

the
the materiality
materiality of of same
some mechanical
mechanical occupation
occupation
instead of
instead of ceaselessly renewing
ceaselessly renewing its
its vitality by
vitality by
keeping
keeping in in touch
touch withwith a a living ideal. Where
living ideal.
matter
matter thus
thus succeeds in dul~ing
succeeds in dulling the outward
the outward life
life

of
of the
the soul,
soul, in
in petrifying
petrifying
its
its movements
movements and
and
thwarting
thwarting its
its
gracefulness, it
gracefulness, it achieves,
achieves, at at the
the
expense
expense of the body,
of the body, an an effect that is
effect that is comic.
comic.
If, then,
If, then, at
at tllis
this point
point we wish
wish to define the
to define the
comic by comparing
by comparing it
it with
with its
its contrary,
contrary, we
should
should have to to contrast
contrast it it with
with gracefulness
gracefulness
even
even more than than with with beauty.
beauty. It
It partakes
partakes
rather
rather ofof the
the unsprightly
unsprightly than
than of
of the
the unsightly,
unsightly,
of rzg~idness
of rigidness rather
rather than
than of
of ugl-iness.
ugliness.

·IV
IV

We will
will nowpass from
pass from the
the comic
comic element
element
in forms
in to that
forms to in gestures
that in and movements.
gestures and mOVeme11,ts.
Let
Let us
us at
at anee state
once state the
the law
law which
which seems to
to
govem all
govern all the
the phenomena
phenomena of
of this
this kind.
kind. It It may
may
indeed be
indeed be deduced wit110ut any
deduced without difficulty from
any difficulty
the considerations
the considerations stated
stated above.
above.
att1:tudes, gestures
The attitudes, 0/ the
gestures and movements of the
body are
human body laughable in
are laughable e::cact proportion
z"n exact proportzron
as that body
as that oody reminds
remz·nds us 0/ a mere machine.
us of machz·ne.
There is
There is no
no need to follow
need to follow this la w through
this law through
 3o
3° LAUGHTER CHAP.

the
the details
details of of its
its immediate
immediate applications,
applications, which which
are
are innumerable.
innumerable. Ta verify it
To verify it directly, it
directly, it
would
would be be sufficient
sufficient to to study
study closely
closely the the work
of comic artists, eliminating
of comic artists, eliminating entirely entirely the
the element
element
of
of caricature,
caricature, and omitting that
and omitting portion of
that portion of the
the
comic
comic which
which is not inherent
is not inherent in the drawing
in the drawing
itself.
itself. Für, obviously,
For, obviously, the the comic element
element in in a
a
drawing
drawing is
is often
often a
a borrowed
borrowed one,
one, for
for which
which the
the
text
text supplies
supplies all the
all the stock-in..trade.
stock-in-trade. II mean
that
that the
the artist
artist may
may be his his own understudy
understudy in in
the shape
the shape of
of a
a satirist,
satirist, or
or even
even a
a playwright,
playwright,
and
and that
that then
then we laughlaugh far
far less
less at
at the
the drawings
drawings
themselves
themselves than than at the satire
at the satire or or comic
comic incident
incident
they
they represent.
represent. But if if we devote
devote our whole
our whole
attention
attention to to the
the drawing
drawing with
with the
the firm
firm resolve
resolve
to think of
to think nothing else,
of nothing else, we shall probably find
shall probably find
that
that it
it is
is generally comic in
generally in proportion
proportion to to the
the
clearness,
clearness, as
as weIl
well as
as the
the subtleness,
subtleness, with
with which
which
it
it enables
enables us us to
to see
see a a man as as a jointed puppet
a jointed puppet.
The suggestion
suggestion must be be aa clear one, for
clear one, for inside
inside
the
the person
person we must distinctly perceive, as
distinctly perceive, as
though through
though through a
a glass,
glass, a set-up
set-up mechanism.
But the
the suggestion
suggestion roust
must also
also be
be a a subtle
subtle one,
one,
for the general
for the general appearance
appearance of
of the
the person,
person, whose
every
every limb has has been made rigid rigid as as aa machine,
machine,
must continue
continue to to give
give us
us the
the impression
impression of of a
Ii MOVEMENTS 3311
living being. The more
living being. more exactly
exactly these these two two
images,
images, that
that of
of a
a person
person and
and that
that of
of a
a machine,
machine,
fit
fit iota
into each
each other,
other, the the more
more striking is the
striking is the
comic
comic effect,
effect, and
and the the more consummate
consummate the the art
art
of
of the
the draughtsman.
draughtsman. The originality
originality of
of a
a comic
comic
artist
artist is
is thus
thus expressed
expressed in in the
the special
special kind kind of of
life he imparts
life he imparts to to a
a mere puppet.
mere puppet ~~
j.*

We will,
will, however, leave
however, leave on on one one sideside thethe
immediate
immediate application
application of of the
the principle,
principle, and and at at
this
this point
point insist
insist onlyonly on on the
the more remote remote con- con-
sequences.
sequences. The illusion
illusion of
of a
a machine
machine workingworking
in
in the
the inside
inside of of the
the person
person is
is aa thing
thing thatthat ooIy
only
crops
crops upup amid a
a host
host of
of amusing
amusing effects;
effects ;
but
but for
for
the most part
the part it it isis a
a fleeting
fleeting glimpse,
glimpse, that that is is

immediately
immediately lost
lost in
in the
the laughter
laughter it
it provokes.
provokes.
Ta render it
To render permanent, analysis
it permanent,
analysis and reflection
reflection
roust be
must be called
called into play.
into play.
In aa public
In public speaker,
speaker, for for instance,
instance, we find find
that gesture
that gesture viesvies with
with speech.
speech. Jealous ]ealous of of the
the
latter, gesture
latter, gesture closely
closely dogs clogs the the speaker's
speaker's
thought, demanding
thought, demanding also also to to act
act as as interpreter.
interpreter.
WeIl and
Well and good
good; but ;
hut then
then it it must pledge pledge itself
itself
to follow
to thought through
follow thought through all all the
the phases
phases of of its
its
development. An idea
development. idea is is something
something that that
grows, buds, blossoms
grows, buds, blossoms and.
and ripens
-ripens from the
the
beginning to
beginning to the
the end of of aa speech.
speech. It I t never
never
32 LAUGHTER CHAP.

halts,
halts, never repeats itself.
never repeats itself. It
It must
must be be changing
changing
every
every moment,
moment, for
for to
to cease
cease to
to change
change would would be be
to cease to
to cease to live. live. Then let gesture
let gesture display display
aa like animation!I Let
like animation Let it it accept the
accept the funda- funda-
mental
mental law law of of life,
life, which
which is is the the complete
complete
negation
negation of
of repetition!
repetition ! But I
I find
find that
that a a
certain
certain movement of
of head or arm,
or arm, a a movement
always
always the
the same,
same, seems
seems to
to return
return at at regular
regular
intervals.
intervals. If
If I notice it
I notice it and it it succeeds
succeeds in in

diverting my
diverting attention, if
my attention, if II wait
wait for for it
it to
to occur
occur
and
and itit occurs
occurs when II expect expect it, it, then
then involun-
involun-
tarily
tarily
I
I Iaugh.
laugh. Why?
Why? Because Because II now have have
before me aa machine
before machine that works automatically.
that works automatically.
This
This is no longer life, it
is no langer life, it is
is automatism
automatism
established in
established life and imitating it.
in life It
It be-
be-
imitating it.
langs to
longs to thethe comic.
comic.
This is is also
also the reason why
the reason why gestures,
gestures, at which
at which
we never
never dreamt of of Iaughing,
laughing, become Iaughable
laughable
when imitated
imitated by by another
another individual.
individual. The
most elaborate
elaborate explanations
explanations have have been been offered
offered
for this extremely
for this simple
extremely simple fact fact. A little reflec-
little reflec-

tion, however, will

tion, however, will show that that our mental state
our mental state
is
is ever cha11ging, and that
changing, that ifif aur
our gestures faith~
gestures faith-
fully
fully followed these these inner movements, if
inner movements, if they
they
were as fully alive
fully alive as
as we, they would
we, they would never never
repeat themselves,
repeat themselves, and so would keep
so would keep imitation
imitation
I, MOVEMENTS 33
33
at
at bay.
bay.
We begin,
begin, then,then, ~o to become imitable
imitable
only \vhen we cease
only when cease to to bebe ourselves.
ourselves. II mean
our gestures
our gestures can
can only
only be
be imitated
imitated in
in their
their
mechanical
mechanical uniformity,
uniformity, and therefore exactly
and therefore exactly
in what alien to
in what is alien to our living personality.
is our living personality. Ta
To
imitate any
imitate any one
one is
is to
to bring
bring out
out the
the element
element of
of
automatism
automatism he has allowed to
has allowed to creep
creep into
into his his
person.
person. And as
as this
this is the very essence
is the very essence of the of the
Iudicrous,
ludicrous, it
it is
is no wonder that imitation
that imitation givesgives
rise
rise to
to laughter.
laughter.
Still, if
Still, if the
the imitation
imitation of of gestures
gestures is is intrin-
intrin-
sically laughable, it
sically laughable, it will
will become even even more
more so so
when it it busies itself in
busies itself in deflecting them,
deflecting them, though though
without altering
without altering their
their form, towards same
form, towards some
occupation, such
mecha:nical occupation,
mechanical such as as sawing
sawing wood,wood,
striking
striking on an anvil,
anvil, or
or tugging away at
tugging away at anan
imaginary bell-rope. . Not that
imaginary bell-rope. vulgarity is
that vulgarity is the
the
essence of
essence of the comic,-although
the comic, certa1.nly it
although certainly it is
is
to some
to extent an
same extent an ingredient,
ingredient, - but but rather
rather thatthat
the incriminated
the incriminated gesture gesture seems seems more frankly frankly
mechanical when it it can
can be connected
connected with with aa
simple operation,
simple operation, as as though
though it it were
were intentionally
intentionally
mechanical. To suggest
mechanical. suggest this this mechanical
mechanical inter- inter-
pretation
pretation oughtought to
to be
be one of
of the
the favourite
favourite
devices of
devices of parody.
parody. We have reached reached this this
result through
result through deduction,
deduction, but but II imagine
imagine
D
34
34 LAUGHTER CHAP.

clowns
clowns have have long
long had had an an intuition
intuition of of the
the
fact.
fact.

This
This seems
seems to to me the the solution
solution of of the
the little
little

riddle propounded by
riddle propounded by Pascal
Pascal in
in one
one passage
passage
of his Thoughts:
of his Thoughts: "Two faces
faces that
that are
are alike,
alike,
although
although neither
neither of
of them excites
excites laughter by
laughter by
itself,
itself, make us laugh
us laugh when together, on
together, on account
account
of their likeness."
of their likeness," It
It might just as
might just as weIl
well bebe
said:
said: "The gestures of
"The gestures of a public speaker,
a public speaker, no no
one
one of of which
which is is laughable
laughable by itself, excite
by itself, excite
laughter by their repetition."
laughter by their repetition." The truth
truth is is

that
that a a really living
really living
life
life should
should never
never repeat
repeat
itself.
itself. Wherever there there is repetition or
is repetition or complete
complete
similarity, al\'iays suspect same mechanism
similarity, we always suspect some
at work behind
at work behind the the living.
living. Analyse
Analyse the the im-im-
pression you
pression you get
get from two faces that are
faces that are toD
too
much alike,alike, and
and youyou willwill find that you
find that you are are
thinking
thinking of of two copies cast in
copies cast in the the same mould,
mould,
or two impressions
or two impressions of
of the
the same seal,
seal, or
or two
two
reproductions
reproductions of the same negative,
of the negative, - in in a a
ward,
word, of of same
some manufacturing
manufacturing process process or or other.
other.
This deflection
deflection of
of life
life towards the mechanical
the mechanical
is here the
is here real cause
the real cause of of Iaughter.
laughter.
And laughter
laughter will
will be pronounced still,
more pronounced still,

if
if we find
find on thethe stage merely two charac-
stage not merely charac-
ters,
ters, as
as in
in the example from Pascal,
the example Pascal, but
but several,
several,
Ii MOVEMENTS 35
35

nay, as great a number as

nay, as great a as possible,
possible, the
the image
image
of one
of one another,
another, who come come and'
and go,
go, dance
dance and
and
gesticulate together, simultaneously striking
gesticulate together, simultaneously striking
the
the same
same attitudes
attitudes and tossing their
and tossing their armsarms
about
about in in the
the same manner.
manner. This time, we dis-
This time, dis-
tinctly
tinctly think
think ofof marionettes.
marionettes. Invisible
Invisible threads
threads
seem to to us to be joining arms to arms, legs
us to be joining arms to arms, legs to
to
legs, each museIe in one face to its felJow-muscle
legs, each muscle in one face to its fellow-muscle
in
in the other by
the other: :
by reason
reason of the absolute
of the absolute uniform-
uniform-
ity which p,revails, the very litheness of the
ity which prevails, the very litheness of the
bodies
bodies seems to to stiffen
stiffen asas we gaze,
gaze, and the the
actors
actors themselves
themselves seemseem transformed
transformed into lifeless
into lifeless
automata.
automata. Such,
Such, at at least,
least, appears
appears to to bebe the
the
artifice underlying
artifice underlying this this somewhat obvious
obvious form form
of
of amusement. II daresay
daresay the
the perlormers
performers have have
never read
never read Pascal,
Pascal, buthut what theythey do is is merely
merely
to realise to
to realise to the full the
the full the suggestions contained
contained
suggestions
in
in Pascal's
Pascal's words.
words. If, If, as
as is
is undoubtedly
undoubtedly the· the-

case, laughter
case, laughter is is caused
caused in the second
in the second instance
instance
by the
by the hallucination
hallucination of of a effect, it
mechanical effect,
a mechanical it

must already
already have
have been
been so,so, though
though in in more
subtle
subtle fashion,
fashion, in
in the
the first.
first.

Continuing along
Continuing along this path, we dimly
this path, dimly per-per-
ceive theincreasinglyimportant
ceive the increasingly important andfar..reaching
and far-reaching
consequences
consequences of of the
the law
law we have just just stated.
stated.

We faintly catch still more fugitive

faintly catch still fugitive glimpses
glimpses
36 LAUGHTER CHAP..
CHAP,

of mechanical
of mechanical effects,
effects, glimpses
gIimpses suggested
suggested by
by
man's complex
man's complex actions, no
actions, no longer
longer merely
merely by by
his gestures.
his gestures. We instinctively feel that
instinctively feel that the
the
usual devices
usual devices of of comedy,
comedy, thethe periodical
periadical repeti-
repeti-
tion of
tion of aa word
ward or or aa scene,
scene, the
the systematic
systematic in- in-
version of
version of the
the parts,
parts, the
the geometrical
geometrical develop-
develop-
ment of a farcical misunderstanding
ment of a farcical misunderstanding and
and many
many
stage contrivances
other stage
other contrivances mustmust derive
derive their
their
comic force
comic force from the same source,
fram the saurce, - the
the art
art of
of
the playwright probably consisting
the playwright probably consisting in setting in setting
before us
before us an an obvious
obvious clockwork
clockwork arrangement
arrangement
of human events,
of carefully preserving an
while carefully
events, while preserving an
outward
outward aspect
aspect of and thereby
probability and
of probability thereby
retaining something
retaining something of
of the
the suppleness
suppleness of of life.
life.

But
But we must
must not forestall results
not forestall results which
which will
will 'be
be
duly
duly disclosed
disclosed in in the
the course
course ofof our
our analysis.
analysis.

v
Before
Before going
going further,
further, let
let us
us halt
halt aa moment
and glance
glance around.
around. As we hinted hinted at at the
the outset
outset
of
of this
this study, it wQyld Re i<lle to attempt 1.0
it
study, wg^lr^ feg J^le tp ^ttenr^pi; ^Q
de!iYe
derive everx pfffirt tram
S;Qmic effect
ev^ry ,gomfa frf
)T71 Qne simple
fo~~
formula^ The formula exists exists weIl
well enough
enough in in a
certain sense,
certain sense, but its
its development does not
development does not
follow a straightforward
straightforward course..
course. What I
I mean
i EXPANSIVE FORCE OF COMIC 37
37
is
is that
that the
the process
process of of deduction
deduction ought ought from
from time
time
to
to time
time to to stop
stop and study cert~in
and study certain culminating
culminating
effects, and
effects, and that
that these
these effects
effects eacheach appear
appear as as
models
models round round which
which new effects resembling
effects resembling
them take
take their
their places
places in
in a
a circle.
circle. These
These latter
latter
are
are not deductions from
not deductions from the the fonnula,
formula, but but are
are
comic through their relationship
comic through their relationship with those with those
that
that are.
are. To quote
quote Pascal
Pascal again,again, II see see nono
objection, at
objection, at this
this stage, to defining the process
stage, to defining the process
by
by the
the curve
curve which
which that that geometrician
geometrician studiedstudied
under
under the
the name of roulette or
of rotelette or cycloid-the
cycloid the curve
curve
traced by
traced by a point
point in
in the
the circumference
circumference of
of aa
wheel
wheel when th"e the carriage
carriage is is advancing
advancing in in aa
straight line: this point turns
straight line: this point turns like the wheel, like the wheeI,
though it
though advances like
it advances the carriage.
like the carriage. Or else
else
might think
we might think of of an immense avenue such such asas
are to be
are to be seen
seen in the forest
in the forest of Fontainebleau,
of Fontainebleau,
with trosses
with crosses at
at intervals
intervals to
to indicate
indicate the cross-
the cross-
ways: at
ways : at each
each of of these
these we shall shall walk
walk round
round thethe
cross, explore
cross, explore forfor aa while
while the the paths
paths that
that open
open
out before
out before us, us, and
and thenthen return
return to to our
our original
original
course.
course. Now,
Now, we have
have just
just reached
reached one ofof
these crossways. -:om:!/;!;·~.,1?!ff~(!'tz"cal
these mental crossways. Something mechanical
encrusted on
encrusted on the
the living w!tr represent aa cross
livi1zg wiTTrepresent cross
at~dl1"I'~we~'müst"
at*1v!^^ halt, a:
a central
central image
image fromfrom
which the
which the imagination
imagination branches
branches off off in
in different
different
38 LAUGHTER CHAP.

directions. What are

directions. these directions?
are these directions ? There
There
appear
appear to be three
to be main ones.
three main ones. We will
will follow
follow
them
them one
one after
after the
the other,
other, and
and then
then continue
continue
aur onward course.
our onward course,

I.
i. In
In the the first
first place,
place, this
this view
view of of the
the
mechanical
mechanical and and thethe living
living dovetailed
dovetailed inta into each
each
other m·akes us incline towards
other makes us incline towards the vaguer the vaguer
image
image of same rigid·ity
of some rigidity oror other
other applied
applied to to the
the
mobility
mobility of of life,
life, inin an awkward attempt attempt to to
follow
follow its lines and
its lines and counterfeit
counterfeit its its suppleness.
suppleness.
Here
Here we perceive
perceive how easy
easy it is for
it is for a a garment
garment
to become ridiculous.
to become ridiculous. It It rnight almost
might almost be said
be said
that every
that every fashion
fashion is is laughable in
laughable in same some respect.
respect
Only,
Only, when we are
are dealing
dealing with
with the
the fashion
fashion of
of
the day,
the day, we are so accustomed to
are so accustomed to it that the it that the
garment
garment seems, in
seems, in our
our mind,
mind, to to form one with
one with
the
the individual wearing it.
individual wearing it. We do not separate
do not separate
them in in imagination.
imagination. The idea
idea rio
no langer
longer
occurs to contrast
occurs to us to contrast the inert rigidity of
to us the inert rigidity of the
the
covering
covering with
with the
the living suppleness
living suppleness of
of the
the object
object
covered:
covered: consequently,
consequently, the
the comic
comic here
here remains
remains
in
in a
a latent
latent condition.
condition. It will onIy
It will only succeed
succeed in in
emerging
emerging when the
the natural
natural incompatibility
incompatibility is is

so
so deep-seated
deep-seated between the the cavering
covering and the the
covered thatthat even an immemorial
immemorial association
association
Ii EXPANSIVE FORCE OF COMIC 39
39
fails to
fails to cement this this union:
union a: a case
case inin point
point is
is
our
our head
head and top top hat.
hat. Suppose,
Suppose, ho\vever,
however,
same
some eccentric
eccentric individual
individual dresses
dresses himself
himself in in the
the
fashion
fashion of of former
former times
times our attention is
our attention is imme- imme-
diately
diately drawn to
to the
the clothes
clothes themselves;
themselves; we we
absolutely
absolutely distinguish
distinguish them them fram
from thethe individual,
individual,
we say
say that
that the
the latte~ .z·s_disguz·s1:ng
\tfte\isdisguising himself,
himselJ, - asas
though
though every every article
article of
of clothing
clothing were
were not
not aa
disguise 1- and the
disguise I the laughable
laughable aspect
aspect of of fashion
fashion
comes out of the shadow into
out of the shadow into the light. the light.
H ere we are
Here beginning to
are beginning to catch
catch a a faint
faint
glimpse
glimpse of of the
the highly
highly intricate difficulties raised
intricate difficulties raised
by
by tllis
this problem
problem of of thethe comic.
comic. One of of the
the
reasons
reasons that
that fiust
must have given rise
have given rise to many to many
erroneous
erroneous or unsatisfactory theories
or unsatisfactory theories of of laughter
laughter
is that many
is that many things
things are
are comie
comic de J·ure without
jure without
being comic de
being facto, the
de facto, the continuity
continuity of of custom
having
having deadened
deadened within
within them the
the comic
comic quality.
quality.
A sudden
sudden dissolution
dissolution of of continuity
continuity is is needed,
needed, aa
break with
break with fashion,
fashion, forfar this
this quality
quality to to revive.
revive.
Hence the the impression
impression that that this
this dissolution
dissolution of of
continuity is
continuity is the
the parent
parent of of the comic, whereas
the comic, whereas
all it does
all it does is is to
to bring
bring it it to
to our notice.
notice. Hence,
Hence, I

again, the
again, the explanation
explanation of of laughter
laughter by by surprise,
surprz·se, :
contrast,
contrast, etc.,etc., definitions
definitions which would equally'
equally
apply to
apply to aa host
host of of cases
cases in in which we have no no
40 LAUGHTER CHAP.
CHAP.

inclination
inclination whatever
whatever to to laugh.
laugh. The truth truth of of
the
the matter
matter is is far
far from being so
from being so simple.
simple.
But
But to return to our idea of disguise,
to return to aur idea of which,
disguise, which,
as have just
as we have shown, has been entrusted with
just shown, has been entrusted with
the
the special mandate oi
special mandate of arousing
arousing laughter.
laughter. It
It

will
will not
not be
be out
out ofof place
place to to investigate
investigate the the uses
uses
it makes of
it of this
this power.
power.
Why
Why da
do we laugh
laugh at at a a head
head of of hair
hair which
which
has
has changed
changed from dark to to blond?
blond? What is is

there comic
there comic aboutabout a
a rubicund nose
rubicund nose ? ? And why
why
does
does oneone laugh
laugh at
at a
a negro?
negro? The question
question
would appear
appear to
to be
be an embarrassing
embarrassing one,
one, for it
for it

has
has been asked by
been asked by successive
successive psychologists
psychologists such such
as Hecker, Kraepelin
as Hecker, Kraepelin and Lipps, Lipps, and all
and all havehave
given
given different
different replies.
replies. And yet
yet I
I rather faney
rather fancy
the correct
the correct answer
answer was suggested
suggested to to me oneone day
day
in the
in street by
the street ordinary cabby,
by an ordinary cabby, who applied
applied
the expression
the unwashed"" to
expression"" unwashed to the
the negro
negro fare
fare he
driving. Unwashed
was driving. Unwashed! Does not
! not this
this mean
that aa black
that face, in
black face, in our
our imagination,
imagination, is is one
one
daubed overover with
with ink ink oror soot
soat?? If If so,
so, then
then aa
red nose
red nose can onl y be
can only be one
one which
which has received aa
has received
coating of
coating of vermilion.
vermilion. And so so we see see that
that thethe
nation of
notion of disguise
disguise has has passed
passed on on something
something of of
its comic quality
its quality to to instances
instances in in which there is
which there is
actually no
actually 00 disguise, though there
disguise, though there might
might be. be.
Ii EXPANSIVE FORCE OF COMIC 4411
In
In thethe former
former set set ofof examples,
examples, although
although his
his
usual
usual dress
dress was distinctdistinct from from the the individual,
individual,
it appeared
it appeared in in our mind to
our mind to form
form aneone '\vith
with h·im,
him,
because
because we had become become accustonled to the
accustomed to the sight sight.
In the
In the latter,
latter, although the
although the black
black or or red
red colour
colour
is
is indeed
indeed inherent
inherent in in thethe skin,
skin, we look look upon
upon
it as artificiaIly
it as artificially laidlaid on, because it
on, because it surprises us.
surprises us*.
But herehere we meet meet withwith a a fresh crop of
fresh crop of diffi·
diffi-

culties
culties in the theory
in the theory af of thethe comic.
comic. Such aa
following "My
proposition "
proposition as as the
the following: :
My usual
usual dress
dress
"
farms
forms partpart of
of my body"
my body is absurd in the eyes
is absurd in the eyes
of reason. Yet imagination
of reason. imagination looks
looks upon
upon it
it as
as
true.
true. "A red red nasenose is is a a painted
painted nase,"
nose," "A
negro is
negro is a a white
white man in in disguise,"
disguise," are are alsoalso
absurd
absurd to to the
the reason
reason which rationalises ; hut
which rationalises; but
they are
they are gospel truths to
gospel truths pure imagination.
to pure imagination. So
there is
there is a logic of
a logic the imagination
of the imagination which which is is not
not
the logic of reaSOD,one
the logic of reason, one which at times
at times is
is even
opposed
opposed to
to the
the Iatter,
latter, with
with which, however,
which, however,
philosophy must reckon,
philosophy reckon, not not only
only inin the study
the study
of the
of the comic,
comic, but hut inin every
every otherother investigation
investigation of of
the
the same kind.
kind. It
It is
is something
something like
like the
the logic
logic
of dreams,
of dreams, thoughthough of of dreams
dreams that that have not been
left to
left to thethe whim of of individual
individual fancy, fancy, being
being the the
dreams dreamt
dreams dreamt by by thethe whole
whole of of society.
society. In In
order to reconstruct
order to reconstruct this
this hidden
hidden logic,
logic, a
a special
special
 42
42 LA UGHT ER
LAUGHTER CHAP.

kind of
kind of effort is
effort is needed,
needed, by which
by which the
the outer
outer
ernst of
crust of carefully stratified judgn1ents and
carefully stratified judgments
firmly
and firmly
established ideas
established ideas will
will be
be lifted, and
lifted, we
and we shall
shall
behold in
behold in the
the depths of
depths of Gur
our mind,
Iike aa
mind, like
sheet of
sheet of subterranean
subterranean water, the flow
water, the :flow of
of an
an un-
un-
stream of
broken stream
broken of images
images which pass from
which pass from oneone
into another.
into another. This interpenetration of images
This interpenetration of images
does not
does not come about by
corne about chance. It
by chance. It obeys
obeys laws,
laws,
or rather
or rather habits,
habits, which
which hold
hold the
the same relation
relation
to imagination
to imagination that
that logic
logic does to thought.
does to thought.
Let us then follow
Let us then follow this
this logic of the imagina-
logic of the imagina-
tion in
tion the special
in the case in hand.
special case in hand.
A man in in
disguise
disguise is comic. A man we regard
is comic. regard as as dis-
dis-

, guised
guised is is also
also comic.
comic. So, So, by by analogy,
analogy, any any
disguise
disguise is
is seen
seen to
to become comic,
comic, not
not only
only that
that
of
of a
a man,
man, hut
but that
that of
of society
society also,
also, and even
even the
the

disguise of
disguise of nature.
nature.
Let usus start with
start with nature.
nature. You laugh
laugh at at aa
dQg
dog that
that is
is half-clipped,
half-clipped, at
at a
a bed
bed of
of artificially
artificially
coloured
coloured flowers,
flowers, at at aa wood in in which
which the the trees
trees
are
are plastered
plastered overover with
with election
election addresses,
addresses, etc. etc.

Look forfor the

the reason,
reason, and you
you will
will see
see that
that you
you
are
are once
once more thinking
thinking of
of a
a masquerade.
masquerade. Here, Here,
however,
however, the the comic element
element is is very faint it
very faint; ;
it is
is

toD
too farfrom
far from its source.
its source. If you wish
If you wish to to strengthen
strengthen
it, you
it, you must go
go back to
to the
the SQurce
source itself
itself and
i EXPANSIVE FORCE OF COMIC 43
43
contrast
contrast thethe derived
derived image,
image, that
that of
of a
a masquer-
masquer-
ade, with
ade, with thethe original
original one,
one, which,
which, be
be it
it remem-
remem-
bered, ,vas
bered, that of
was that of a mechanical tampe
a mechanical with
ring with
tampering
life.
life. In"
In "
a
a nature
nature that
that is mechanically tampered
is mechanically tampered
"
with
with " v.re possess aa thoroughly
we possess comic theme,
thoroughly comic theme, onon
which
which fancy
fancy will be able
will be to play
able to play ever
ever so many
so many
variations
variations with the certainty of successfully pro-
with the certainty of successfully pro-
voking
voking the
the heartiest
heartiest hilarity.
hilarity. You
YOll may
may call
call to
to
mind that
that amusing passage in
amusing passage in Tartarz·n
Tartarin sursur hs
/es
Alpes, in
Alpes^ in which
which Bompard
Bompard makes
makes Tartarin-
Tartarin
and therefore
therefore also the reader
also the same
reader to some slight
to slight ex-
ex-
tent-accept
tent accept the
the idea
idea of
of a
a Switzerland
Switzerland choke-full
choke-full
of machinery like
of machinery the basement
like the basement of the Opera,
of the Opera^ and
and
run by company
run by a company which maintains a series of
a which maintains a senes of
waterfalls, glaciers
waterfalls, glaciers and
and artificial
artificial crevasses.
crevasses. The
same theme reappears,
reappears, though
though transposed
transposed in in
quite
quite another
another key,key, in
in the Novel Notes
the Novel Notes ofof the
the
English humorist,
English humorist, Jerome Jerome K. Jeronle.
Jerome. An
elderly Lady BountifuI,
elderly Lady Bountiful, who does
does not want her
not her
deeds
deeds ofof charity
charity to to take
take upup too
too much of of her

time, provides hornes within

time, provides homes within easy easy hail
hail of
of her
mansion
mansion forfor the
the conversion
conversion of of atheists
atheists who'
who have
been specially
been specially manufactured
manufactured for for her,
her, so
so to
to speak,
speak,
and for
for a
a number of of honest
honest folk
folk who have been
made into
into drunkards
drunkards so so that
that she may
may cure them
of
of their
their failing, etc. There are
failing, etc.
are comic phrases
phrases
44
44 LAUGHTER CHAP.
CHAP.

in
In which
which this this theme
theme is audible, like
is audible, like a a distant
distant

echo, coupled
echo, coupled \vith with an ingenuousness, whether
an ingenuousness, whether
sincere
sincere oror affected,
affected, which acts acts asas accompanimen
accompaniment. t.
Take, as an instance,
Take, as an instance, the
the remark
remark made by aa
by
lady
lady
whom Cassini,
Cassini, thethe astronomer,
astronomer, had had invited
invited
to
to see
see an eclipse oE
an eclipse of thethe moon. Arriving tao
moon. Arriving too
late, she
late, she said,said, "M.
"
M. de
de Cassini,
Cassini, I
I know,
know, will will
have the
have the goodness
goodness to
to begin
begin it
it all
all over
over again,
again, to to
please
please rne."
me." Or, Or, take
take again
again the the exclamation
exclamation of of
one
one ofof Gondinet's
Gondinet's characters
characters on on arriving
arriving in in aa
town
town and
and learz:ing
learning that
that there
there is
is an extinct
extinct
volcano
volcano in in the neighbourhood, "They
the neighbourhood, "They had( had aa
"
volcano, and they
volcano, they have let it go out!
let it go out " !

Let us
Let us gogo on to to society.
society. As we are both in
are both in
and
and ofof it,
it, we cannot
cannot help treating
help treating it
it as
as a
a living
living
being.
being. Any
Any image,image, then,
then, suggestive
suggestive of
of the
the
notion of
notion of aa society
society disguising
disguising itself, itself, or
or of
of aa social
social
masquerade, so to speak,
masquerade, so to speak, will be laughable. will be laughable.
Now, such
Now, nation is
such aa notion is formed
formed when we perceive perceive
anything inert
anything inert or or stereotyped,
stereotyped, or or simply
simply ready-
ready-
made, on the
made, the surface
surface of of living
living society.
society" There There
have rigidity
we have rigidity overover again,
again, clashing
clashing with with thethe
inner suppleness
inner suppleness of of life. ceremonial side
life. The ceremonial side
of social
of social life must, therefore,
life must, therefore, alwaysalways include
include aa
latent comic element,
latent element, which is is only
only waiting
waiting for for
an opportunity
an opportunity to to burst
burst into into full view" It
full view. It
Ii EXPANSIVE FORCE OF COMIC 45
45
might
might be be said
said thatthat ceremonies
ceremonies are are to
to the
the social
social
body
body what clothing
clothing is
is to
to the
the individual
individual body:
body :

they
they owe their
their seriousness
seriousness to to the
the fact
fact that
that they
they
are
are identified,
identified, in in our
our minds,
minds, with with thethe serious
serious

object with
object with which
which custom
custom associates
associates them,them, andand
when we isolate isolate them them in imagination, they
in imagination, they
forthwith lose their
forthwith lose their seriousness. seriousness. Für
For anyany
ceremony,
ceremony, then,then, to
to become comic,
comic, it
it is
is enough
enough
that our attention
that Qur attention be be fixed
fixed on on the
the ceremonial
ceremonial
element
element in it, and that
in it, that we neglect
neglect itsits matter,
matter, asas
philosophers
philosophers say, say, and
and think
think only
only of
of its
its form.
form.
Every
Every one knows how easily the comic spirit
easily the comic spirit
exercises
exercises its its ingenuity on
ingenuity on social social actions
actions of of a
a
stereotyped
stereotyped nature,nature, from an ordinary
ordinary prize-prize-
distribution
distribution to to thethe solemn
solemn sitting
sitting of of a a court
court of
of
justice. Any
justice. Any form or or formula
formula is is a ready-made
ready-made
frame
frame intointo which the the comic element element may may bebe
fitted.
fitted.

Here, again,
Here, again, the the comic
comic will will bebe emphasised
emphasised
by bringing it
by bringing it nearer
nearer to to its
its source.
source. From thethe
idea of travesty, a derived
idea of travesty, a derived one, one, we nlust
must go
go
back to
back to the
the original
original idea,
idea, thatthat ofof aa mechanism
superposed upon
superposed upon life.life. Already,
Already, the the stiff
stiff and
starched formality
starched formality of of any ceremonial suggests
any ceremonial suggests
to us an image
to us an image of of this
this kind.
kind. Für,
For, as
as soon asas
forget the
we forget the serious
serious object
object of of a solemnity
solemnity or or aa
46 LAUGHTER CHU.
CHAT.

ceremony, those
ceremony, those taking
taking part
part in it give
in it give us
us the
the
impression of
impression of puppets
puppets inin motion.
motion. Their
Their
mobility seems to adopt as a model the iln-
mobility seems to adopt as a model the im-
mobility of a formula.
It becomes
mobility of a formula. It becomes automatism.
automatism.
But complete
But complete automatism
automatism is
is only reached in
only reached in
the official,
the for instance,
official, for instance, who performs l1is duty
performs his duty
like a mere machine, or again
like a mere machine, or again in the un-in the un-
consciousness that
consciousness that marks an an administrative
administrative
regulation working
regulation working with
with inexorable
inexorable fatality,
fatality,
and setting
and itself up für a law of nature.
setting itself up for a law of nature.
Quite by
Quite by chance, reading the
chance, when reading the newspaper,
newspaper,
II came across
across aa specimen
specimen of
of the
the comic
comic of
of this
this
type. Twenty
type. years aga,
Twenty years ago, a a large
large steamer
steamer was
wrecked off the coast at Dieppe. With con-
wrecked off the coast at Dieppe. con-
siderable
siderable difficulty
difficulty some of
of the
the passengers
passengers were
rescued
rescued in in aboat.
a boat. A few custom-house
custom-house offi- offi-

cers, who bad

cers, had courageously
courageously rushed rushed to to their
their
assistance, began by
assistance, began by asking asking them "
"if
if they
they had
anything
anything to to declare."
declare." Wee find
W find something
something
similar, though
similar, though the
the idea
idea is
is a
a more subtle
subtle one,
one,
in the remark of
in the of an questioning tl1e
an M.P. when questioning the
Horne
Home Secretary
Secretary on the
the morrow of
of a
a terrible
terrible
murder which took took place
place inin aa railway
railway carriage:
carriage :

"
"The
The assassin,
assassin, after
after despatching
despatching his
his victim,
victim,
must have got the
got out the wrong side of the train)
out wrong side of the train,
u
thereby
thereby infringing
infringing the
the Company's
Company's rules.
rules,"
Ii EXPANSIVE FORCE OF COMIC 47 47
A mechanical
mechanical elementelement introduced
introduced into into nature
nature
and
and anan automatie
automatic regulation
regulation of
of society, such,
society, such,
then, are the
then, are the twotwo types
types of of laughable
laughable effects
effects atat
which
which we have have arrived.
arrived. It
It remains
remains for us,
for us, inin
conclusion,
conclusion, to to combine
combine them and and seesee what
what thethe
result
result will
will be.
be.
The result
result of of the
the combination
combination will will evidently
evidently
be
be aa human regulation
regulation of
of affairs
affairs usurping
usurping the the
place
place of
of the
the laws
laws of of nature.
nature. We may may calI to mind
call to mind
the
the answer Sganarelle
Sganarelle gave gave Geronte
Geronte when the the
latter
latter remarked that
that the heart was on
the heart was on the left the Ieft
side
side and the the liver
liver on the right:
on the right : "" Yes,
Yes, itit was

so formerly,
so formerly, hut but we have have altered
altered allall that;
that now,
; now,
we practise
practise medicine in
medicine in quite a quite a new way."
way."
We maymay also
also recall
recall the
the consultation
consultation between
between
M. de Pourceaugnac's two
de Pourceaugnac's two doctors:
doctors: ""The
The
arguments you
arguments you havehave used
used are are soso erudite
erudite and
elegant
elegant that
that it
it is
is impossible
impossible for
for the
the patient not
patient not
to be
to be hypochondriacally
hypochondriacally melancholic
melancholie; or, ;
or, even
even
if he
if he were
were not,not, he he must
roust surely
surely become so so
because of
because oi the
the elegance
elegance of of the
the things
things you you have
said and
said and thethe accuracy
accuracy of of your reasoning." We
your reasoning."
might multiply
might examples, for
multiply examples, for all
all we need do da
would be
would be toto call
eall up Moliere's doctors,
up Moliere's doctors, one afterafter
the other.
the other. However far,
far, moreover,
moreover, comic
fancy
fancy maymay seem
seem to
to go, reality
go, reality at times under-
at times under-
48 LAUGHTER CHAP.
CHAP.

takes to improve
takes to improve upon upon it. it IItt was
was suggested
suggested to to
aa contemporary philosopher, an
contemporary philosopher, an out..and-out
out-and-out
arguer, that his arguments, though irreproach-
arguer, that his arguments, though irreproach-
ahle
able in their deductions,
in their deductions, had experience
experience against
against
them.
them. He putput an
an end
end to
to the
the discussion
discussion by
by
merely remarking,
merely remarking, "Experience "Experience is
is in
in the
the
wrang."
wrong." The truth truth is,
is, this idea of
this idea of regulating
regulating
life as a matter of business routine is
life as a matter of business routine is more

widespread
widespread than than mightmight be imagined; it
be imagined; it isis

natural
natural in its way,
in its way, although
although we have just
have just
obtained it
obtained it by
by an an artificial
artificial process of
process of re..
re-

construction.
construction. One might say
might say that that it
it gives
gives us
us
the very quintessence
the very quintessence of pedantry, which,
of pedantry, which, at at
bottom, is
bottom, nothing else
is nothing else than
than art pretending to
art pretending to
outdo
outdo nature.
nature.
Ta
To sum up, up, then,
then, we have one and the
one and the same
effect,
effect, which assumes
assumes ever ever subtIer
subtler forms
forms asas itit

passes from
passes from thethe idea
idea ofof an artificial
artificial mechanzsa..
mechanisa-
tion of
i'ion of the
the human body, body, if if such
such an an expression
expression
is permissible, to
is permissible, to that
that ofof any
any substitution
substitution what..
what-
soever of
soever of the
the artificial
artificial for the natural.
for the natural. A less
less
and less
less rigorous
rigorous logic,
logic, that
that more and and more
resembles
resembles the the logic
logic ofof dreamland, transfers the
dreamland, transfers the
same relationship
relationship into
into higher
higher and higher
higher
spheres,
spheres, between
between increasingly
increasingly immaterial
immaterial terms,
terms,
till in
till the end we find
in the find a mere administrative
administrative
Ii EXPANSIVE FORCE OF COMIC 49
49
enactment
enactment occupying
occupying thethe same
same relation
relation toto a a
natural
natural or
or morallaw
moral law that
that aa ready-made garment,
ready-made garment,
for
for instance, does to
instance, does to the
the living body. We
living body.
have
have now gone
gone right to the end of the
right to the end of the first
first of
of
the
the three
three directions
directions we had
had to
to follow.
follow. Let
Let us us
turn .ta
turn .to the
the second
second and
and see where it
see where it will
will lead
lead
us.
us.

2.
2.Our starting-point
starting-point is is again "something
again "something
mechanical
mechanical encrusted
encrusted upanupon the
the living."
living."
Where
did
did the
the comic comefrom
come from in in this case?
this case ? It
It came
came
from
from the
the fact
fact that
that the
the living body
living body
became
became rigid,
rigid,
Iike
like aa machine.
machine. Accordingly,
Accordingly, it
it seemed
seemed ta
to us
us
that the Iiving body ought to be the
that the living body ought to be the perfection perfection
of
of suppleness,
suppleness, the the ever-alert
ever-alert activity
activity of of aa
principle always
principle always at work. But this
at work. this activity
activity
really belong
would really
would belang to the soul
to the rather than
soul rather than to to
the hody.
the body. It
It would
would be
be the
the very
very flame
flame of
of life,
life,

kindled within
kindled within us by aa higher
us by higher principle
principle and
perceived through
perceived through the body, as
the body, as though
though through
through
a glass. When we see
a glass. only gracefulness
see only gracefulness and
suppleness
suppleness in
in the
the Iiving body,
living body, it it is
is because
because
disregard in
we disregard it the
in it the elements
elements of of weight,
weight, of of
resistance, and,
resistance, and, inin aa word,
ward, of
of matter
matter; we forget
;
forget
its materiality and think
its materiality and think only only of
of its
its vitality,
vitality,
a vitality
a vitality which
which we regardregard as as derived
derived from
5°
50 LAUGHTER CHAP.
CHAP.

the very principle

the very principle of of intellectual
intellectual and moralIife.
moral life.
Let
Let usus suppose, however, that our attention is
suppose, however, that our attention is
drawn to
drawn to this material side
this material side ofof the
the body;
body that,;that,
so far from
so far from sharing sharing in
in the
the lightness and
lightness
subtlety of the principle with which it is
subtlety of the principle with which it is
animated,
animated, the the body
body is is no more in in our
our eyes than
eyes than
heavy and
aa heavy and cumbersome vesture,
vesture, a kind of
a kind of
irksome ballast which
irksome ballast which holdsholds down to to earth
earth a a
soul
soul eager
eager to to rise
rise aloft.
aloft Then the the body
body \vill
will

become to
become the soul
to the what, as
soul what, as we have just just seen,
seen,
the garment
the garment was to
to the
the body
body itself-inert
itself inert
matter dumped down upon
matter dumped upon living
living energy.
energy. The
impression
impression of the comic will
of the will bebe produced
produced as as
soon
soon as as we have a clear apprehension
clear apprehension of this of this
putting
putting tlle
the one on the
the other.
other. And we shall shall

experience it
experience it most strongly when we are
strongly are shown
the
the soul tantalised by
soul tantalised by the needs of
the needs of the body:
the body :

on the one hand, the moral

on the one hand, the moral personality personality with
with its
its

intelligently
intelligently variedvaried energy,
energy, and,and, on the the other,
other,
the
the stupidly
stupidly monotonous body, perpetuaIly
body, perpetually
obstructing
obstructing everything
everything with with its machine-like
its machine-like

obstinacy.
obstinacy. The more
more paltry
paltry and uniformly
uniformly
repeated
repeated these
these claims
claims of
of the
the body,
body, the the more
striking
striking will
will be the result. But that
the result. that isis only
only a a
of degree, and
matter of degree, and the general law of
the generallaw these
of these

phenomena
phenomena maybe may be formulated
formulated as
as folIows:
follows : An)'
Any
i EXPANSIVE FORCE OF COMIC SI
51

incident
incident is is comic
comic that calls our
that talls our atteni'io'Jz
attention to to the
the
physical
physical ,in
in aperson,
a person^ when
when z·t
it zs
is the
the moral
moral Stete
side
that
that isis concerned.
concerned.
Why
Why do we laugh laugh at at a a public
public speaker
speaker who
sneezes
sneezes justjust at at the
the most
most pathetic
pathetic moment of of his
his
speech?
speech ? Where lies
lies the
the comic
comic element
element in
in this
this
sentence,
sentence, taken from from a a funeral
funeral speech
speech and and
quoted
quoted by by a German philosopher:
a philosopher "He "ras
: was
"
virtuous and pl~mp"?
virtuous plump ? It
It lies
lies in
in the
the fact
fact that
that
our
our attention
attention is is suddenly recalled
suddenly recalled from
from the
the soul
soul
to the hady.
to the body. Similar
Similar instances
instances abound
abound in in daily
daily
life, if you
life, but if you do not care to take the trouble
hut da not care to take the trouble
to
to look
look for them, you
for them, you have
have onlyonly to to open
open at at
random aa volume of Labiche, you
of Labiche, will be
you will be
almost
almost certain
certain to to light upon an
light upon an effect
effect of of this
this
kind.
kind. N
Now, OW, we have a speaker
have a speaker whose whose most
eloquent
eloquent sentences
sentences are
are cut short by
cut sllort by the twinges
the twinges
of aa bad tooth
of tooth; now,
;
now, one
ane of of the
the characters
characters who
never begins to
never begins to speak
speak without
without stopping
stopping in in the
the
middle to complain of
middle to complain of his shoes being toohis shoes being too
smalI, or
small, or his his belt
belt tootao tight, etc. .4
tight, etc. A person
perso1z
embarrassed by
embarrassed by his
his body
body is is the
the image
image suggested
suggested
to us
t~"' us in
in'''~il these examples.
all these examples. The reason reason thatthat
excessive stoutness
excessive stoutness is
is laughable
laughable is
is probably
probably
because it
because calls up
it calls up anan image
image of of the
the same kind. kind.
Ialmost
I almost thinkthink that
that this
this tootoD isis what sometimes
52 LAUGHTER CHAP.

makes
makes bashfulness
bashfulness somewhat
somewhat ridiculous.
ridiculous. The
bashful man rather
bashful rather gives
gives thethe impression
impression of of aa
person embarrassed by his
person embarrassed by his body, lookingbody, looking round
for
for same
some convenient
convenient cloak-roonl
cloak-room in in which
which to to
deposit
deposit it. it.

This
This is just why
is just why the
the tragic poet is
tragic poet is so
so care-
care-
ful to avoid anything
ful to avoid anything calculated calculated to
to attract
attract
attention
attention to to the material side
the material side ofof his
his heroes.
heroes.
No sooner
sooner doesdoes anxietyabout
anxiety about the the body mani-
body mani-
fest
fest itself
itself than
than tl1e
the intrusion
intrusion of of a
a comic
comic element
element
is to be
is to feared.
be feared. On this
this account,
account, the
the hero in
hero in
aa tragedy
tragedy does
does not eat or
not eat drink or
or drink or warm him- hirn-
self.
self. He does
does not even sit
not even sit down any more
any more
than can be
than can be helped. helped. Ta
To sit sit down in
in the
the
middl'e
middle of of aa fine spe~ch would
fine speech would imply
imply that
that you
you
remembered you you had
had a
a body.
body. Napoleon,
Napoleon, who
was aa psychologist
psychologist when he he wished
wished to be so,
to be so,
bad
had noticed
noticed that the transition
that the transition framfrom tragedy
tragedy
to
to comedy
comedy is
is effected
effected simply by
simply by sitting down.
sitting down.
In the Journal
In the z·ned'it of
Journal inedit of Baron
Baron Gourgaud-
Gourgaud
when speaking
speaking of an interview
of an interview with
with the
the Queen
Queen
of
of Prussia
Prussia after the battle
after the battle of
of Jena
lena - hehe ex-
ex-
presses himself
presses himself in the follawing
in the terms: "Ske
following terms: "She
received
received me in in tragic
tragic fashion
fashion like
like Chimene:
Chim&ne:
Justice
Justice! Sire, Justice! Magdeburg! Thus she
J Sire, ]ustice I Magdeburg! she
continued
continued inin a way
way most embarrassing
embarrassing to
to me.
me.
Ii EXPANSIVE FORCE OF COMIC 53
53
Finally,
Finally, toto make her her change
change herher style, Ire·
style, I re-
quested
quested herher toto take
take aseat.
a seat. ThisThis isis the
the best
best
method forfor cutting
cutting short
short a a tragic scene, for as
tragic scene, for as
soon
soon as
as you
you are
are seated
seated it
it all becomes comedy."
all becomes comedy."
Let us us now give give a
a wider
wider scope
scope to to this
this
image
image of of the body taking
the body precedence of
taking precedence of the
the
soul.
soul. We shall obtain something more
Weshall obt~in something more
general-
general the
the manner seeking seeking 10 to outdo
outdo the
the
matter,
matter, the letter a'imz·,zg
the letter aiming at
at OUSti1Z,g the
ousting the sjJ'irz·t.
spirit.
Is it
Is it not
not perchance
perchance thisthis idea
idea that
that comedy
comedy is is

trying
trying to
to suggest
suggest to
to us
us when holding
holding up aup a
profession
profession to
to ridicule?
ridicule? It
It makes the
the lawyer,
lawyer,
the
the magistrate
magistrate and the
the doctor
doctor speak
speak as as
though
though healthhealth and jnstice
justice were of
were of little little
moment,
moment, the
the main point being
point being thatthat we should
should
have lawyers,
have lawyers, magistrates doctors, and
magistrates and doctors, and
that alloutward
that all outward formalities pertaining to
formalities pertaining to these
these
professions
professions shauld
should be
be scrupulously respected.
scrupulously respected.
And so so we find the means substituted
find the substituted forfor the-
the·
end, the
end, the manner for for the
the matter;
matter; no uo longer
langer is is
it the profession
it the profession that isthat is made for the public,
for the public,
btit
but rather
rather th~
the public
public for
for the
the profession.
profession. Can-
Con-
siant attention
stant attention to to form
form and the the mechanical
application of
application of rules
rules here
here bring
bring about a kind
of professional
of professional automatism analogousanalogous to to that
that
imposed ',"upon
imposed ' upon thethe soul by the
soul by the habits
habits ofof the
the
 54
54 LAUGHTER
LAUGHTER CHAP.
CHAP.

body, and equally

body, and Iaughable. N
equally laughable.
umerous are
Numerous are
the
the examples
examples of of this
this onon the
the stage.
stage.
Without
Without
entering
entering into
into details
details of of the
the variations
variations executed
executed
on this
this theme, let us quote two or three
theme, let us quote two or three
passages
passages in
in which
which the
the theme itself
theme itself is
is set
set
forth in
forth in all its sirnplicity.
all its simplicity. "YOll
"You are are onlyonly
bound to to treat
treat people according
people according to
to form,"
form," says
says
Doctor Diafoirus
Doctor Diafoirus in the Malade
in the Malade Imagina-ire.
Imaginaire*
Again, says
Again, says Doctor Bahis,
Bahis, in
in L'Amour
L'Amour
medecin "IItt is
medec'in: :
"
is better
better to to die
die through
through follow-
follow-
ing
ing the
the rules
rules than
than to to recover
recover through
through violating
violating
them."
them." In In thethe same play, Desfonandres had
play, Desfonandres had
previously
previously said:
said :
"
We
"We must always observe
always observe
the formalities
the formalities of professional etiquette,
of professional what-
etiquette, what-
ever may happen."
ever may happen." And the the reason
reason is is given
given
by Tomes, his
by Tomes, his colleague:
coIleague: "A dead dead manman is is
but a dead
but man, but
dead man, but thethe non-observance
non..observance of of aa
forrnality causes
formality causes aa notable prejudice to
notable prejudice to thethe
faculty." Brid'oison's
whole faculty." Brid'oison's words,words, though
though
embodying aa rather
embodying rather different
different idea,
idea, are
are none
none
the less
the significant: ",e F-form,
less significant : F-forrn, mind mind you, yau,
f-form. A man laughs
f-form, Iaughs at at aa judge
judge in in aa
morning coat,
morning coat, and yet yet he he would
would quake
quake with with
dread at
dread at thethe mere
mere sightsight of of an an attorney
attorney
in his gown,
in his gown. F-form, F-form, all all aa matter
matter of of
f-form."
f-form."
Ii EXPANSIVE FORCE OF COMIC 5S
55

Here we have have thethe first

first illustration
illustration of of a a law
law
which
which will will appear
appear with
with increasing
increasing distinctness
distinctness
as
as we proceed
proceed withwith our
our task.
task. When aa musician
musician
strikes
strikes aa note
note on
on an instrument, other notes
an instrument, other notes
start
start upup of
of themselves,
themselves, not
not so
so loud
loud as
as the
the first,
first,

yet
yet connected
connected with
with it by certain
it by certain definite
definite rela-
rela-

tions, which coalesce

tions, coalesce withwith itit and
and determine
determine its its

quality.
quality. These are
are what
what are
are called
called in
in physics
physics
the
the overtones
overtones of of the fundamental note.
the fundamental note. It
It
would seem that that comic
comic faney,
fancy, even
even in in its
its most
most
far-fetched inventions, obeys a similar law.
far-fetched inventions, obeys a similar law.
For instance,
instance, consider
consider this
this comic
comic note:
note appear-
appear- :

ance
ance seeking
seeking to
to triumph
triumph over
over reality.
reality.
Lf
If our
our
analysis
analysis is correct, this
is correct, note must
this note must have have as as its
its

overtones
overtones the body tantalizing
the body tantalizing the
the mind,
mind, the
the
body taking
body taking precedenceprecedence of
of the
the mind.
mind. No
sooner,
sooner, then, then, does
does the the comic poet poet strike
strike
the first note than he will add the second on to
the first note than he will add the second to
it, involuntarily
it, illvoluntarily and an'd instinctively.
instinctively. In In other
other
words, ,,~~",,":';!.f{L,~'!!fI..'!~!l:'~
he will duplicate
words, fr^iC#rfV**'f/r* ~h;a~
i~.... ridiculous
.. what
ritficulous
^.f'l*'.'. '"'" ''>'
l
'
'

,'
is
, llB ,, ,

professional(y
professionally with
with sometht:ng
something that
that is
is rt,cliculous
ridiculous
physU:(;'t;~'~'t'"
- ,
VNAWtf*
pnystcatty.
,,.

,~".
" " <

.
f
"\.Vhen' Brid'oison the
'*Wfi.en Brid'oison the judge
judge comes stammer-
stammer..
ing on
ing on to
to the
the stage,
stage, is
is he
he not
not actually
actually preparing
preparing
us, by this
us, by very stammering,
this very stammering, toto understand
understand the
phenomenon of
phenomenon of intellectual
intellectual ossification are
ossification we are
56
LAUGHTER CHAP.

about
about to to witness? What bond of
witness? of secret
secret
relationship can there be between the physical
relationship can there be between the physical
defect and
defect and the moral
the moral infirmity?
infirmity? It
It is
is difficult
difficult

to say;
to say; yet yet we feel
feel that
that the
the relationship
relationship is is

there,
there, though
though we cannot cannot express
express it it in words.
in words.
Perhaps
Perhaps the situation required
the situation required that
that this judging
this judging
machine should also
machine should also appear before appear before us
us as
as aa
talking machine. However it
talking machine. it may be,
may be, no
other
other overtone
overtone could could more perfectly perfectly have have
completed
completed the the fundamental
fundamental note. note.
When Moliere introduces to
Moliere introduces to usus thethe two
ridiculous
ridiculous doctors,
doctors, Bahis Bahis and Macroton,
Macroton, in in
L'Amour
L? Amour medecz·"J't,
medecin, he he makes ane one ofof them speak
speak
very slowly, as though
very slowly, as though scanning his scanning his words
syllable by
syllable by syllable,
syllable, whilst
whilst thethe other
other stutters.
stutters.
We findfind thethe same contrast
contrast between
between the the two
lawyers
lawyers in Monsieur de
in Monsieur Pourceaugnac. In
de Pourceaugnac. In the
the
rhythrn
rhythm of
of speech
speech is
is generally
generally to
to be
be fauod
found the
the
physical peculiarity
physical peculiarity that
that is
is destined
destined to to complete
complete
the
the element
element of of professional ridicule. When the
professional ridicule. the
author has failed to suggest
author has failed to suggest a defect of thisadefeet of this
kind, it
kind, it is
is seldom tI1e tlie case that the
case that the actor
actor does
does
not
not instinctively
instinctively inventinvent one.one.
Consequently,
Consequently, there
there is
is a natural relationship,
a natural relationship,
which we equally naturally recognise,
equally naturally between
recognise, between
the two images
images we have been
been comparing with
comparing with
Ii EXPANSIVE FORCE OF COMIC 57
57

each ether,
each other, the
the mind crystallising in certain
crystallising in certain
grooves, and
groeves, and the body losing
the body losing itsits elasticity
elasticity
througl1
through the the influence
influence of of certain
certain defects.
defects.
Whether or or not
not our
our attention
attention be be diverted
diverted from
from
the
the matter
matter toto the
the manner,
manner, or
or from
from the
the moral
moral to
to
the
the physical,
physical, in both cases
in both cases the
the same
same sort
sort ofof
impression is conveyed to our imagination;
impression is conveyed to our imagination in ;
in
both,
both, then, the comic
then, the comic is is af
of the
the same kind. kind.
Here,
Here, anee more, it
once more, has been
it has been our
our aim
aim to
to follow
follow
the natural trend
the natural trend of of the
the movement of of the
the
imagination.
imagination. This
This trend or direction, it
trend or direction, it may may
be
be remembered,
remembered, was the
the second
second of of those
those offered
offered
to
to us, starting from a
us, starting a central
central image.
image. A A third
third
and final path remains
final path remains unexplored,
unexplored, along which
along which
proceed.
will now proceed.
we will

3.
3. Let us then return,
us then return, for the last
for the last time,
time, toto
our central image
our central image - something mechanical
something mechanical en- en-
crusted on
crusted on something
something living.
living. Here,
Here, the
the living
living
being under discussion
being discussion was aa human being, being, aa
person. A mechanical
person. mechanical arrangement,
arrangement, on on the
the
other hand,
other hand, is is aa thing.
thing. What,
What, therefore,
therefore,
incited laughter,
incited laughter, waswas thethe momentary
momentary transfor-
transfor-
mation of
mation of aa person
person into
into aa thing, if one
thing, if one considers
considers
the image
the image from this this standpoint.
standpoint. Let Let us us then
then
pass
pass from
from the
the exact
exact idea
idea of
of a
a machine to
to the
the
 58
LAUGHTER CHAP.
CHAP.

vaguer one of a thing in general. We shall

vaguer one of a thing in general. Weshall
have
have a a fresh
fresh series
series of of Iaughable
laughable images
images whichwhich
will
will be obtained by
be obtained taking aa blurred
by taking blurred impression,
impression,
so to speak, of
so to speak, of the the outlines
outlines of
of the
the former
former and
and will
will
bring us to this new law:
bring us to this law
: We laugk every time
laugh every time
aa person gl:ves its
person gives zts the
the impressio1z
impression of being a thz·ng.
of being thing.
We laugh
laugh at at Sancho Panza tumbled
tumbled into into aa
bed-quilt and tossed into
bed-quilt and tossed
the air
into the air Iike
like a a football.
football.
We laugh
laugh at at BarOll
Baron Munchausen turned turned intointo
aa cannon-ball
cannon-baIl and travelling travelling through
through space.space.
But certain
But certain tricks
tricks of
of circus
circus clowns
clowns might afford
might afford
aa still more precise
still more precise exemplification
exemplification of the same
of the
law..
law. True,
True, we should should have to eliminate the
to eliminate the
jokes, mere
jokes, interpolations by
mere interpolations by thethe clown in in his
his
main theme,theme, and keep
keep in
in mind only
only the
the theme
itself,
itself, that
that is
is to
to say,
say, the
the divers
divers attitudes,
attitudes, capers
capers
and rnovements
movements which form the the strictly
strictly
"
"" clownish"
clownish element
element in in the
the clown's
clown's art. art On
occasions only
two occasions only havehave II been
been ahle
able toto observe
observe
this
this stylestyle of of thethe comic in in its unadulterated
its unadulterated

state,
state, and in in both
both II received
received the the same im- im-
pression.
pression. The first
first time,
time, the
the clowns
clowns came and
went,
went, collided,
collided, fell fell and jumpedjumped up up again
again inin aa
uniformly
uniformly accelerated
accelerated rhythm, visibly intent
rhythm, visibly intent
upon effecting a crescendo.
upon effecting crescendo. And it it was more

and more to to the jumping up

the jumping up again,
again, the
the rebound,
rebound^
 Ii EXPANSIVE FORCE OF COMIC 59
59
that
that the
the attention
attention of of the public was
the public was attracted.
attracted.
Gradually,
Gradually, one one lostlost sight
sight of of the
the fact
fact that
that they
they
\\rere
were men of of flesh
flesh and blood like
and blood like ourselves;
ourselves;
one
one began
began to to think
think of bundles of
of bundles of all
all sorts,
sorts,
falling
falling and knocking against
knocking against each
each other.
other. Then
the
the vision
vision assumed
assumed aa more definite definite aspect.
aspect.
The forms grew rounder,
forms grew rounder, the bodies the bodies rolled
rolled
together
together and seemed seemed to themselves up
pick themselves
to pick up
like
like balls.
balls. Then at at last
last appeared
appeared the
the image
image
towards which ,the
, to,vards the whole
whole of of this
this scene
scene had had
doubtless been unconsciously
doubtless been unconsciously evolving, evolving,-large large
rubber
rubber balls
balls hurled
hurled against
against one
one another
another in
in every
every
direction.
direction. The second
second scene, though even
scene, though even
coarser
coarser than
than the the first,
first, was no less less instructive.
instructive*
There came on the the stage
stage two
two men,
men, each with
each with
an
an enormous head, head, bald
bald as as a billiard
billiard ball.
ball. In
In
their
their hands
hands they carried large
they carried large sticks which
sticks which
each, in turn,
each, in turn, broughtbrought down on to
to the
the other's
other's
cranium.
cranium. Here,
Here, again,
again, a a certain gradation was
certain gradation
observable.
observable. After
After each each blow,blow, the the bodies
bodies
seemed to to grow heavier and more unyielding,
grow heavier unyielding,
overpowered
overpowered by by an increasing
increasing degree degree of of
rigidity.
rigidity.
Then came the return blow,
the return blow, inin each
case
case heavier
heavier and more resounding
resounding than than the last,last,

coming, tao,
coming, too, after after a
a langer
longer interval.
interval. The
skul1s
skulls gave
gave forth
forth a
a formidable
formidable ring throughout
ring throughout
 60
60 LAUGHTER CHAP.

the
the silent house. At last
silent house. the two
last the two bodies,
bodies, eacheach
quite rigid and as straight as an arrow, sIowly
quite rigid and as straight as an arrow, slowly
bent over to\vards each
bent over towards other, the
each other, the sticks
sticks came
crashing down for the last time on to the two
crashing down for the last time on to the two
heads
heads with
with a a thud
thud as as of
of ellormous mallets fal1ing
enormous mallets falling
upon
upon oaken
oaken beams,
beams, and the
the pair
pair lay
lay prone
prone upon
upon
the ground.
the ground. At that
that instant appeared in all its
instant appeared in all its

vividness
vividness the the suggestion
suggestion that
that the
the two
two artists
artists

had gradually
had driven iota the imagination of
gradually driven into the imagination of
l the
the spectators:
spectators: We are
""We are about
about to to become
.•. we
... we have have now become solid
solid wooden
"
dummies.
dummies. "
A kind
kind of of dirn,
dim, vague
vague instinct
instinct maymay enable
enable
even an uncultured
even an uncultured mind to get an inkling
to get an inkling here here
of the subtIer
of the subtler results
results of psychological science.
of psychological science.
We know that that itit is possible to
is possible call up
to call up hallucina--
hallucina-
tory
tory visions
visions in in aa hypnotised
hypnotised subjectsubject by by simple
simple
suggestion.
suggestion. If
If he bebe told
told that
that a
a bird
bird is perched
is perched

on his hand,
on his hand, hehe will
will seesee the
the bird
bird and watchwatch it it

fly
fly away.
away. The ideaidea suggested,
suggested, however,
however, is is far
far
from
from being
being always
always accepted
accepted with with like
like docility.
docility.
Not infrequently,
infrequently, the
the mesmeriser only succeeds
only succeeds
in getting
in getting an idea
idea into
into his
his subject's
subject's headhead by by
slow degrees through
degrees through a carefully graduated
carefully graduated
series of
series of hints.
hints. He will
will then
then start with objects
start with objects
really perceived
really perceived by by the
the subject,
subject, and will
will en..
en-
Ii EXPANSIVE FORCE OF COMIC 6r
61

deavour
deavour to to make the perception of
the perception of these
these objects
objects
more and more indefinite; indefinite then,
; then, step by step,
step by step,
he
he will
will bring
bring out
out of
of this
this state
state of
of mental
mental chaos
chaos
the
the precise
precise form form of of the
the object
object of of which
which he he
wishes
wishes to to create
create an an hallucination.
hallucination. 'Something
Something
of
of the
the kind
kind happens
happens to
to many
many people when
people
dropping
dropping off off to
to sleep;
sleep they
; they seesee these
those coloured,
coloured,
fluid, shapeless masses, which occupy the
fluid, shapeless masses, which occupY the field
field
of
of vision, insensibly solidifying
vision, insensibly solidifying inte
into distinct
distinct
objects.
objects. Consequently, the
Consequently, the gradual
gradual passingpassing
from thethe dirn
dim andand vague
vague to
to the
the clear
clear and
and dis-
dis-
tinct
tinct isis the
the method of suggestion par excellence.
of suggestion par excellence.
II fancy
fancy it
it might be
might be found
found to to be
be at
at the root of
the root of aa
good
good many
many comiccomic suggestions,
suggestions, especially
especially in in the
the
coarser forms of
coarser farms the comic,
of the comic, in
in which
which the
the trans-
trans-
formation of
formation of a person inta
a person into aa thing
thing seemsseems to to bebe
taking place
taking place before
before aur our eyes.
eyes. But there
But there areare
other
other and more subtle
subtle methods in
in use, among
use, among
poets,
poets, for
for instance,
instance, which
which perhaps unconsciously
perhaps unconsciously
lead to
lead to the
the same end. end. By By aa certain
certain arrange-
arrange-
ment of of rhythm,
rhythm, rhymerhyme and and assonance,
assonance, it it is
is
possible
possible to
to lull
lull the
the imagination,
imagination, to
to rock
rock it
it to
to
and fro
and fro between
between like like and likelike with
with aa regular
regular
see-saw motion,
see-saw motion, andand thus
thus prepare
prepare it it submissively
submissively
to accept
to accept the the vision
vision suggested.
suggested. Listen Listen to to
these few
these few lines
Iines of
of Regnard,
Regnard, and see see whether
62
62 LAUGHTER CHAP.

something like
something
like the
the fleeting
fleeting image
image of
of aa doll does
doll does
not cross
not cross the
the field
field of
of your
your imagination
imagination: :

• .• • Plus,
. .
il doit
Plus, il doit aä. maints particuliers
maints particuliers
La somme
La somme de de dix
dix mil
roil une
une livre
livre une
une obole,
obole,
Pour Pavoir
Pour l'avoir sans relache un
sans relache un an
an sur
sur sa
sa parole
parole
Habille,
Habilte, voiture,
voitur6, chauffe,
chaufffc, chausse,
chausse', gante,
gant6,
Alimente, rase",
Alimente", rase, dsaltr6, porte.1
desaltere, porte*. 1

15 not something
Is not something of
of the
the same kind
kind found in
in
the following
the fol1owing sally of Figaro's
sally of Figaro's (though
(though here
here an
attempt
attempt is perhaps made to
is perhaps to suggest the image
suggest the image
of
of an
an animal
animal rather than that
rather than that of
of a thing): "" Quel
a thing) Quel :

homme estOMce?
est-ce? - C'est
Cest un beau, gros, court,
beau, gros, court,
jeune vieil1ard, gris pommele,
jeune vieillard, gris pommele, ruse, ruse, rase, blase,
rase, blase,
qui
qui guette
guette etet furette,
furette, et
et grande
gronde et et geint tout a
geint tout
la fais." 2
lafois."
2

N OW, between
Now, between these
these coarse
coarse scenes
scenes and these
these
subtle
subtle suggestions
suggestions there
there is
is room for
for a
a countless
countless

11 Further,
Further, he
he owes
owes toto many
many anan honest
honest wight
wight
Item
Item - the
the sum twotwo thousand
thousand pounds,
pounds, oneone farthing,
farthing,
For having
having on on his
his simple
simple word of of honour
honour
Sans intermission
intermission forfor an
an entire
entire year
year
Ootbed
Qothed him,
him, conveyed
conveyed hirn,
him, warmed hirn, him, shod bim,
him,
gloved
gloved hirn,
him,
Fed him and shaved
shaved hirn,
him, quenched
quenched hishis thirst
thirst and borne
borne
hirn.
him.
" What sort
J2 "What sort of
of man isis here?
here ? - He isis a
a handsame,
handsome, stout,
stout, short,
short,
youthful
youthful old gentleman, ironOMgrey,
old gentleman, iron-grey, an artful
artful knave,
knave, clean
clean shaved,
shaved,
clean 'used
used up,'
up,' who spies
spies and pries
pries and growls groans al1
growls and groans
*
all
in
in the
the same breath."
breath."
IiEXPANSIVE FORCE OF COMIC 63 63
of anlusillg
number of amusing effects,
effects, for
for all
all those
those that
that
can
can be obtained by
be obtained by talking
talking about
about persons
persons as as
one
one would da do about
about meremere things.
things.
We willwill
only
only select
select one or
or two
two instances
instances from the
from the playsplays
of Labiche, in
of Labiche, in which
which theythey are
are legion.
legion.
JJust
ust as
as M. Perrichon
Perrichon is is getting
getting into into the
the
railway carriage,
railway carriage, he he makes certain of
certain of not not
forgetting
forgetting any any of
of his
his parcels:
parcels: "Four, "Four, five,five,

six, my
six, my wife
wife seven,
seven, Iny
my daughter eight, and
daughter eight, and
myself nine."
myself nine." In
In another play, a
another play, fond father
a fond father
is
is boasting
boasting of
of his daughter's learning in the
his daughter's learning in the
following
following terms:
terms: "She will
will tell
tell you,
you, without
without
faltering,
faltering, all
all the
the kings
kings of
of France
France that
that have
have
"
occurred."
occurred." This phrase, phrase, "that have occurred,"
that have occurred,"
though
though not
not exactly transforming
exactly transforming the
the kings
kings inta
into
mere things,
things, likens them, all
likens them, all the
the same,
same, to to events
events
of an impersonal
of nature.
impersonal nature.
As regards
regards this
this latter
latter example,
example, note note that it is
that it is
unnecessary to
unnecessary to complete
complete the the identification
identification of of
the person
the person with
with thethe thing
thing to to ensure
ensure aa comic
effect. It
effect It is
is sufficient
sufficient forfar us us toto start
start inin this
this
direction by feigning,
direction by feigning, far
for instance,
instance, to
to confuse
confuse
the person
the person with
with thethe function
function he he exercises.
exercises. II
will only
will only quote
quote aa sentence
sentence spoken
spoken by by aa village
village
"
mayor in one
mayor in one of of About's novels:
novels : "The
The prefect,
prefect,
has always
who has always shown us us the kindness,
the same kindness,
 64 LAUGHTER CHAP
CHAP

though
though he has been
he has been changed
changed several
several times since
times since
18 47 ... "
1847..."
All these
All these witticisms
witticisms areare constructed
constructed on the the
same model.
same model. We might
might make up any
up any number
of them, when
of them, when once
once we are are in
in possession
possession of of the
the
recipeo
recipe,,
But
But thethe art
art of
of the
the story-teller or the
story-teller or the
p,laywright does not merely consist
playwright does not merely consist in concoct- in concoct-
. ing jokes. The difficulty
ing jokes. difficulty lies
lies inin giving
giving to to a a
joke its
joke power of
its power suggestion, i.e.
of suggestion, i.e. in making it
in Inaking it

acceptable.
acceptable.
And we only only dodo accept
accept it it either
either
because
because it
it seems
seems to
to be
be the
the natural
natural product of
product of a a
particular state
particular of mind or
state of because it
or because it is
is in keep-
in keep-
ing
ing with
with thethe circumstances
circumstances of of the
the case.
case. For
instance,
instance, we are
are aware that
that M. Perrichon
Perrichon is is

greatly
greatly excited
excited on the
the occasion
occasion of
of his
his first
first rail-
rail-
" "
way journey. The expression"
way journey. expression to to occur"
occur is is one

that
that must have have cropped
cropped up up aa good
good Inany times
many times
in the Iessons
in the repeated
lessons repeated by by the
the girl before
girl before her
her
father it
father; ;
it makes us us think
think ofof such
such arepetition.
a repetition.
Lastly,
Lastly, admiration
admiration of of the
the governmental
governmental machine
might,
might, at at a pinch,
pinch, bebe extended
extended to the point
to the point of of
making
making us
us believe
believe that
that no
DO change
change takes
takes place
place in,in,
the prefect when he changes
the prefect changes his
his name,
name, and
and that
that
the function gets
the function gets carried
carried on independently
independently of of
the
the functionary.
functionary.
We have now reached a point point veryvery far
far from
Ii EXPANSIVE FORCE OF COMIC 65
65
the
the original cause of
original cause of laughter.
laughter. Many
Many aa comiccomic
form,
form, that cannot be
that cannot be explained by
explained by itself, can
itself, can
indeed only
indeed only bebe understood
understood fram from itsits resemblance
resemblance
to another, which
to another, which only only makes us laugh by
us laugh by
reason of
reason of its
its relationship
relationship with with a a third,
third, and
and so so
on indefinitely,
indefinitely, so
so that
that psychological analysis,
psychological analysis,
however luminousluminous and and searching,
searching, will will go
go
astray
astray unless
unless it
it holds
holds the thread along
the thread along which which
the
the comic impression
impression has has travelled
travelled fromfrom one one
end of of thethe series
series to to the
the other.
other. Where does does
this
this progressive continuity come
progressive continuity come from?
from ? What
can
can be be the
the driving
driving force, force, the
the strange impulse
strange impulse
which causescauses the the comic
comic to to glide
glide thus
thus from
from
image
image to to image,
image, farther
farther and and farther
farther away
away fromfrom
the starting-point, until it is broken up and
the starting-point, until it is broken up and
lost in infinitely
lost in infinitely remote
remote analogies?
analogies ? But
But what
what
is that
is that force
force which
which dividesdivides and and subdivides
subdivides the the
branches of
branches of aa tree
tree intointo smaller
smalIer boughs
boughs and and its
its
roots into radieIes
roots into radicles ?
? An inexorable
inexorable law
law dooms 1

ev(!ry living energy,

ev6ty living energy, during the during brief interval
the brief interval
allotted to
allotted to it
it in time, to
in time, cover the
to cover the widest
widest pos-pos-
sible extent
sible extent in space. Now,
in space. No\v, comic fancy is
comic fancy is
indeed aa living
indeed living energy,
energy, aa strange
strange plant that has
plant that
flourished on
flourished on thethe stony
stony portions
portions of of the
the social
social
soil, until
soil, until such
such timetime as as culture
culture should
should allow
allow it it
to vie with
to vie with the mostthe most refined
refined products
products of
of art.
art
66
66 LAUGHTER CHAP.
CHAP, Ii

True,
True, we areare far
far from great art
from great art in the examples
in the examples
of the comic
of the comic we have have just
just been
been reviewing.
reviewing.
But we shall
shall draw
draw nearer to it,
nearer to it, though
though without
without
attaining
attaining to to it
it completely,
completely, in in the
the following
following
chapter.
chapter. Below
Below art,art, we find
find artifice,
artifice, and
and it
it is
is
this
this zone
zone of of artifice,
artifice, midway
midway between
between nature
nature
art, that
and art, that we areare now about
about to to enter..
enter. We
are going to
are going to deal deal with
with the
the comic playwright
playwright
the wit.
and the wit.
 CHAPTER 11
II

THE COMIC ELEMENT IN SITUATIONS AND THE

COMIC ELEMENT IN WORDS

WE have studied studied thethe comic

comic element
element in in
forms,
forms, in
in attitudes, and
attitudes, and in in movements gener-
gener-
ally
ally;; now let
let us
us look
look far
for it
it in
in actions
actions and
and in
in
situations.
situations. We encounter,
encounter, indeed,
indeed, this kind of
this kind of
comic readily
readily enough
enough in
in everyday
everyday life.
life. It
It is
is

not here,
not here, however, that it
however, that best lends
it best itself to
lends itself to
analysis.
analysis. Assuming that the stage
Assuming that the stage is both is both
a magnified
a magnified and aa simplified view of
simplified view of life,
life, we
shall find
shall find that
that comedy
comedy is is capable
capable of of furnishing
furnishing
us with
us with more information
information thanthan real
real life
life on this
this
particular part
particular part ofof our
our subject.
subject. Perhaps
Perhaps we
ought even to carry simplification
ought even to carry simplification still still far-
far-
ther, and,
ther, and t going
going back to our
back to our earliest
earliest recollec-
recollec-
tions, try to
tions, try to discover,
discover, in
in the
the games that amused
games that
us as
us as children,
children, thethe first
first faint
faint traces
traces of of the
the
67
67
 68
68 LAUGHTER CHAP.
CHAP.

combinations
combinations that that make us us laugh
laugh as as grown-up
grown-up
persons.
persons. We are
are too
too -apt
"apt
to
to .speak
-speak of of aur
our
feelings of pleasure
feelings of pleasure and of pain as though
of pain as though full fuII
grown
grown at
at birth,
birth, as
as though each
though each one one of of them had had
not
not a a history of its own. Above
history of its own.
Above all, all, we areare toD
too
apt
apt toto ignore
ignore thethe childish
childish element,
element, so so toto speak,
speak,
latent in most af aur joyful
latent in most of our joyful emotions. emotions. And
yet,
yet,
how manymany of of our present pleasures,
our present pleasures, were were
we to examine them closely,
to examine would shrink
closely, would shrink intainto
nothing
nothing more more than than memories of of past
past onesones!!
What would would there
there be
be left
left of
of many
many of ourof our
emotions,
emotions, werewere we to to reduce
reduce them to to the
the exact
exact
quantum
quantum of of pure
pure feeling
feeling they contain by
they contain by
subtracting
subtracting from from them all
all that
that is is merely
merely
reminiscence?
reminiscence? Indeed, Indeed, it it seems possible that,
seems possible that,
after ~
after a certain
certain age,age, we become impervious impervious to to
all
all fresh
fresh or novel farms
or novel forms of joy, and
of joy, and thethe sweetest
sweetest
pleasures
pleasures of
of the
the middle-aged
middle-aged man are perhaps
are perhaps
nothing
nothing more than than a a revival
revival of of the
the sensations
sensations
of childhood,
of childhood, a balmy zephyr
a balmy wafted in
zephyr wafted in fainter
fainter
and fainter
fainter breaths
breaths by by a a past
past thatthat is is ever
ever
receding.
receding. In
In any case,
any case, whatever reply
reply we give
give
to this broad
to this broad question,
question, one thing
thing is
is certain:
certain:
there
there can .be .be no breakbreak in in continuity
continuity between between
the child's
child's delight
delight in
in games
games and that of
that the
of the
grown-up person. Now,
grown-up person. comedy is
N OW, comedy is agame,
a game, a a
11
ii THE COMIC IN SITUA TIONS 69
SITUATIONS 69
game
game that that imitates
imitates life.life. And since,since, in in the
the
games
games of
of the
the child
child when working
working its
its dolls
dolls and
and
puppets,
puppets, manYQf
many of the
the movements
movements are produced by
are produced by
strings, ought
strings, ought
we not
not to find those same strings,
to find those same strings,
some\vhat
somewhat frayed frayed by by \vear,
wear, reappearing
reappearing as as the
the
threads
threads thatthat knot
knot together
together the the situations
situations in in aa

comedy? Let US,

comedy? then, start
us, then, start with
with the the games
games
of
of aa child,
child, and follow
follow the
the imperceptible process
imperceptible process
by
by which,
which, as as he grows
grows himself,
himself, he he makes
makes his his
puppets
puppets grow, grow, inspires
inspires them with with life, life, and
and
finally brings
finally brings them to to an ambiguous state
an ambiguous state inin
which,
which, without
without ceasing
ceasing to
to be
be puppets,
puppets, they they
have
have yet yet become human beings.
beings. We thus thus
obtain
obtain characters
characters of of aa comedy
comedy type.type. And upon upon
them we can test the truth of the la\v
test the truth of the law of which of which
all
all Dur preceding analyses
our preceding analyses gavegave an inkling, a
an inkling, a
law
law inin accordance
accordance with with which
\vhich we ,viII define all
will define all

broadly comic
broadly comic situations
situations in in general.
general. Any ar-
A1ty ar-
rang-ement
rangement of acts0/ acts and eve1zts
events Z·s
is comte
comic which
which
glves
gives US, t?Z a
US) in a single
sz·ngle combination^
combz·nalz:on, the the illust:on
illusion 0/of
11ft
life and the
the distinct
distinct imjression
impression of 0/ a mechanzcal
mechanical
arrangement.
arrangement*

I.
i. The Jack-in-the-box.
The ]ack-·Z:1z-the-box.-As children we
As children
have all
have played with
all played with the
the little
little man who springs
springs
out of his box.
out of his box. You
YOll squeeze
squeeze hirn
him flat, he
flat, he
7°
70 LAUGHTER CHAP.
CHAP.

jumps up
jumps up agaln.
again.
Push
Push himhirn lower,
lower, and
and he
he
shoots
shoots up
up still
still higher. Crush
higher. Crush hirn
him down
beneath the lid, and often he will send every-
beneath the lid, and often he will send every-
thing flying.
thing flying.
It
It is
is hard
hard to
to tell
tell whether
whether or or not
not
the toy itself
the toy itself is is very
very ancient,
ancient, hut
but thethe kind
kind of of
amusement
amusement it it affords
affords belangs
belongs to
to all time. It
all time. It is
is a
a
struggle bet\veen
struggle between two
two stubborn elements,
stubborn elements, one ofane of
which, sirnply mechanical,
which, being simply mechanical, generally
being generally ends
ends
by giving in
by giving in to
to the
the other, treats it
which treats
other, which it as
as a a
plaything. A cat
plaything. with aa mouse,
playing with
cat playing mouse, which
which
fram
from time
time to to time
time sheshe releases
releases like
like aspring,
a spring,
only
only to pull it
to pull it up short with astrake
up short with a stroke of of her
her
paw, indulges
paw, indulges in in the kind of
the same kind of amusement.
amusement
We will
will now pass
pass on to the theatre, begin-
to the theatre, begin-
ning
ning with
with a a Punch alld and J udy show.
Judy show. No sooner sooner
does the
does policeman put
the policeman put in
in an appearance
appearance on on the
the
stage than, naturally
stage than, naturally enough,
enough, he he receives
receives a
blow which
blow which fells
fells hirn.
him. He springs
springs to
to his
his feet,
feet,
a second blow lays
second blow lays hirn
him flat.
flat. A repetition of
Arepetition of
the
the offence
offence is followed by
is followed by arepetition
a repetition of
of the
the
punishment. Up
punishment. Up and down the the constable
constable flops
flops
and hops
hops with
with the uniform rhythm
the uniform rhythm ofof the bend..
the bend-

ing and release

ing release of
of aspring, whilst the
a spring, whilst the spectators
spectators
laugh
laugh louder
louder and louder.
louden
N OW, let
Now, let us think
think of
of aspring that is
a spring that rather
is rather

of
of a Inoral
moral type, idea that
type, an idea that is
is first
first expressed,
expressed,
n
11 THE COMIC IN SITUATIONS 7711
then
then repressed,
repressed, and and then
then expressed
expressed again;
again; a
a
stream
stream of words that
of words that bursts
bursts forth,
forth, isis checked,
checked,
keeps on starting
and keeps starting
afresh.
afresh. Once
Once more
more we we
have the vision of one stubborn
have the vision of one stubborn force, counter-force, counter-
acted
acted by by another,
another, equally
equally pertinacious.
pertinacious. This
This
vision,
vision, however,
however, willwill have
have discarded
discarded a a portion
portion
of
of its
its materiality.
materiality. No longer
longer is
is it
it Punch
Punch and
and
JJudy
udy that
that we are watching, but rather
are watching, but rather a real areal
comedy.
comedy.
Many aa comic scene
Many scene may may indeed
indeed be be referred
referred
to
to this
this simple
simple type.
type. For instance,
Für instance, in in the
the scene
scene
of
of the Mart:age for&~
the Mariage Sganarelle
force between Sganarelle and
between and
Pancrace,
Pancrace, the
the entire
entire vz:s
vis comzca
comica lies
lies in
in the
the con-
con-
flict set up
flict set between the
up between the idea
idea ofof Sganarelle,
Sganarelle, who
wishes to
wishes to make the the philosopher
philosopher listen listen toto him,
hirn,
and the
the obstinacy
obstinacy of
of the
the philosopher,
philosopher, a
a regular
regular
talking-machine, working
talking-machine, working automatically. automatical1y. As
the scene
the scene progresses,
progresses, thethe image
image of of the Jack-in-
the Jack-in-
the-box
the-box becomes more apparent, so
more apparent, so that at that at last
last
the characters
the characters themselves
themselves adopt adopt its
its movements,
movements,
- Sganarelle
Sganarelle pushing
pushing Pancrace,
Pancrace, eacheach time
time he he
himself, back
shows himself, back into
into the the wings,
wings, Pancrace
Pancrace
retuming
returning to
to the
the stage
stage afterafter each
each repulse,
repulse, to to
continue his
continue his patter.
patter. And when Sganarelle Sganarelle
drives Pancrace
finally drives
finally Pancrace back back and shutsshuts him up up
inside the
inside house-inside
the house inside thethe box, one is tempted
box, one is tempted
72 LAUGHTER CHAP.

to say-
to say windo"\v suddenly
aa window suddenly flies
flies open, and the
open, and the
head
head of of thethe philosopher
philosopher again again appears,
appears, as as
though it had burst open the
though it had burst open the lid of a box. lid of a box.
The same by-play accurs
same by-play occurs in Malade
the Malade
in the
Imaginaire. Through
Imaginaire. Through the the mouth of of Monsieur
Monsieur
Purgon
Purgon the the outraged
outraged medical
medical profession pours
profession pours
out its vials of wrath upan Argan,
out its vials of wrath upon Argan, threatening threatening
hirn with every
him with every disease
disease that
that flesh
flesh isis heir
heir to.
to.

And every time Argan

every time Argan rises
rises from
from hishis seat,
seat, as
as
though
though to silence Purgon,
to silence Purgon, thethe latter
latter disappears
disappears
for amoment,
for a moment, being, being, as
as it
it were,
were, tl1rust
thrust back
back
into
into the wings then,
the wings; ; then, as
as though
though impelled
impelled by by aa
spring,
spring, he rebounds on to
he rebounds to thethe stage
stage with
with a a
fresh curse on his
fresh curse on his lips. lips. The self-same exclama-
self -same exclama-
"
tion:
tion : "Monsieur
"
Monsieur Purgon Purgon !"
! recurs
recurs at at regular
regular
beats, and,
beats, and, asas it
it were,
were, marks the the tempo
tempo of of this
this
little
little scene.
scene.
Let us
us scrutinise
scrutinise more closely the image
closely the image of
of
the
the spring
spring which
which is
is bent, released,
bent, released, and
and bent
bent
again.
again. Let us
us disentangle
disentangle its its central
central element,
element,
and we shal1
shall hit
hit upon
upon one of of the usual processes
the usual processes
of classic comedy,
of classic comedy, - repetitz·o1Z.
repetition.
Why is is it
it there
there isis so~ething comic
something comic in in the
the
repetition
repetition ofof a a word on thethe stage?
stage ? No theory
theory
of the ludicrous
of the ludicrous seems to
to offer
offer aa satisfactory
satisfactory
answer to
to this
this very simple question.
very simple question. Nor can
can
n THE COMIC IN SITUATIONS 73
73
an
an answer
answer be be found,
found, so so lang
long as as we looklook forfor the
the
explanation
explanation of of anan amusing
amusing ward word or or phrase
phrase in in
the phrase or
the phrase or ward
word itself,
itself, apart
apart from
from allall it
it sug-
sug-
gests
gests to
to us.
us. N owhere
Nowhere will will the
the usual method
usual method
prove to
prove to bebe soso inadequate
inadequate as as here.
here. With the the
exception, however, of
exception, however, of a a few
few special
special instances
instances
to which
to which we shall
shall recur later, the repetition of
recur Iater, the repetition of
aa word
ward is never laughable
is never
laughable in
in itself.
itself- It
It makes
makes
us
us laugh
laugh onlyonly because
because it
it symbolises a
symbolises a special special
play
play of
of moral
moral elements,
elements, this
this play
play itself
itself being
being
the symbol
the symbol of of an
an altogether material
altogether material diversion, diversion.
It
It is
is the
the diversion
diversion of of the
the catcat with
with the the mouse,
mouse,
the
the diversion
diversion of the child
of the child pushing
pushing back
back the
the
JJack-in-the-box,
ack-in-the-box, time time after time, to
after time, to the bottom
the bottom
of his
of his box - but but inin a refined and spiritualised
a refined spiritualised
form,
form, transferred
transferred to to the realm of
the realm of feelings
feelings and
ideas.
ideas. Let us us then
then state
state the the law which we
think defines
think defines the the main comic varieties
comic varieties of ward-
of word-
repetition
repetition on the stage:
on the stage In
: In aa comz·c repetition of
comic repet1:tion of
words we generally
W01'ds generally findfind two terms : a repressed
two terms: repressed
feeling
feeling which goes
goes off
off 11:ke
like a Spri1Zg,
spring^ anti
and an idea
ziiea
that
that del'Z:ghts
delights inzn repressz·ng
repressing tluttie feeling anew.
feeling anew.
When Dorine
Dorine isis t.eIling
telling Orgon
Orgon of of his wife's
his wife's

illness,
illness, and the
the latter
latter continually
continually interrupts
interrupts hirn
him
with inquiries
with inquiries as as to
to the
the health
health of
of Tartuffe,
Tartuffe,
the
the question
question: : "Et Tartuffe?"
Tartuffe?" repeated every
repeated every
74
74 LAUGHTER CHAP.

few
few moments,
moments, affords
affords us us the
the distinct
distinct sensation
sensation
of
of aspring being released.
a spring being released. ThisThis spring
spring Dorine
Dorine
delights in pushing back, each time
delights in pushing back, each time she resumes she resumes
her account of
her account of Elmire's
Elmire's illness.
illness. And when
Scapin
Scapin infonns
informs old old Gerante
Geronte that that hishis son
son has
has
been taken
been taken prisaner
prisoner on on the
the famaus
famous galley,
galley, and
that a ransom
that a ransom must be
be paid without delay,
paid ,vithout delay, he
he
is playing with
is with the
the avarice
avarice of
of Geronte
Geronte exactly
exactly
playing
as Donne
as Dorine does with the
does witll the infatuation
infatuation of of Organ.
Orgon.
The old man's avance
old man's avarice is sooner repressed
no SQoner
is Da repressed
than up
than up itit springs again automatically, and it
springs again automatically, it is
is

this
this automatism
automatism that that Moliere
Moliere tries
tries toto indicate
indicate byby
the mechanical repetition
the mechanical repetition of
of aa sentence
sentence express-
express-
ing
ing regret
regret at at the money that
the money that would have have to to
"
be forthcoming:
be forthcoming : "What
What the
the deuce
deuce did
did he want
"
in that ~galley
in that galley ? ? " The same criticism
criticism is is appli-
appli-
cable
cable toto the
the scene
scene in in which Valere
Valere points
points outout to
to
Harpagon
Harpagon the
the wrang
wrong he would be doing
be doing in
in
marrying
marrying his
his daughter
daughter to
to a
a man she
she did
did not
not
" "
love.
love. "No dowry wanted I" interrupts
No dowry 1
interrupts the the
miserly Harpagon every
miserly Harpagon every few moments. Be-
Be-
hind this
this exclamation,
exclamation, which recurs
recurs automati-
automati-
cally
cally we faintly
faintly discern
discern a complete
complete repeating-
repeating-
machine set set going
going by by a
a fixed
fixed idea.
idea.
At times
times thisthis mechanism is less easy
is less
easy toto
detect,
detect, and here
here we ellcounter
encounter a
a fresh
fresh difficulty
difficulty
n
II THE COMIC IN SITUATIONS 7S
75

in the theory
in the theory of the comic.
of the comic. Sometimes
Sometimes the the
whole interest
whole interest of of aa scene
scene lies
lies inin aue
one character
character
playing a double part,
playing a double part, the intervening speaker
the intervening speaker
acting
acting as
as a
a mere
mere prism, so to speak,
prism, so to speak, through through
which
which the the dual personality is
dual personality is developed.
developed. \Ve We
run the
the risk,
risk, then,
then, of of going
going astray,
astray, if
if we looklook
for the secret of the
for the secret of the effect in effect in what we see and
see and
hear,
hear, - in
in the
the external
external scene
scene played by the
played by the
characters,
characters, - and and notnot in the altogether
in the altogether inner inner
comedy
comedy of which this
of which this scene
scene isis no more than
no more than thethe
outer refraction. Für
outer refraction. For instance, instance, when Alceste
Alceste
stubbornly repeats the words, "
"I don't say
stubbornly repeats the words, I don't say
"
that 1" on Gronte
that ! Oronte askingasking hirn
him if he
if he thinks
thinks his
his
poetry bad,
poetry bad, the
the repetition
repetition is is laughable,
laughable, though
though
evidently
evidently Gronte
Oronte is
is not no\v playing
not now playing with with
Alceste at
Alceste the game
at the game we have have justjust described.
described.
We must be be careful,
careful, however,
however, for, for, inin reality,
reality,
have two men in
we have Alceste:
in Alceste: on the one
the hand,
one hand,
" "
the
the "misanthropist
misanthropist " who has has vowed hence- hence-
forth
forth to to call
call aspade
a spade aspade,
a spade, and on the the other
other
the
the gentleman
gentleman who cannot cannot unlearn,
unlearn, in in a trice,
trice,
the usuaI forms
the usual forms of
of politeness,
politeness, or
or eveo,
even, it
it may
may
be, just
be, just the
the honest
honest fellow
fellow who,
who, when called
called

upon to
upon put his
to put words into
his words practice, shrinks
into practice,
from wounding another's
from wounding another's self-esteem or self-esteem or hurting
hurting
his
his feelings.
feelings. Accordingly,
Accordingly, the
the real
real scene is
is not
76 LAUGHTER CHAP.

between Alceste
between Alceste and
and Oronte, it is
Oronte, it between
is between
Alceste and
Alceste and himself. The one
himself. The one Alceste
Alceste would
would
fain blurt
fain blurt out
out the
the truth,
truth, and the
and the other staps his
other stops his
mouth just
mouth just as he as he is
is on the
the point
point of
of telling
telling
everything.
everything.
Each"
Each "I I don't
don't say
say that
that!"! reveals
U reveals

a growing effort
a growing effort to to repress
repress something
something that that
strives and struggles
strives and struggles to
to get out.
get out And so the
so the
tone in
tone in which
which the the phrase
phrase is is uttered
uttered getsgets more
and more
and more violent,
violent, Alceste
Alceste becoming
becoming more and
more angry
more angry - not not with
with Gronte,
Oronte, as as hehe thinks
thinks-
but with himself.
but with himself. The tension
tension of
of the
the spring
spring is is

COl1tinually
continually being renewed and reinforced,
being renewed until
reinforced, until
it
it at
at last
last goes
goes off with aa bang.
off with bang. Here,Here, as as else-
else-
where,
where, we have have thethe same identical
identical mechanism
of repetition.
of repetition. .
For
For aa man to to make aresolution
a resolution never
never hence.
hence-.
forth
forth to to saysay what
what he does does notnot think,
think, even
even
though he "openly
though he "openly defy the whole defy the whole human
race/'
race," is is notnot necessarily laughable; it
necessarily laughable; it is
is a a
phase
phase of of life
life at
at itsits highest
highest and and best.
best For
another
another man,man, through
through amiability,
amiability, selfishness
selfishness or or
disdain,
disdain, to
to prefer
prefer to
to :flatter
flatter people,
people, is
is only
only another
another
phase
phase of
of life;
life ;
there
there is
is nothing
nothing in
in it
it to
to make us us
laugh.
laugh. YOll You may may even
even combine these these two
two men
into
into one,
one, and arrange
arrange that the individual waver
that the individual waver
between offensive
offensive frankness
frankness and delusive
delusive polite-
polite-
n THE COMIC IN SITUATIONS 77
77
ness,
ness, this
this duel
duel between
between two two opposing
opposing feelings
feelings
will
will not
not even
even thenthen be be comic,
comic, rather
rather it
it will
will
appear
appear the the essence
essence of seriousness if
of seriousness if these
these two
two
feelings through their very distinctness
feelings through their very distinctness complete complete
each
each other,
other, develop
develop side side by by side,
side, and
and makemake up up
between
between them aa composite composite mental
mental condition,
condition,
adopting,
adopting, in
in short,
short, a
a modus ViVC1Zdi
vivendi \vhich
which merely
merely
gives us the complex impression
gives us the complex impression of life. of life. But
But im-
im-
agine
agine these
these two feelings
feelings as
as i1zelastzc
inelastic and
and unvary-
unvary-
ing
ing elements
elements in
in a
a really living
really living
man,
man, make hirn
him
oscillate
oscillate from one one to the other;
to the other above
;
above all,
all, arrange
arrange
that
that this oscillation becomes entirely mechani-
this oscillation becomes entirely mechani-
cal
cal by
by adopting
adopting the the well-known
well-known fornl form of of some
habitual, simple,
habitual, childish contrivance:
simple, childish contrivance: then then
you will
you will get
get the
the image
image we have have so so far
far found
found in in
all
all laughable objects, samething
laughable objects, something mechanical in mcchanzcal1,n
someth~ing
something livingl~iving,. in fact,
; in fact, something
something comic.comic.
We havehave dwelt
dwelt on on this
this first
first image,
image, the the
Jack-in-the-box, sufficiently
Jack-in-the-box, sufficiently to to show how comic comic
fancy gradually converts
fancy gradually converts a
a material
material mechanism
into aa moral
into moral one.one. Now we will will consider
consider one ane
or two
or two other
other games,
games, confining
confining ourselves
ourselves to to their
their
striking aspects.
most striking aspects.

2.
2. The Dancing-jack.
The Dancing-:J·ack. - are innumer-
There are
able comedies
able comedies in which one
in which one of
of the
the characters
characters
 78 LAUGHTER CHAP.
CHAP.

thinks
thinks he he is
is speaking
speaking and and acting freely, and
acting freely, and
consequently,
consequently, retains retains all
all thethe essentials
essentials of of Iife,
life,

whereas,
whereas, viewed
viewed from from a a certain
certain standpoint,
standpoint, he he
appears
appears as
as a
a mere
mere toy
toy in
in the
the hands of another,
hands of another,
who is is playing with
playing with hirn.
him. The transition
transition is is

easily
easily made,
made, from from the the dancing-jack
dancing-jack which which aa
child works with
child works with a string, to Geronte and
astring, to Geronte and
Argante manipulated
Argante manipulated by Scapin. by Scapin. Listen
Listen to
to
Scapin
Scapin himself:
himself "The
:
"
The machZ·1ze
machine is is all
all there,"
there,"
and
and again:
again : "Providence
"
Providence has
has brought
brought them
them into
into
my
my net," etc. Instinctively, and because one
net," etc. Instinctively, and because one
would rather be
would rather be a cheat than
a cheat than be be cheated,
cheated, in in
imagination
imagination at at all
all events,
events, the spectator sides
the spectator sides
with the
with knaves; and for
the knaves ;
for the rest of
the rest time,
the time,
of the
like
like a child
child who has persuaded his
has persuaded his playmate
playmate to to
lend
lend hirn
him hishis doll, he takes
doll, he takes holdhold of of the
the strings
strings
himself and
himself and makes the marionette come and
the marionette and
go
go on the
the stage
stage as
as he
he pleases.
pleases. But this latter
this latter
condition is
condition is not
not indispensable
indispensable; we can
;
can remain
remain
outside the
outside pale of
the pale what is
of what is taking place if
taking place if onIy
only
retain the
we retain distinct impression
the distinct impression of mechan..
of aa mechan-
ical arrangement.
ical arrangement. This This isis what happens
happens when-
when--
ever one
ever one ofof the characters vacillates
the characters vacillates between
between
contrary opinions,
two contrary each in
opinions, each in turn
turn appealing
appealing
to him,
to hirn, as Panurge asks
as when Panurge asks Tom,
Tom, Dick and
Harry whether
Harry whether or or not
not he
he ought
ought to get married.
to get married.
n THE COMIC IN SITUATIONS 79
79
Note that,
Note that, in
in such
such aa case,
case, a
a comic
comic author
author is
is

al ways
always careful
careful to
to personify
personify the
the t\VO
two opposing
opposing
decisions.
decisions. Far, if there
For, if there is
is no
no spectator, there
spectator, there
must
must at all events be actors to hold the
at all events be actors to hold the
strings.
strings.
All
All that
that is
is serious
serious in in life
life comes
comes from from our
our
freedorn.
freedom. The feelingsfeelings
we have matured, the
have matured, the
passions
passions we have brooded over, the
have brooded over, the actions actions
we have
have weighed, decided upon
weighed, decided upon andand carried
carried
through,
through, in in short,
short, all
all that
that comes
comes fromfrom us us and
and
is
is Qur
our very own, these
very OWD, these are the things
are the things that
that give
give
life its ofttimes dramatic and generally grave
life its ofttimes dramatic and generally grave
aspect.
aspect What,What, then,
then, is is requisite
requisite to to transform
transform
all this into
all this into a a comedy?
comedy? Merely
Merely to to fancy
fancy that
that
our
our seeming freedom conceals
seeming freedorn conceals thethe strings
strings ofof a
a
dancing-jack,
dancing-jack, and that
that we are, as the poet
are, as the poet says,says,

• • . humble
. humble marionettes
. marionettes
.

The wires
wires of
of which
which are pulled by
are pulled by Fate.t
1
Fate.

So there
there is
is not
not areal,
a real, aa serious,
serious, or
or even
even a
dramatic scene
dramatic scene that
that fancy cannat
fancy cannot render
render comic
by simply calling
by simply forth this
calling forth image. Nor
this image. N or is
is

there agame
there a game for
for which
which a wider field
a wider field lies
lies open.
open.

. cPhumbles marionnettes
. • • d'humbles
. marioanettes
.

Dont le fil est

Dont le:fil est aux
aux mains de la
mains de Necessite.
la Ndcessite*.
SULLY-PRUDHOMME.
80
So LAUGHTER CHAP.

3.
3.
The Snow-ball. - The farther
The Snow-ball. farther we proceedproceed
in this investigation
in this into the methods of comedy,
investigation into the methods of comedy,
the more
the more clearlyclearly we see the part
see the played by
part played by
childhood's
childhood's memories.
memories. These
These memories
memories refer, refer,
perhaps, less
perhaps, less to any special
to any special gamegame than than to to the
the
mechanical
mechanical device device cf of which that that gamegame is is aa
particular instance.
particular instance. The same general device,
general device,
moreover,
moreover, may may be
be met with
with in
in widely
widely different
different
games,
games, just just asas the
the same operaticoperatic air air isis found
found
in many different
in many different arrangements
arrangements and and variations.
variations.
What is is here
here of of importance
importance and
and is
is retained
retained in
in
the mind, what
the mind, what passes
passes by by imperceptible
imperceptible stages stages
from the
from the games
games of
of a
a child
child to
to those
those of
of a
a man,
man, is
is

the mental diagram, the skeleton

the mental diagram, the skeleton outline of outline of
the
the combination,
combination, Of, or, ifif you
you like,
like, thethe abstract
abstract
formula
formula of of which these games
which these games are are particular
particular
illustrations.
illustrations. Take,
Take, for for instance,
instance, the rolling
the rolling
snow-ball, which
snow-ball, which increases
increases in
in size
size as
as it
it moves
along.
along. We might
might justj ust as as weIl think of
well think of toy
toy
soldiers
soldiers standing
standing behind
behind one another.
another. Push
the
the first
first and it it tumbles
tumbles down on the the second,
second,
this
this Iatter knacks down the
latter knocks the third,
third, and the
the state
state
of
of things
things goes
goes from bad to worse until
to worse untiI theythey all
all

Iie prone on the

lie prone the fioor.
floor. Or again,
again, taketake aa house
house
of
of cards that has been
cards that been builtbuilt up with infinite
up with infinite

care:
care: thethe first
first you
you touch seems uncertain
uncertain
nn THE COMIC IN SITU ATIONS 81
SITUATIONS 81

whether
whether to to move or or not,
not, its
its tottering neighbour
tottering neighbour
comes
comes to to a a quicker
quicker decision,
decision, and
and thethe ,vork
work of of
destruction,
destruction, gathering
gathering momentum as as it
it goes on,
goes on,
rushes headlong
rushes headlong to to the
the final
final collapse.
collapse. These
These
instances
instances are are all
all different,
different, hut
but they
they suggest the
suggest the
same abstract
abstract vision,
vision, thatthat of of an an effect
effect which
which
grows by
grows by arithmetical progression, so that the
arithmetical progression, so that the
cause, insignificant
cause, insignificant at
at the
the outset,
outset, culminates
culminates by
by
aa necessary
necessary evolution
evolution in
in a
a result
result as
as important
important as as
it
it is
is unexpected.
unexpected. Now let let usus open
open aa children's
children's
picture-book;
picture-book; we shall find this arrangement
shall find this arrangement
alreadyon
already on the
the high
high roadroad to to becoming
becoming comic.comic.
Here, far
Here, for instance,-in
instance, in one
one of of the
the comic
comic chap-
chap-
boaks picked
books picked up up byby chance,-we
chance, have aa caller
we have caller
rushing violently
rushing violently into into a a drawing-room;
drawing-room; he he
knacks against
knocks against a a lady,
lady, who upsets upsets her her cup
cup of of
tea over an old
tea over old gentleman,
gentleman, \vho who slips
slips against
against a
glass window which
glass which falls
falls in
in the
the street
street on
on to
to the
the
head of
head of aa constable,
constable, who sets sets thethe whole
whole police
police
force agog, etc.
force agog, etc. The same arrangement arrangement re- re-
appears in
appears many aa picture
in many picture intended
intended for for grown-
grown-
" "
up persons.
up persons. In
In the
the "stories
stories without
without words"
words
sketched by
sketched by humorous
humoraus artists artists we are are often
often
shown an an object
object which moves from place place to to
place, and
place, and persons
persons who are are closely
closely connected
with it,
with it, so that through
so that through aaseries series of of scenes aa
8s LAUGHTER CHAP.

change
change in the position
in the position of the object
of the object mechani-
mechani-
cally brings about increasingly serious changes
cally brings about increasingly serious changes
in the situation
in the situation of the persons.
of the persons. Let Let us us now
turn
turn to comedy. Many
to comedy. Many aa drall
droll scene,
scene, manymany
comedy even,
aa comedy even, may may be be referred
referred to to this
this
simple
simple type.
type.
Read the the speech
speech of of Chicanneau
Chicanneau
in the PlazCleurs
in the Plaideurs; / here
here we find lawsuits
find lawsuits within within
lawsuits,
lawsuits, and and the
the mechanism works works fasterfaster and
and
faster
faster - Racine produces in
Racine produces in usus this feeling of
this feeling of
increasing
increasing acceleration
acceleration by by crowding
crowding his his law
law
terms ever
terms ever closer
closer together
together - until
until the
the lawsuit
lawsuit
over
over a truss of
a truss of hay
hay costs
costs the
the plaintiff
plaintiff the
the best
best
part of
part of hishis fortune.
fortune. And againagain the the same
arrangement
arrangement occurs occurs in
in certain
certain scenes of
scenes of Don
Quixote;
Quixote for
;
for instance,
instance, in in the
the inninn scene, where,
scene, where,
by an
by an extraordinary
extraordinary concatenation
concatenation of of circum-
circum-
stances,
stances, the the mule-driver
mule-driver strikes
strikes Sancho,
Sancho, who
belabours Maritornes,
belabours Maritornes, upon upon whom the
the inn-
inn-
keeper
keeper falls,
falls, etc.
etc. Finally, let
Finally, let usus pass
pass to to the
the
light
light comedy
comedy of of to-day.
to-day. Need we call call toto mind
all the forms
all the forms in in which this
this same combination
combination
appears?
appears? There is
is oue
one that
that is
is employed
employed
rather
rather frequently.
frequently. Für
For instance
instance a
a certain
certain
thing,
thing, say
say a a letter, happens to
letter, happens to bebe ofof supreme
supreme
importance
importance to
to a
a certain person
certain person and must be
be
recovered
recovered at at all
all costs.
costs. thing, which
This thing, which
n
D THE COMIC IN SITUATIONS 83
83

always vanishes
always vanishes just
just when
when you you think
think you
you have
have
caught
caught it,
it, pervades
pervades the
the entire
entire play, "
" rolling
play, rolling up
up ""
increasingly
increasingly senous
serious and unexpected incidents
and unexpected incidents
as it
as proceeds.
it proceeds. All this is far more
All this is far more like like a
a
child's game
child's game than
than appears
appears at
at first
first blush.
blush. Once
Once
more thethe effect produced is
effect produced is that
that of
of the
the snow-
snow-
balL
ball.

It is
It is the
the characteristic
characteristic of of aa mechanical
mechanical com- com-
bination
bination to to be
be generally
generally revers,ible.
reversible. A child
child is
is

delighted
delighted when he sees the
he sees the ball
ball inin agame
a game of of
ninepins knocking do\vn everything
ninepins knocking down everything in its way in its way
and spreading
spreading havoc
havoc in in all
all directions;
directions he ;
laughs
he laughs
louder than
louder ever when
than ever when thethe ball
ball returns
returns to to its
its

starting-point
starting-point after
after twists and
twists turns and
and turns and
waverings
waverings of
of every kind.
every kind. In
In other
other "lords,
words,
the mechanism just
the just described
described is is laughable
laughable even
rectilinear, it
when rectilinear, it isis much more more so so on be-
on be-
coming circular
coming circular and when every effort
every effort the
the
player makes,
player makes, by by a
a fatal
fatal interaction
interaction of cause
of cause
and effect,
and results in
merely results
effect, merely in bringing
bringing it it back
the same spot.
to the
to spot. Now, aa considerable
Now, considerable number
light comedies
of light
of revolve round
comedies revolve round this idea. An
this idea.
Italian straw
Italian hat has
straw hat has been eaten up
been eaten up by horse.11
byaa horse.
There is
There is only one other
only one other hat
hat like it in
like it the whole
in the
Paris; it
of Paris;
of it must bebe secured
secured regardless
regardless of of cost.
cost.
1
1 Un chateau
chapeau de pai/te cT
de faille d'Italie (Labiche).
Italic (Labiche).
84 LAUGHTER CHAP.

This
This hat, which always
hat, which always slips away at the
slips away at the
moment its its capture
capture seems seems inevitable,
inevitable, keeps keeps
the principal character on the run,
the principal character on the run, and through and through
hirn
him allall the
the others
others who hang, hang, so to say, on to
so to say, on to
his
his coat tails, like
coat tails, like a a magnet
magnet which,which, by by a a suc-
suc-
cessive
cessive senes
series of of attractions,
attractions, draws draws alongalong in in its
its

train the grains

train the grains of of iron
iron filings that hang
filings that hang on to
on to
each
each other.
other. And when at at last,
last, after
after all
all sarts
sorts of of
difficulties,
difficulties, thethe goal
goal seems
seems in in sight, it is found
sight, it is found
that
that the hat so ardently sought is precisely the
the hat so ardently sought is precisely the
one
one that
that has
has been
been eaten.
eaten. The same voyage voyage of of
discovery
discovery is is depicted
depicted in in another
another equally
equally well- well-
1
kno\vn comedy of
known comedy of Labiche. curtain rises
The curtain rises
1
Labiche.
on an old bachelor
on an old bachelor and an old maid, acquaint-
old maid, acquaint-
ances
ances of of lang standing,
long standing, at
at the moment of
the of
enjoying
enjoying their daily rubber.
their daily rubber. Eac11
Each of them,
of them,
unknown to to the
the other,
other, hashas applied
applied to to the
the same
matrimonial
matrimonial agency. agency. Through
Through innumerable
innumerable
difficulties,
difficulties, one
one mishap following on the
mishap following heels
the heels
of
of another, hurry along,
they hurry
another, they along, sideside by by side, right
side, right
through the play, to the
through the play, to the interview interview which brings
brings
them back, purely
back, purely and simply,
simply, into
into each
each other's
other's
presence.
presence. We have
have the
the same circular
circular effect,
effect,
the
the same return
return to tlle starting.
to the . point, in
starting-point, in a more
recent play.2
recent A henpecked husband imagines
2
play. henpecked imagines
1
1 La Cagnotte.
Cagnotte* , Les
* Les surprises
surprises du äivorce.
divorce.
n
D THE COMIC IN SITUATIONS 85
85
he
he has escaped by
has escaped by divorce
divorce from from the the clutches
clutches of of
his wife and his
his wife his mother-in..law.
mother-in-law. He marries
marries
again, when, 10
again, when, lo and behold, the
and behold, the double
double com-com-
bination
bination of of marriage
marriage and and divorce
divorce brings back
brings back
to
to hirn
him his former wife
his former wife in in the
the aggravated
aggravated fonn form
of a second
of a second mother-in..law!
mother-in-law !

When we think think how intense intense and and how

common is this type
is this type of
of the
the comic,
comic, we under-
under-
stand
stand why
why it
it has
has fascinated
fascinated the
the imagination
imagination of of
certain philosophers. Ta
certain philosophers.. To cover
cover a a good
good dealdeal
of ground
of ground only to come back unwittingly to
only to carne back un\vittingly to
the
the starting-point,
starting-point, is
is to
to make a
a great
great effort
effort for
for aa
result that
result that isis nil.
nil. So we mightmight be be tempted
tempted to to
define
define thethe comic in in this latter fashion.
this latter fashion. And
such, indeed,
such, indeed, seems
seems to
to be
be the
the idea
idea of
of H erbert
Herbert
Spencer: according to
Spencer: according hirn, laughter
to him, laughter is is the
the
indication
indication of of an effort
effort whichwhich suddenly
suddenly en.. en-
counters a
counters a void. void. Kant had already
already said said
"
something
something of
of the
the kind:
kind : "Laughter
Laughter is is thethe
result of
result of an
an expectation
expectation which,which, of of aa sudden,
sudden,
ends in
ends in nothing."
nothing." No doubt doubt thesethese definitions
definitions
would apply to
would apply to the
the last
last few examples
examples given,given,
although, even
although, even then,
then, the the formula
formula needs needs the
addition of
addition of sundry limitations, for
sundry limitations, fcr we oftenoften
make an ineffectual
ineffectual effort
effort which is in no
is in way
00 way
provocative of
provocative of laughter.
laughter. While, While, however,
however, the the
 86
86 LAUGHTER CHAP.

last
last few
few examples
examples are are illustrations
illustrations of of aa great
great
cause
cause resulting
resulting
in
in a
a small
small effect,
effect, we
we quoted
quoted
others,
others, immediately
immediately before, before, which
which might might be be
defined
defined inversely
inversely as
as a
a great
great effect
effect springing
springing
from
from aa small
small cause.
cause. The truth
truth is, is, this
this second
second
definition
definition has has scarcely
scarcely more validity than the
validity than the
first.
first. Lack of
of proportion between cause and
proportion between cause and
effect,
effect, whether
whether appearing
appearing in
in ane
one ar
or in
in the
the other,
other,
is never the
is never the direct
direct source
source of of laughter.
laughter.
What
we dado Iaugh
laugh at at isis something that
something that this this lack
lack of
of
proportion
proportion may may in
in certain
certain cases
cases disclose, namely,
disclose, namely,
aa particular arrangement which it
mechanical arrangement
particular mechanical it

reveals
reveals to us, as
to us, as through
through a a glass,
glass, at at the back of
the back of
the series of
the series of effects effects and causes.
causes. Disregard
Disregard
this
this arrangement,
arrangement, and you
you let
let go
go the
the only
only elue
clue
capable
capable of of guiding
guiding you you through
through the the labyrinth
labyrinth of of
the
the comic.
comic. Any Any hypothesis
hypothesis you you otherwise
otherwise would
select, while possibly applicable
select, while possibly applicable to to aa few care-care-
ful1y
fully chosen
chosen cases,
cases, is
is Iiable
liable at
at any
any moment to
to
be met and overthrown
be overthrown by by the
the first
first unsuitable
unsuitable
instance
instance that that comes along. along.
But why
why is
is it
it we laugh
laugh at at this
this mechanical
arrangement?
arrangement ? It It is
is doubtless
doubtless strange
strange that that the
the
history
history of of a person
person or or ofof aa group
group should
should same-some-
times appear
times appear like a game worked by
like agame by strings,
strings, or
or
gearings,or
gearings, or springs;
springs ;
hut
but from what source
source does
does
nn THE COMIC IN SITUATIONS 87
87
the
the special
special character
character of this strangeness
of tI1is strangeness anse? arise ?
What is is it
it that makes it
that makes it laughable?? To this
this
laughable
question,
question, which we have have already
already propounded
propounded
in
in various
various farms,
forms, our answer roust
our ans\ver must al\vays
always be be
the
the same.
same. The rigid rigid
mechanism which
which we
occasionally
occasionally detect,
detect, as
as a foreign body,
a foreign body, in in the
the
living
living continuity
continuity of of human affairsaffairs isis of
of peculiar
peculiar
interest
interest to
to us as as being
being a
a kind
kind of
of absentminded-
absentminded-
ness
ness on the the part
part ofof life.
life. Were eventsevents un- un-
ceasingly
ceasingly mindful
mindful of of their
their own course,course, there
there
would be no coincidences,
coincidences, no conjunctures and
Da conjunctures and
no circular
circular series; everything
series; everything would
would evolve
evolve
and progress
progress continuously.
continuously. And werewere allall men

always
always attentive
attentive to to life, were ,ve
life, were we constantly
constantly
keeping
keeping in
in touch
touch with
with others
others as
as weIl as
well with
as with
ourselves, nothing within
ourselves, nothing within us us would
would ever ever appear
appear
as
as due to to the
the working
working of of strings
strings or
or springs.
springs.
The comic is is that
that side
side of of aa person
person which
reveals his likeness
reveals his likeness toto aa thing,
thing, that
that aspect
aspect of of
events which,
human events through its
which, through its peculiar
peculiar
inelasticity, conveys
inelasticity, conveys the the impression
impression of of pure
pure
mechanism,
mechanism, of
of automatism,
automatism, of
of movement
without life.
without life. Consequently
Consequently it it expresses
expresses an
individual or
individual or collective
collective imperfection
imperfeetion which
calls for
calls for an an immediate corrective.
corrective. This cor-
This cor-
rective is
rective is laughter,
laughter, aa social gesture that
social gesture that singles
singles
88
88 LAUGHTER CHAP.

out and
out and represses
represses aa special
special kind
kind of
of absent-
absent-
mindedness in
mindedness in men and
and in
in events.
events.
But this
But this in
in turn
turn tempts
tempts us
us to
to make further
further
investigations. So
investigations.
So far,
far, we have
have spent
spent our
our time
time
in rediscovering,
in rediscovering, in
in the
the diversions
diversions of
of the
the grown-
grown-
up man,
up man, those
those mechanical
mechanical combinations
combinations whichwhich
am used hirn as
amused him as a child. a child. Gur
Our methods,
methods, in
in fact,
fact,
have been
have been entirely
entirely empirical.
empirieal. Let Let us us now
attempt to
attempt frame aa full
to frame full and
and methodical
methodical theory,
theory,
by seeking,
by as it were, at the fountain-head,
seeking, as it were, at the fountain-head,
the changeless
the changeless and and simple
simple archetypes
archetypes of of the
the
manifold and
manifold transient practices
and transient practices ofof the
the comic
stage.
stage.
Comedy,
Comedy, we \ve said,
said, combines events so
combines events so
as to introduce
as to introduce mechanism inta the Guter farms
into the outer forms
of
of life.
life. Let
Let us us now ascertain
ascertain inin what essential
essential
characteristics
characteristics life, life, when viewed
viewed from
from without,
without,
seems
seems to to contrast
contrast withwith mere mechanism. We
shall only
shall have,
only have, then,then, to
to turn
turn to
to the
the opposite
opposite
characteristics,
characteristics, in
in order
order to
to discover
discover the
the abstract
abstract
formula,
formula, this
this time
time a a general
general and complete
complete one,one,
for
for every
every real
real and possible method of
and possible of comedy.
comedy.
Life
Life presents
presents itself
itself to
to us
us as
as evolution
evolution in
in
time and complexity
complexity in in space.
space. Regarded
Regarded in in

time, it
time, it is
is the
the continuous
continuous evolution
evolution of of aa being
being
ever
ever growing
growing older;
older; it it never
never goes
goes backwards
and never
never repeats
repeats itself.
itself. Considered in space, it
in space, it
11
ii THE COMIC IN SITUATIONS 89
89
exhibits
exhibits certain
certain coexisting
coexisting elements
elements so so closely
closely
interdependent,
interdependent, so
so exclusively
exclusively
made
made far
for one
one
another, not
another, that not one of them could, at the
that one of them could, at the
same
same time, belang to t\VO different
time, belong to two different organisms organisms: :

each
each living
living being
being is is a· closed system
a 'closed system of of phe-
phe-
nomena,
nomena, incapable
incapable of
of interfering
interfering with
with other
other
systems.
systems. A continual
continual change change of of aspect,
aspect, the the
irreversibility
irreversibility of
of the
the order
order of
of phenomena,
phenomena, the
the
perfect individuality
perfect individuality of
of a
a perfectly self-contained
perfectly self-contained
senes:
series: such,
such, then,
then, are are thethe outward
outward charac..
charac-
teristics
teristics - whether real
whether real or
or apparent
apparent is
is of
of little
little

moment -which which distinguish

distinguish the the living
living from
from thethe
merely
merely mechanicaL
mechanical. Let Let us us take
take thethe counter-
counter-
part of each of
part of each of these: these: we shall obtain
shall obtain three three
processes which
processes which might n1ight be called rejetz:t'Z:on,
be called repetition,

reciprocal interference of
inversion^ and reciprocal
inversion, 'i,zteiference series.
of series.
Now, it
Now, it is
is easy
easy to to see
see that
that these
these areare also
also thethe
methods of of light comedy,
light comedy, and and that
that no others
others
are possible.
are possible.
As aa matter
matter of of fact,
fact, we could
could discover them,
discover them,
as ingredients of
as ingredients varying importance,
of varying importance, in in the
the
composition
composition of
of all
all the
the scenes
scenes we have just
just been
been
considering,
considering, and,
and, a
a fortiori,
fortiori, in
in the
the children's
children's
games,
games, thethe mechanism of of which they they reproduce.
reproduce.
The requisite
requisite analysis would, however, delay
analysis would, however, delay
us too lang,
us too long, and
and it
it is
is more profitable
profitable to
to study
study
90 LAUGHTER CHAP.

them inin their

their purity
purity by
by taking
taking fresh
fresh examples.
examples.
Nothing
Nothing could
could be
be easier,
easier, for
for it
it is
is in
in their
their pure
pure
state that they are faund, both in classic comedy
state that they are found, both in classic comedy
and
and in
in contemporary
contemporary plays.
plays.

I. Repett:tion. - Our present

I. Repetition. present problem
problem no no
longer deals,
longer deals, like
like the
the preceding one, with a
preceding one, with a
ward
word or or aa sentence
sentence repeated
repeated by byan an individual,
individual,
hut
but rather with aa situation,
rather with situation, that
that is,is, a
a combina-
combina-
tion of circumstances,
tion of circumstances, which recurs
recurs several
several
times in
times in its
its original
original form and thus
thus contrasts
contrasts
with
with the
the changing
changing stream
stream of of life.
life. Everyday
Everyday
experience
experience supplies
supplies us us with
with this type of
this type of the
the
comic, though
comic, though only only in
in a
a rudimentary
rudimentary state. state.
Thus, you
Thus, you meet
meet a
a friend
friend in
in the
the street
street whom
you
you have not seen
have not for an age;
seen for age there
; there is is nothing
nothing
comic inin the
the situation.
situation. If, however, you
If, however, you meet
hirn
him again
again the
the same day,
day, and then
then a
a third
third and
aa fourth "
fourth time,
time, youyou may
may laugh
laugh at the "coinci.
at the coinci-.
dence."
dence." Now,N OW, picture
picture to yourself aseries
to yourself a series of of
imaginary events
imaginary events which affords a tolerably
affords a tolerably fair fair
illusion
illusion of of life,
life, and
and within
within this
this ever-moving
ever-moving
senes
series imagine
imagine one and the
the same scene
scene repro-
repro-
either by
duced either the same characters
by the characters or or by
by
different
different ones:
ones again
:
again youyou will
will have a
a coinci-
coinci-
dence,
dence, though
though a far
far more extraordinary
extraordinary one. one.
n
II THE COMIC IN SITUATIONS 9911
Such
Such are
are the
the repetitions produced on
repetitions produced on the
the stage.
stage.
They
They are
are the
the more
more laughable
laughable in
in proportion as
proportion as
the
the scene repeated is
scene repeated is more
more complex
complex and more
and more
naturally
naturally introduced
introduced - t\VO
two conditians
conditions which
which
seem
seem mutually exclusive,
mutually exclusive, and
and which
which the
the play-
play-
writer
writer must
must be clever enough
be clever enough to to reconcile.
reconcile.
Contemporary light comedy
Contemporary light comedy employs this employs this
method
method in in every shape
every shape and
and form.
form. One of
of the
the
best-known examples cansists
best..known examples consists in in bringing
bringing a a
group
group ofof characters,
characters, act act after
after act,
act, inta
into the most
the most
varied stlrroundings, so as to reproduce,
varied surroundings, so as to reproduce, under under
ever
ever fresh
fresh circumstances,
circumstances, one one and and the the same
same
series
series ofof incidents
incidents or or accidents
accidents more or or less
less
symmetrically
symmetrically identical.
identical
In
In several
several of of Moliere's
Moliere's playsplays we find find oneone
and the
the same arrangement
arrangement af of events
events repeated
repeated
right through
right through the
the comedy
comedy from beginning
beginning to to
end. Thus, the
end. Thus, the Ecole Ecole des
des Femmes does nothing
does nothing
more than
than reproduce
reproduce and
and repeat a
repeat a single
single in.. in-

cident
cident in three tempi:
in three tempi: firstfirst tempo,
tempo^ Horace teIls tells

Arnolphe
Arnolphe of of the plan he
the plan he has
has devised
devised to to deceive
deceive
Agnes's guardian,
Agnes's guardian, who turns
turns out
out to
to be
be Arnolphe
Arnolphe
himself; ;second tempo,
himself second Amolphe
tempo> Arnolphe thinks
thinks he has
he
checkmated
checkmated the the move;
move third; tempo> Agnes
third tempo, Agnes eon- con-
trives
trives that
that Horace gets gets all the
all the benefit
benefit of of

Arnolphe's
Arnolphe's precautionary measures. There is
precautionary measures. is
92 LAUGHTER CHAP.

the
the same symmetrical repetition
same symmetrical repetition in the &ole
in the Ecole
des Maris, in
de$ Marts, L'Etourdi, and
in VEtourdi, and above
above allall inin
George Dandin,
George Dandin, where the where the same effect in three
effect in three
tempz· is
tempi is again again met with:
with: first
first tempo,! George
tempo^ George
Dandin
Dandin discovers
discovers that that hishis wife
wife is is unfaithful;
unfaithful;
second tempo,
second tempo,
he
he summons his
his father-
father- and
and
mother-in-law to his assistance third tempo, it
mother-in-Ia\v to his assistance; ;
third tempo, it

is
is George Dandin
George Dandin himself,
himself, after
after all,
all, who has
has to
to
apologise.
apologise.
At times
times the the same scenescene is is reproduced
reproduced with with
groups of different
groups of different characters.
characters. Then it
it not
not
infrequently
infrequently happenshappens that
that the
the first
first group
group con-
con-
sists of
sists masters and the
of masters the second
second of of servants.
servants.
The latter
latter repeat in another key a scene
repeat in another key scene
already played
already played by by the
the former,
former, though the
though the
rendering
rendering is is naturally
naturally lessless refined.
refined. A part of
Apart of
the
the D'epit amoureu",~ is
Depz·t amoureux is constructed
constructed on this this
plan,
plan, as
as is
is also Amphitryon.
also Amphitryon. In
In an amusing
amusing
Iittle
little comedy
comedy of
of Benedix,
Benedix, Der Ez"gens'i'nn,
Eigensinn, the the
order
order is is inverted
inverted : we haye
: have thethe masters repro-
masters repro-
ducing
ducing a a scene
scene of of stubbornness
stubbornness in in which their their
servants
servants have have set the example.
set the example.
But,
But, quitequite irrespective of
irrespective of the
the characters
characters
who serve
serve as pegs far
as pegs for thethe arrangement
arrangement of of
symmetrical situations,
symmetrical situations, there seems to be a
there seems to be a
wide gulfgulf between classic
classic comedy
comedy and the
the
n
]I THE COMIC IN SITUATIONS 93
93

theatre
theatre ofof to-day.
to-day. Both
Both aim aim at at introducing
introducing a
a
certain
certain mathematical
mathematical order order intointo events,
events, whilewhile
none
none the
the less
less maintaining
maintaining their
their aspect
aspect of
of likeli--
likeli-

hood,
hood, that
that is
is to
to say,
say,
of
of life.
life. But
But the
the means
means
they employ
they employ are
are different.
different. The majority
majority of
of
light
light comedies
comedies of our day
of our day seekseek to to mesmerise
mesmerise
directly
directly the
the mind of of the
the spectator.
spectator. For,
For, ho\v-
how-
ever
ever extraorclinary
extraordinary the coincidence, it
the caincidence, it becomes
becomes
acceptable
acceptable from the very fact
the very fact that it is accepted ;
that it is accepted ;

and we da do accept
accept it, it, if
if we have
have been been gradually
gradually
prepared far
for its r~ception.
its Such is
is often
often thethe
prepared reception.
procedure adopted by
procedure adopted by contemporary
contemporary authors. authors.
In Moliere's plays,
In Moliere's plays, on the contrary,
on the contrary, it it is
is the
the
moods of of the persons on
the persons the stage,
on the not of
stage, not of the
the
audience,
audience, thatthat makemake repetition
repetition seem natural. natural.
Each of of the characters represents a certain
the characters represents a certain
fqrce applied
force applied in
in a
a certain
certain direction,
direction, and itand it is
is
because these
because these forces, constant in
forces, constant in direction,
direction,
combine together
necessarily combine
necessarily together in in the
the same way, way,
that the
that the same situation
situation is is reproduced.
repraduced. Thus
interpreted, the
interpreted, comedy of
the comedy of situation
situation is is akin
akin toto
the comedy
the comedy of of character.
character. It It deserves
deserves to to be
called classic,
called classic, ifif classic
classic artart isis indeed
indeed thatthat which
does not
does not claim
claim to
to derive
derive from
from the
the effect
effect more
than
than it has
it has put into the
put into the cause.
cause.
94
94 LAUGHTER CHAP.

2. Inversz·on.
2. Inversion. - This
This second
second methodmethod has has SOso
much analogy will merely
analogy withwith thethe first
first that
that we will merely
define
define it it without insisting
without insisting on on illustrations.
illustrations.
Pieture
Picture to to yourself certain characters in a
yourself certain characters in a
certain situation if
certain situation: you reverse the
if you reverse
: the situation
situation
and
and invert
invert thethe rates,
roles, you
you obtain
obtain a a comic
comic scene.
scene.
The double rescue
double rescue scene
scene in
in Le Voyage
Voyage de
de M.
11
Perri&hon belongs
Perrickon belongs to to this
this class.
class. There
There is is no
no
necessity, however, for both the identical scenes
necessity, however, for both the identical scenes
to be played
to be played before
before us. us. We may may be be shown
only one, provided
only one, provided tl1e
the other
other is
is really in aur
really in our
minds.
minds. Thus, Thus, we laugh laugh at at the prisoner at
the prisoner at the
the
bar lecturing
bar lecturing the magistrate; at
the magistrate; at a a child
child pre-
pre-
suming to
suming to teach teach its
its parents; in a ward,
parents; in a word, at at
everything
everything that
that comes under
under the
the heading
heading of of
"topsyturvydom."
"topsyturvydom."
infrequently comedy
Not infrequently comedy sets before us
sets before us aa
character
character who lays lays a
a trap
trap in
in which
which he is
is the
the
first
first to
to be
be caught.
caught. The plotplot afof thethe villain
villain who
is
is the
the victim
victim of of his
his own villany,
villany, or or the
the cheat
cheat
cheated,
cheated, fornls
forms the
the stock-in-trade
stock-in-trade of
of a
a good
good
many plays.
many plays. We find
find this
this even
even in
in primitive
primitive
farce.
farce. Lawyer
Lawyer Pathelin
Pathelin teIls
tells his
his client
client of
of aa
trick
trick toto outwit
outwit the the magistrate;
magistrate; the the client
client
employs
employs the
the self-same
self-same trick
trick to
to avoid
avoid paying
paying
11 Labiche,
Labiche, Le 'Poyage
Le Voyage de M. Perrichon.
Perrichon.
n
II THE COMIC IN SITUATIONS 95
95
the
the lawyer.
lawyer. A termaganttermagant of of a a wife
wife insists
insists
upon
upon her
her husband
husband doing
doing all
all the
the housework;
housework ;

she
she hashas put
put down each
each separate
separate item item on on a a
,'rota.'
rota.' N ow let her fall into
Now let her fall into a copper, her a copper, her
husband ,viII refuse to
will refuse drag her
to clrag her out,
out, forfor "that
"that
"
is
is not
not down on his' his rota.'
c
rota.' " In
In modern
modern litera-litera-

ture
ture we meet with with hundreds
hundreds of of variations
variations on on
the
the theme of
of the robber
the robber robbed.robbed. In every
In every
case
case thethe root
root ideaidea involves
involves an an inversion
inversion of of
rotes,
roles, and
and a a situation
situation which recoils on
which recoils on the the head
head
of
of its
its author.
author.
%
Her~
Here we apparently
apparently find find the
the confirmation
confirmation of of
aa law,
law, same
some illustrations
illustrations of
of which
which \ve
we have
have
already pointed out.
already pointed out. When aa comic comic scene scene
has been
has been reproduced
reproduced aa number of times, it
of times, it

reaches
reaches the
the stage
stage of
of being a classical
being a classical type or type or
model. It
model. becomes amusing
It becomes amusing in in itself,
itself, quite
quite
apart
apart from
from the
the causes
causes which
which render
render it
it amusing.
amusing.
Henceforth, new scenes,
Henceforth, scenes, which
which are are not
not comic
comic
de jure,
de jure, may
may become amusing amusing de de facto,
facto, on
account of
account their partial
of their resemblance to
partial resemblance this
to this
model. They
model. They callca!1 up
up inin our
our mind aa more or or
less confused
less confused image image whichwhich we know to to be
comical. They
comical. They rangerange themselves
themselves in in aa category
category
representing an
representing an officially recognised type
officially recognised type of of
"
the comic.
the comic. The scene scene of the " robber
of the robber robbed"
9966 LAUGHTER CHAP.
CHAP,

belangs to
belongs to this
this class.
class. It
It casts over a
casts over a host
host of
of
other scenes
other scenes arefleetion
a reflection of
of the
the comic
comic element
element
it
it contains.
contains. In
In the end it
the end it renders
renders comic
comic anyany
mishap
mishap that
that befalls
befalls one
one through
through one's
one's own fault,
fault,
no matter what
no matter what the
the fault
fault oror mishap may
mishap may be,
be, -
nay,
nay, an
an allusion
allusion toto this
this mishap,
mishap, a a single ward
single word
that recalls it,
that recalls it, is
is sufficient.
sufficient. There
There would
would be
be
nothing
nothing amusing
amusing in saying, " It
the saying,
in the "
It serves
serves you
you
right, George
right, George
Dandin,"
Dandin," were
were it
it not
not for
for the
the
comic overtones
comic overtones that
that take up and re-echo it.
take up and re-echo it

3.
3. We have
have dwelt
dwelt at
at considerable
considerable lengthlength on on
repetition and
repetition inversion ; we now come to
and inversion ; to the
the
reciprocal 'interlerence
reciprocal interference 1 01 series.
of
*
series. This
This is
is aa
comic
comic effect,
effect, the precise formu]a
the precise formula of of which
which is is

very
very difficult
difficult to disentangle, by
to disentangle, reason of
by reason of the
the
extraordinary variety af
extraordinary variety of forms in farms in which it
it

appears
appears on the
the stage.
stage. Perhaps
Perhaps it
it might
might be
be
defined
defined as follows: A
as folIows: sz·tuation is
A situation z"nvarz·ably
is invariably

comic when it
tomic it oelongs slmultaneottsly to
belongs simultaneously to two

altogether -indepe1tdent
altogether independent series
series 01
of eVe1z,ts
events and is is

capaole
capable ollJe'lng
of being interpreted
interpreted in z·n two
two entirely
entirely
different
different meant:ngs
meanings at
at the
the same
same time.
time.

11 The ward
word " interference
interference " " has here the
the meaning to it
has here meaning given
given to it

in
in Optics,
Optics, where
where it
it indicates
indicates the partial superposition
the partial superposition and
and neu-
neu-
tralisation, by
tralisation, by each
each otber,
other, of
of two
two series
series of
of light-waves.
light-waves.
n
D THE COMIC IN SITUATIONS 97
97
Y ou will
You will at at once
once think think of of an an equivocal
equivocal
sz:tuatz:on.
situation. And the the equivocal
equivocal situation
situation is
is

indeed one which permits

indeed permits of two different
of t\VO different
meanings
meanings at
at the
the same time,
time, the one merely
the one merely
plausible,
plausible, which
which is
is put forward
put forward by
by the
the actors;
actors ;

the
the other
other areal
a real ane,one, which
which is given by
is given
by the
the
public.
public. We see the real meaning
see the real meaning of the of the
situation,
situation, because
because care
care has has beenbeen takentaken to to
show us us every aspect
every aspect of
of it,
it, hut
but each
each of
of the
the
actors
actors knows only only one
one of
of these
these aspects;
aspects hence
;
hence
the mistakes
the mistakes they they make and the erroneous
the erroneous
judgments they
judgments they pass pass both
both on what is
what is going
going
on around them them and and on what what they they are
are doing
doing
themselves.
themselves. We proceed
proceed from from this this erroneous
erroneous
judgment to
judgment to the
the correct
correct one,one, we waver between between
the
the possible
possible meaning
meaning and the real, and it.
the real, it is
is

this
this mental
mental see-saw
see-saw between two contrary contrary in- in-

terpretations
terpretations which is is at
at first
first apparent
apparent in in the
the
enjoyment
enjoyment we derive
derive from an equivocal
equivocal situa-
situa-

tion.
tion. It
It isis natural
natural that that certain philosophers
certain philosophers
should
should have
have been specially struck
been specially struck by by this
this men-

tal
tal instability,
instability, and that that same
some of of them should
regard the
regard the very very essence
essence of
of the
the ludicrous
ludicrous as as
consisting
consisting in in the
the collision
collision or or coincidence
coincidence of of

two judgments
judgments that contradict each other.
that contradict other.

Their
Their definition, however, is
definition, however, far from meeting
is far meeting
98 LAUGHTER CHAP.

every
every case,
case, and even when it
and even does, it
it does, it defines-
defines
not
not the principle of
the principle of the
the ludicrous,
ludicrous, but but only
only oneone
of its more or less distant
of its more or less distant consequences. consequences. In-
In-
deed,
deed, it
it is easy
is easy to
to see
see that
that the
the stage-made
stage-made
misunderstanding
misunderstanding is
is nothing
nothing hut
but a
a particular
particular
instance
instance of of aa far
far more
more general phenomenon,-
general phenomenon,
the reciprocaI interference
the reciprocal interference of of independent
independent series,series,
and
and that, moreover,
that, moreover, it
it is
is not
not laughable
laughable in
in itself,
itself,
but anIy
but only as
as a
a s1:gn
sign of
of such an interference.
interference.
As aa matter
matter of of fact,
fact, each
each of of the
the characters
characters
in
in every stage-made misunderstanding has
every stage-made misunderstanding has his his
setting
setting in in anan appropriate
appropriate series series ofof events which
events which
he
he correctly
correctly interprets
interprets as as far
far as
as he
he is
is concerned,
concerned,
and which give the key-note to his words and
and which give the key-note to his words and
actions.
actions. Each of the senes
of the peculiar to
series peculiar to thethe
several
several characters
characters deve]op
develop independentIy,
independently, hut but
at
at a certain moment they
a certain they meet
meet underunder such such
conditions
conditions that that thethe actions
actions and words that
and words that
belong to
belong to oneone might
might just just as well belang
as weIl belong to to
another.
another. Hence anse arise thethe misunderstandings
misunderstandings
and thethe equivocal nature of
equivocal nature of the
the situation.
situation. But
this
this Iatter
latter is is not
not Iaughable
laughable in itself, it
in itself, it isis so
so
only
only because
because it it reveals
reveals the the coincidence
coincidence of of thethe
two independent
independent series. series. The proof
proof of of this
this
lies
lies inin the
the fact
fact that
that thethe author
author must be be con-
con-

tinually taxing
tinually taxing his his ingenuity
ingenuity to to recal1
recall aur our
nn THE COMIC IN SITUATIONS 99
99
attention
attention to to thethe double
double fact fact of
of independence
independence
and coincidence.
coincidence. This This he he generally
generally succeeds
succeeds
in doing by
in doing by constantly
constantly rene,ving
renewing the the vainvain
threat
threat of dissolving partnership between the
of dissolving partnership bet\veen the
two coinciding
coinciding series.
series. Every
Every moment the
the
whole thing
thing threatens
threatens to
to break
break down,
down, hut
but
manages
manages to
to get patched up again; it
get patched up again; it is
is this
this
diversion that excites laughter,
diversion that excites laughter, far far more than
than
the
the oscillation
oscillation of the mind between
of the between two
two con-
con-
tradictory
tradictory ideas.
ideas. It
It makes
makes us
us laugh
laugh because
because
it
it reveals
reveals to to usus the
the reciprocal
reciprocal interference
interference of
of
two independent series, the real source
independent series, the real source of the of the
comic effect.
effect.

And so the stage-made

so the misunderstanding is
stage-made misunderstanding is

nothing more than

nothing than one particular instance,
one particular instance,
one
one means - perhaps
perhaps the the most artificial-
artificial of
of
illustrating
illustrating thethe reciprocal
reciprocal interference
interference of of series,
series,
hut it
but it is
is not
not thethe only one. Instead
only one. Instead of of two
contemporary series,
contemporary might take
you might
series, you take one
one series
senes
of events belonging
of events belonging to the past to the past and
and another
another
belonging to
belonging to the
the present:
present: if if the
the two seriessenes
happen to
happen to coincide
coincide in in our imagination, there
Dur imagination, there
will be
will be no resulting
resulting cross-purposes,
cross-purposes, and yet yet
the same comic
the comic effect
effect will
will continue
continue to to take
place. Think of
place. Think of Bonivard,
Bonivard, captive
captive in in the the
Castle of
Castle ChilIon: one
of Chillon: senes of
one series facts. Now
of facts. N ow
100
roc LAUGHTER CHAP.

picture to
picture to yourself Tartarin, tr~velling in
yourself Tartarin, travelling in.
Switzerland,
Switzerland, arrested
arrested and and imprisoned:
imprisoned: secondsecond
series, independent of
series, independent of the former. the former. Now let
let
Tartarin
Tartarin be be manacled
manacled to Bonivard's chain,
to Bonivard's chain,
thus
thus making
making the
the t\VO
two stories
stories seem
seem for
for a
a moment
to
to coincide,
coincide, andand youyou "viII
will getget a very amusing
a very amusing
scene, one of
scene, one of the the most amusing
amusing that Daudet's
that Daudet's
imagination
imagination has pictured. 11 N
has pictured. umerous incidents
Numerous incidents
of the mock-heroic
of the mock-heroic style, style, if if analysed, would
analysed, would
reveal
reveal thethe same elements.
elements. The transposition
transposition
from
from the the ancient
ancient to to the
the modern-always
modern always a a

laughable one-draws
laughable one draws its its inspiration
inspiration fromfrom the
the
same idea.
idea.
Labiche
Labiche has has made use use of of this
this method in in
every
every shape
shape and form.form. Sometimes he begins begins
by building up
by building up thethe series
series separately,
separately, and then then
delights in
delights in makingmaking them interfere
interfere with one
with
another:
another: he he takes
takes an independent
independent group group - a
wedding-party,
wedding-party, for for instance
instance - and throws throws them
into
into altogether
altogether unconnected
unconnected surroundings,
surroundings, intainto
which certain
certain coincidences
coincidences allow allow ofof their
their be-
be-
ing
ing foisted
foisted for
for the time being.
the time being. Sometimes he
keeps
keeps one and the the same set set ofof characters right
characters right
through
through the
the play,
play, but contrives
contrives that certain of
that certain of
these
these characters
characters have something
something to
to conceal-
conceal
11 Tarlann
Tartarin $Ur /es Alpes,
sur lesAlpes, by Daudet.
by Daudet.
u
n THE COMIC IN SITUATIONS 101
101

have
have in in fact,
fact, aa secret understanding on
secret understanding on the the
point
point - in
in short,
short, playa
play a smaller
smaller comed)r
comedy within
within
the
the principal
principal one:one: at at one
one moment,
moment, one one of of the
the
two comedies
comedies is
is on
on the
the point of upsetting the
point of upsetting the
other;
other; the
the next, everything
next, everything comes
comes right
right
and
and
the
the coincidence
coincidence between between the the two hvo senesseries is is

restored.
restored. Sometimes, even, he introduces
Sometimes, even, he introduces into into
the actual senes
the actual series a a purely immaterial senes
purely immaterial series of of
events,
events, an an inconvenient
inconvenient past, past, for
for instance,
instance, that that
some one has has anan interest
interest in in concealing,
concealing, hut but
which is is continually cropping up in
continually cropping up in the present,the present,
and on each occasionoccasion is is successful1y
successfully brought brought
inta
into line with situations
line with situations withwith which
which it it seemed
seemed
destined
destined to to play havoc. But in
play havoc. every case
in every case we
find the
find the two independent
independent series,series, and also
also their
their
partial coincidence.
partial coincidence.
We will not carry
will not any further
carry any further this this analysis
analysis
of the methods of
of the of light
light camedy.
comedy. Whether we
find
find reciprocaI
reciprocal interference
interference of of series,
series, inversion,
inversion,
or repetition, we see
or repetition, see that
that the the objective
objective is is

always the
always the same-to
same to obtain
obtain what we have
called
called a mechanzsation
mechanisation of
of life.
life. Y
YouOll take
take a set set
of
of actions
actions and relations
relations and repeatrepeat it as it
it as it is,
is, er
or
turn it
turn it upside
upside down,
down, or transfer it
or transfer bodily to
it bodily to
another set
another set with with which it
it partially
partially coincides
- all
all these
these being
being processes that
processes that consist
consist in
 102 LAUGHTER CHAP.
CHAP.

looking
looking upon upon life life as
as a a repeating
repeating mechanism,
mechanism,
with
with reversible
reversible action action and and interchangeable
interchangeable
parts. Actual
parts. Actual life life is comedy just so
is comedy just so far
far asas it
it

produces,
produces, in
in a
a natural
natural fashion,
fashion, actions
actions of
of the
the
same
same kind;kind ;
consequently,
consequently, just just so so far
far asas it it

forgets itself,
forgets itself, for were it
for were it always on
always on the the alert,
alert,
it
it would be ever-changing continuity, irre-
would be ever-changing continuity, irre-

versible progress, undivided

versible progress, undivided unity. unity.
And so
so
the ludicrous in
the ludicrous in events
events may may be be defined
defined as as
absent-rnindedness in things,
absent-mindedness in things, just as the ludi- just as the ludi-
erous
crous in in an
an individual
individual character
character always results
always results
from
from seme fundamental absent-mindedness
some fundamental absent-mindedness in in
the person, as
the person, as we have have already
already intimated
intimated and and
shall prove later
shall prove later on. on. This absent-mindedness
absent-mindedness
in
in events, however,
events, however, is
is exceptional.
exceptional Its results
Its results

are
are slight.
slight At any rate it
any rate it is incurable, so
is incurable, so that
that
it
it is
is useless
useless to to laugh
laugh at at it.it. Therefore
Therefore the the idea
idea
would
would never never have occurred occurred to to any
any one of
one of
exaggerating
exaggerating absent-mindedness,
absent-mindedness, of of converting
converting
it into a system,
it into
system, and
and creating
creating an
an art
art for it, if
for it, if

Iaughter
laughter were were not.
not always
always a a pleasure,
pleasure, and man-
kind did not pounce
did not pounce upon upon the
the slightest
slightest excuse
excuse
for indulging
for indulging in in it.
it. This is is the
the real
real explanation
explanation
of light
of light comedy,
comedy, which holds holds the the same relation
relation
to
to actual
actual life as does
life as does a
a jointed dancing-doll
jointed dancing-doll to to
aa man walking,
walking, -being, being, as as itit is,
is, an artificial
artificial
u
n THE COMIC IN WORDS 103
103
exaggeration
exaggeration of of a a natural
natural rigidity in things.
rigidity in things.
The thread
thread that binds it
that binds it to
to actual
actual life
life is
is aa very
very
fragile
fragile one.
one. It
It is
is scarcely
scarcely more than
than agame
a game
which,
which, like
like all
all games,
games, depends
depends on on aa pre\~iously
previously
accepted
accepted convention.
convention. Comedy Comedy in in character
character
strikes
strikes far
far deeper roots into
deeper roots into life.
life. With that that
kind of
kind comedy we shall
of comedy deal more particularly'
shall deal particularly
in the final
in the final portion
portion of our investigation.
of aur investigation.
But
But
we must first
first analyse
analyse a
a certain
certain type
type of
of the
the
comic,
comic, in
in many
many respects
respects similar
similar to
to that
that ofof light
light
comedy:
comedy the:the comic
comic in in words.
words.

11
II

There may
There may be be something artificial in
something artificial in making
making
a special category
special category for
for the
the comic
comic in
in words,
words, since
since
most of
of the
the varieties
varieties of
of the
the comic thatthat we have
have
examined so so far were produced
far were produced through
through the the
medium of language.
of language. We roust
must make a
a dis-
dis-

tinction, however,
tinction, however, between
between the
the comic
comic expressed
expressed
and the
the comic createdcreated byby language.
language. The
could, if
former could, if necessary, be translated
necessary, translated from
one language
language iota
into another,
another, though at
though at the
the cost
cost
of
of losing
losing the
the greater
greater portion
portion ofof its
its significance
significance
when introduced
introduced intointo a
a fresh
fresh society
society different
different in
manners,
manners, in in literature,
literature, and above all in
all in associa-
associa-
 1°4
104 LAUGHTER CHAP.
CHAP.

tion
tion ofof ideas.
ideas. But
But itit is
is generally impossible
generally impossible to to
translate the
translate the latter.
latter. It
It owes its its entire being to
entire being to
the
the structure
structure of of tl1e
the sentence
sentence or or to the choice
to the choice of of
the words. I t does not
the words. It does not set forth, by set forth, by means of
of
language, special
language, special
cases
cases of
of absent..mindedness
absent-mindedness
in
In man cr or inin events.
events. It
It lays
lays stress
stress on on lapses
lapses
of attention in
of attention in language
language itself.
itself. In
In this
this case,
case,
it is
it is language
language itself itself that
that becomes
becomes comic. comic.
Comic
Comic sayings, however, are not a matter of
sayings, however, are not a matter of
spontaneous generation; if
spontaneous generation; if we laugh at
laugh at them, them,
we are
are equallyentitled
equally entitled to to laugh
laugh at their author.
at their author.
This
This latter condition, however, is not indis-
latter condition, however, is not indis-
pensable,
pensable, since
since the
the saying
saying or
or expression
expression has
has aa
comic
comic virtue
virtue of of its
its own. This
This is proved by
is proved
by the
the
fact
fact that
that we find find it it very difficult,
very difficult, in the majority
in the majority
of these cases,
of these cases, to
to say
say whom we are
are laughing
laughing at, at,

although
although at
at times
times we have a
a dirn, vague feeling
dim, vague feeling
that
that there
there is is some one in in the
the background.
background.
Moreover,
Moreover, the person implicated
the person implicated is is not
not
always the speaker.
always the speaker. Here it
it seems
seems as
as though
though
we should
should draw an important important distinction
distinction
between
between the witty (spirituel} and
the wz·tty (spirituel) and thethe com,,:c.
comic.
A word
ward is is said
said to be comic when it
to be it makes us us
laugh
laugh at
at the
the person
person who utters
utters it,
it, and witty
witty
when it it makes us us laugh
laugh either
either at
at a third
third party
party
or at at ourselves.
ourselves. But in in most cases cases we can can
n
II THE COMIC IN WORDS JOS
105

hardly
hardly make upup our
our minds
minds whether
whether the
the ,vord
word is
is

comic or
comic or witty.
witty. All
All that
that \ve
we can
can say
say is
is that
that it
it

is
is laughable.
laughable.
Before
Before proceeding,
proceeding, it it might
might be be weIl well to to
examine more closely closely
\vhat
what is
is meant
meant by
by wit
wit
(espn·t).
(esprit\ A
A witty saying
witty saying makes
makes us
us at
at least
least
smile;
smile; consequently,
consequently, Da no investigation
investigation into into
laughter
laughter would be
be complete
complete did
did it
it notnot get
get toto
the
the bottom of of the
the nature
nature of of wit wit and and throw
throw
light
light on thethe underlying
underlying idea.
idea. IItt is
is to to be
be feared,
feared,
however,
however, that
that this
this extremely subtle essence is
extremely subtle essence is

one that
that evaporates
evaporates when exposed
exposed to
to the
the light.
light
Let us us first
first make aa distinction
distinction between between
the two
the two meanings
meanings of of the ward "" wit
the word wit "" (esprit), the
(esprit), the
broader one
broader one and the the' more
more restricted.
restricted. In the
In the
broader meaning
broader meaning of of the word,ward, it it ....!~~ld seem
^wquld
that what is
that is called
'.:t,~",~":'l'.
wit is
called wit
"~I
'
is a certain dramatic
a certain dramatic
way
Q'pmvS'
of
."
thinking.
.

Il1stead
way of thinking. Instead of treating hisof treating ideas
his ideas
aS"h{er~
as symbols, the
mere symbols, wit sees
the wit sees them,them, he he hears
hears
them and,and, above
above all,all, makes them converse converse
with one another
with one another likelike persons.
persons. He puts puts them
the stage,
on the stage, and himself,
himself, to to some extent, extent, into
into
the bargain. A witty
the bargain. witty nation
nation is, is, ofof necessity,
necessity, a
nation enamoured
nation enamoured of the theatre.
of the theatre. In In every
every
wit there is something
wit there is something of
of a
a poet
poet - just
just as in
as in
every good
every good reader
reader there
there is the
is the making of an
making of
106
io6 LAUGHTER CHAP.
CHAP.

actar.
acton This
This comparison
comparison is is made purposely,
purposely,
because aa proportion
because proportion might easily
might easily be
be established
established
between the
between the four terms. In
four terms. In order
order to to read
read weIlwell
need only
we need only the
the intellectual
intellectual side
side of
of the
the actor's
actor's
art;
art; hut
but in
in order
order to to act weIl one
act well one must
must be be anan
actor
actor in all one's
in all one's soul body. In
soul and body. just the
In just the
same way, poetic creation calls for
same way, poetic creation calls for some degree same degree
of
of self-forgetfulness, whilst the wit does not
self-forgetfulness, whilst the wit does not
usually err in this respect. We always
usually err in this respect. always get get aa
glimpse
glimpse of the latter
of the latter behind
behind whatwhat he he says
says and and
does.
does. He is
is not
not wholly engrossed
wholly engrossed in
in the
the
business, because
business, because he he only brings his
only brings his intelligence
intelligence
into play.
inta play.
So any poet may
any poet may reveal
reveal himself
himself as as a a wit
wit
when he pleases. Ta
he pleases. To da this there
do this there will
will be be Dano
need
need for hirn to
for him to acquire anything; it
acquire anything; it seems

rather
rather asas though
though he he would have have to to give
give up up
something.
something. He would sirnply
simply have
have to
to let
let his
his
ideas hold converse
ideas hold converse with with one another "for
one another "for
nothing,
nothing, for
for the
the mere joy joy ofof the
the thing
thing!" I" 1 He
1

would only have to

only have to unfasten
unfasten the the double
double bond
which keeps
keeps his
his ideas
ideas in
in touch
touch with
with his
his feelings
feelings
and his
his soul
soul in in touch
touch with
with life.
life. In
In short,
short, he
would turn
turn into
into a wit by
a wit by simply resolving to
simply resolving to

11 "Pour
"
Pour rien,
rien, pour
pour le plaisir," is
le plaisir," is a quotation
quotation from Victor
from Victor
Hugo's HanDn .Delorme.
Hugo's Marion Dekrme*
u
n THE COMIC IN WORDS r07
107
be no
be Da longer
longer a poet in
a poet in feeling, but anly in
feeling, but only in
intelligence.
intelligence.
But if
But wit consists,
if wit consists, far
for the most part,
the most part, inin
seeing things sttb speCte theatri, it is
seeing things sub specie theatri^ it is evidentlyevidently
capable
capable of being specially
of being specially directed
directed to to one
one
variety
variety of of dramatic
dramatic art,art, namely,
namely, comedy.
comedy.
Here we have have aa more
more restricted
restricted meaning
meaning of of
the term, and, moreover, the only
the term, and, moreover, the only one that one that
interests us from
interests us the point
from the point of view of
of vie\v of the
the theory
theory
of laughter.
of laughter. What is
is here
Jiere
cal1ed
called wz:t
wit ,is
is aa gift
gift
for dashing 9fr~~~·i~"
for dashing off comic ;;e;e~
scenes in a few
in a few strakes-
strokes
däShi~g them off, h~wever,
dashing them off, however, so subtly, delicately
50 subtly, delicately
and rapidly,
rapidly, that
that all
all is
is over
over asas soon
soon asas we begin
begin
to notice them.
to notice them.
Who are the actors
are the actors in scenes ?
these seenes
in these ? With
whom has the wit to deal? First
has the wit to deal ? First of all, with of all, with
his
his interlocutors
interlocutors themselves,
themselves, when his his witticism
witticism
is a direct
is a retort to
direct retort to one
one of of them.
them. Often with with
an
an absent person whom he
absent person he supposes
supposes to have
to have
spaken
spoken and to
to whom he is
is replying.
replying. Still
Still

oftener,
oftener, with
with thethe whole
whole world,
world, - in the ordinary
in the ordinary
meaning
meaning of
of the
the term,
term, - which he takes
takes to task,
to task,
twisting
twisting a a current
current ideaidea intointo a paradox,
paradox, or or mak-
ing
ing use
use of
of aa hackneyed
hackneyed phrase,phrase, or
or parodying
parodying
some quotation
quotation or
or proverb.
proverb. If
If we compare
compare
these
these scenes
scenes in in miniature
miniature with with one another,
another, we
108
io8 LAUGHTER CHAT.

find they
find they areare almost
almost always
always variations
variations of of a a
comic
comic theme
theme with with which
which we are are weIl well ac-ac-
quainted, that of the "robber
quainted, that of the "robber robbed." robbed." Y
You
Oll
take
take up up aa metaphor,
metaphor, aa phrase,
phrase, an an argument,
argument,
and turn it
and turn it against the
against the man who is,
is, or might
or might
be, its
be, its author,
author, so so that
that he is is made to to say what
say what
he did
he did notnot mean to
to say
say and lets himself be
and lets himself be
caught,
caught, to
to some
some extent,
extent, in
in the
the toils
toils of
of 1an..
lan-
" "
guage.
guage. But But the
the theme of the "robber
of the robber robbed
robbed "
is not the
is not the only p05sible one.
only possible one. We have gone
Wehave gone
Qver many
over many varieties
varieties of
of the
the comic,
comic, and
and there
there is
is

not one of
not one of them that that isis incapable
incapable of being
of being
volatilised
volatilised into
into a witticism.
a witticism.
Every
Every witty remark, then,
witty remark, then, lends
lends itself
itself toto an
analysis,
analysis, whose
whose chemical
chemical formula,
formula, so so to to say,
say, we
are
are now inin a position to
a position to state.
state. It
It runs
runs as as follows:
follows:
Take the remark, first
the remark, first enlarge it
enlarge it intointo a a regular
regular
scene,
scene, then
then find
find out
out the
the category
category of the comic
of the comic to to
which the
the scene
scene evidently belangs: by
evidently belongs: bythis
this means

you reduce
YOll reduce thethe witty
witty remark to to its
its simplest
simplest
elements
elements and obtain
obtain a a ful!
full explanation
explanation of of it.
it
Let usus apply
apply this
this method to
to a
a classic
classic ex..
ex-
ample. "
ample. "Your Your ehestchest hurts
hurts me"
"
me (J'az·(fat mal a a
vatre joz·trine), wrote
votre poitrine\ wrote Mme. de de Sevigne
Sevigne to to her
her
ailing daughter
ailing daughter - clearly a witty
clearly a witty saying. saying. If
If

our theory
theory is
is correct,
correct, we need
need anly
only lay lay stress
stress
n THE COMIC IN WORDS 109
109
upon
upon thethe saying,
saying, enlarge
enlarge and and magnify
magnify it, and
it, and

we shall
shall see
see it expand into
it expand into a a comic
comic scene.
scene.
N OW, we find
Now, this very
find this very scene, ready made,
scene, ready made, inin
the
the Amour medzc-ln
mtdicin of
of Moliere.
Moliere. The sham
sham
doctor, Clitandre,
doctor, Clitandre, who
who has
has been
been summoned
summoned to
to
attend
attend Sganarelle's
Sganarelle's daughter, contents himself
daughter, contents himself
with feeling Sganarelle's
with feeling Sganarelle's own pulse, pulse, where-
where-
upon, relying
upon, relying on
on the
the sympathy
sympathy there
there must
must be
be
between father
between father and daughter, he
and daughter, unhesitatingly
he unhesitatingly
"
concludes: "Your
concludes: "
Your daughter
daughter is is very ill ! "
very iII ! Here
Here
we have
have thethe transition from the witty to the
transition from the witty to the
comical.
comical. Ta
To complete
complete our
our analysis, then,
analysis, then, all
all
we have
have to to da do is to discover
is to discover what what there
there is is

comical in
comical the idea
in the idea of giving a
of giving diagnosis of
a diagnosis of the
the
child
child after
after sounding
sounding the
the father
father or
or the mother.
the mother.
WeIl,
Well, we know that
that one
one essential
essential form of
of cornic
comic
fancy lies
fancy lies in
in picturing
picturing to to ourselves
ourselves a a living
living
person as
person as a a kind
kind of of jointed dancing-doll, and
jointed dancing-doll,
that
that frequently,
frequently, with with the
the object
object ofof inducing
inducing us us
to
to form
form this
this mental
mental picture,
picture, we are are shawn
shown two
or more persons
or more speaking and acting
persons speaking acting asas though
though
attached
attached to
to one
one another
another by
by invisible
invisible strings.
strings.
Is not this
Is not this the
the idea
idea here
here suggested
suggested when we
are
are led
led toto materialise,
materialise, so so toto speak,
speak, thethe sym-
sym-
pathy
pathy we postulate
postulate as
as existing
existing between father
father
and daughter?
daughter ?
 no
110 LA U li-H.'l".t;R
i,AU(jrHTJb;R CHAP.

We now see see how it it isis that

that writers
writers on on wit
wit
have perforce confined
have perforce confined themselves
themselves to to comment-
comment-
ing
ing on the extraordinary complexity of
on the extraordinary complexity of the
the
things
things denoted
denoted by
by the
the term
term without
without ever
ever suc-
suc-
ceeding
ceeding in
in defining
defining it. it There are are many ways
many ways
of being witty,
of being witty, almost
almost as many as
as many as there
there are
are of
of
being
being the the reverse.
reverse. How
Ho\v can
can we detect what
detect what
they
they have
have in
in common with
with one
one another, unless
another, unless
we first
first determine
determine the the general
general relationship
relationship be- be-
tween the witty and the comic?
tween the witty and the comic ? Once, however,Onee, however,
this
this relationship
relationship is is cleared up, everything
cleared up, everything is plain
is plain

sailing.
sailing.
We then
then find
find the
the same connection
connection be- be-
tween
tween the the comic
comic and the the witty
witty as
as exists between
exists between
aa regular
regular scene
scene and the
the fugitive suggestion of·
fugitive suggestion of aa
possible
possible one.
one. Hence,
Hence, however
however numerous
numerous the
the
forms assumed by
forms assumed the comic,
by the comic, wit will possess
wit will possess an
equal
equal number of of corresponding varieties. So
corresponding varieties.
that
that thethe comic,
comic, in
in all
all its
its farms,
forms, is
is what should
what should
be defined
be first, by
defined first, by discovering
discovering (a task which is
(a task is

already
already quitequite difficult
difficult enough)
enough) the clue that
the clue that
leads
leads from oue one form to to the other. By
the other. By that
that
very operation
very operation wit
wit will
will have
have been
been analysed,
analysed,
and will
will then
then appear
appear as
as nothing
nothing more than
than the
the
comic in in a highly
highly volatile
volatile state.
state. Ta
To follow
follow the
the
opposite plan, however,
opposite plan, however, and attempt
attempt directly to
directly to
evolve
evolve a a formula
formula for for wit,
wit, would be
be courting
courting
n
n THE COMIC IN WORDS in
I II

'certain
certain failure.
failure. What should should we think think of of aa
chemist
chemist who,\vho, having
having eV'er ever so so many
many jars jars ofof aa
certain substance in his laboratory,
certain substance in his laboratory, would pre- '\vould pre-
fer getting
fer that substance
getting that substance from from thethe atmosphere,
atmosphere,
in which merely
in which merely infinitesimal
infinitesimal traces
traces of
of its
its vapour
vapour
are to be
are to be found?
found ?
But this
this comparison
comparison between bet\veen the the \vitty
witty andand
the
the comic
comic is also indicative
is also indicative of of the
the line
line \ve must
we must
take
take in studying the
in studying the comic
comic in in \vords.
words. On the the
one hand,
hand, indeed,
indeed, we find there is
find there is DOno essential
essential
difference between
difference between a
a \vord
word that
that is comic and
is comic and
ane
one that
that is witty; on
is witty ;
on the
the other
other hand,
hand, the
the Iatter,
latter,
although
although connected
connected with
with a
a figure
figure of
of speech,
speech, in- in-

variably
variably calls
calls up the image,
up the image, dirn dim oror distinct,
distinct, of of
aa comic
comic scene.
scene. This
This amounts
amounts to to saying
saying that
that
the
the comic in in speech
speech should
should correspond,
correspond, point point
by point,
by point, with
with the the comic
comic in in actions
actions and and in in
situations,
situations, and is
is nothing
nothing more, more, if
if one
one may
may so so
express
express oneself,
oneself, than
than their
their projection
projection on
on to the
to the
plane of
plane of words.
words. So let let usus return
return to to the
the comic
comic
in actions
in actions and in
in situations, consider the chief
situations, consider the chief
methods by by which it is
it is obtained,
obtained, and apply
apply
them to to the
the choice
choice of of words and the the building
building
up
up ofof sentences.
sentences. We shallshall thus
thus have every every
possible
possible form of
of the
the comic in
in \vords
words as
as weIl
well as
as

every variety
every variety of of wit.
wit
 112
ii2 LAUGHTER CHAP..
CHAP.

I.
i. Inadvertently
Inadvertently to to say
say oror da what we have
do what have
~o
no intention
intention of of saying
saying or or doing,
doing, as as aa result
result ofof
inelasticity or momentum,
inelasticity or momentum, is, as
is, as we are aware,
are aware,
one of
one of the the main
main saurces
sources of
of the
the comic.
comic. Thus,
Thus,
absent-mindedness
absent-mindedness is is essentially
essentially laughable, and
laughable, and
so
so we laugh laugh at at anything
anything rigid, ready-made,
rigid, ready-made,
mechanical
mechanical in gesture, attitude and even
in gesture, attitude and even facial
facial
expression.
expression. Da
Do we :find
find this
this kind
kind of
of rigidity
rigidity in
in
language
language also? also? No doubt we do, do, since
since Ian-
lan-
guage
guage contains
contains ready-made
ready-made formulas
formulas and and stereo-
stereo-
typed phrases.
typed phrases. The man who always expressed
always expressed
himself
himself in in such
such terms
terms wouId
would invariably
invariably be be comic.
comic.
But if
. But if an
an isolated phrase is
isolated phrase to be
is to be comic
comic in in itself,
itself,

when once separated

once separated from the person
the person who utters
utters
it,
it, it
it must be
be something
something more than
than ready-made,
ready-made,
it
it must bear bear within
within itself some sign
itself same
sign which teIlstells

us, beyond the

us, beyond the possibility
possibility of of doubt, that it
doubt, that it was

uttered
uttered automatically.
automatically. This can
can only happen
only happen
when the phrase embodies same
the phrase some evident
evident ab- ab-
surdity,
surdity, either
either a palpable error
a palpable error or or aa contradic-
contradic-
tion
tion in in terms.
terms. Hence the the fol1owing
following general
general
rule A
rule: : A comic
comic meant:ng
meaning is
is invariably
invariably obtained
obtained
when an absurd idea zs
zaea is fitted
jitted intointo a well-esta6-
well-estab~
lished jhrase-form.
lishedphrase-form.
"" Ce sabre
sabre est
est le plus beau jour
le plus jour de ma vie," vie,"
said
said M. Prudhomme. Translate
Translate the phrase
the phrase
n
D THE COMIC IN WORDS 1I3
113

into English
inta English or or German and and it purely
becomes purely
it becomes

absurd,
absurd, though
though it it is
is comic
comic enough
enough in in French.
French.
The reason
reason is is that
that "le plus beau
"le plus jour de
beau jour de ma
"
vie
vie " is one of
is one of those
those ready-made phrase-endings
ready-made phrase-endings
ta which
to which a
a Frenchman's ear is accustomed. Ta
Frenchman's ear is accustomed. To
make it it comic, then,
comic, then, we need
need only clearly
only clearly indi-
indi-
cate
cate the
the automatism
automatism of of the person who utters
the person utters it.it..

This
This is is what we get get when we introduce
introduce an an
absurdity
absurdity into
into the
the phrase.
phrase. Here the
the absurdity
absurdity
is by no means the
is by source of
the source of the comic, it
the comic, it is
is

only
only a
a very simple
very simple and
and effective
effective means of
of mak-
mak-
ing
ing it
it obvious.
obvious.
We have quoted
Wehave quoted only only oneone saying
saying of of M.
Prudhomme,
Prudhomme, but but thethe majority
majority of of those
those attri-
attri-

buted to
buted to him belongbelong to the same class.
to the class. M.
M.
Prudhomme is is a a man of phrases.
ready-made phrases.
of ready-made
And as as there
there are are ready-made phrases in
ready-made phrases in allall

languages,
languages, M. Prudhomme is always capable
is always capable
of being transposed,
of being transposed, thoughthough seldom of
of being
being
translated.
translated.
At times
times the the commonplace
commonplace phrase, phrase, under
cover
cover of which the
of which absurdity slips
the absurdity slips in,
in, is
is not
not
"
so readily noticeable.
so readily noticeable. "II don't don't like
like working
working
between meals,"
between meals," said
said a
a lazy
lazy laut.
lout There would
be nothing
nothing amusing
amusing in in the
the saying
saying did there there
not
not exist
exist thatthat salutary precept in
salutary precept in the realm
realm
J
 114
ii 4 LAUGHTER CHAP.
CHAP.

of hygiene: "One should

of hygiene: should not
not eat between
eat between
meals."
meals."
Sometimes
Sometimes tao the effect
too the effect is is aa complicated
complicated
one.
one. Instead
Instead of
of one
one commonplace phrase-form,
commonplace phrase-form,
there are
there two or
are two three which
or three which are are dovetailed
dovetailed
into
into each
each other.
other. Take,
Take, far
for instance, the remark
instance, the remark
of one of the characters
of one of the characters in
in a play by Labiche:
a play by Labiche :

"
. "Only God has the right
right to to kill
kill His
His fellow-
'

On]y has the fellow-

creature."
creature." It It would
would seem that that advantage
advantage is is here
here
It is
taken "
taken of of two
two separate
separate familiar
familiar sayings:
sayings "It: is

,God
God \vho
who disposes
disposes of
of the
the lives
lives of
of men," and,
men," and, "
"
I
Itt
is
is criminal
criminal for
for a a man toto kill his fellow-creature."
kill his fellow-creature."
But the
the two sayings are
two sayings are combined
combined so so asas to
to de.
de-.
ceive
ceive the
the ear
ear and leave
leave the
the impression
impression of being
of being
oue
one ofof those
those hackneyed
hackneyed sentences
sentences that
that are
are ac..
ac-
cepted
cepted as as a matter of
a matter of course.
course. Hence our our atten-
atten-
tion
tion nods, until we are
nods, until are suddenly
suddenly aroused
aroused by by the
the
absurdity
absurdity of of the
the meaning.
meaning.
These examples
examples suffice
suffice to to show how one one of of
the most important
the important typestypes of of the
the comic can can be be
projected - in
projected in aa simplified
simplified form - on the plane
the plane
of
of speech.
speech. We will
will now
l1QW proceed
proceed to
to a
a form
which is is not
not soso general.
general.

2. "
2. "WeWe laugh
laugh if Dur attention
if our attention is
is diverted
diverted to
to
physical in
the physical in a person wl1en it
person when it is
is the moral
the moral
n THE COl\iIC WORDS
COMIC IN "VORDS 115
115
that
that is
is in
in question,"
question," is is aa la\v
law '\vewe laid
laid do\vn
down in in
the
the first part of
first part of this
this \vork.
work. Let Let us us appl}1 it to
apply it to
language. Most words
language. \vords might
might be be said
said to have
to have
physical and aa moral
aa physical moral meaning,
meaning, according as
according as
they
they are
are interpreted literally
interpreted literally or
or figuratively.
figuratively.
Every
Every ward,
word, indeed,
indeed, begins
begins by denoting a
b)T denoting a con-
con-
crete object or a material action;
crete object or a material action but by degrees ;
hut by degrees
the
the meaning
meaning of of the
the ward
word is is refined
refined intointo an an
abstract
abstract relation
relation or or a pure idea.
a pure idea. If
If then
then thethe
above
above law holdsholds good
good here,here, itit should
should be be stated
stated
as folIows:
as follows :
"
"A A tonzze fjfect zs obta-i1zed
comic effect is obtained when·' when-
ever prete1zd to
ever we pretend to take
take lzzerally
literally an e:cpressio1't
expression
which was ~tsed
whz·ch figztratz·vely"; or,
used figuratively" \ or, "O,zce
"Once our our
attc1ztz·on
attention is ,is fixed
fixed 01Z on the
the materlai
material aspect
aspect 0./of a
metaphor
metaphor ihe
the zC/ca
idea ezpresscd
expressed becomes
becomes tomic."
comic?
" "
In
In the phrase, "Tüus
the phrase, Tous les les arts
arts sont
sont freres"
freres
(all the arts
(all the arts are brothers), the
are brothers), ward "frere"
the word "frere"
(brother)
(brother) is used metaphorically to indicate a
is used metapharically to indicate
more or or Iess
less striking
striking resemblance.
resemblance. The word ward
is
is so
so often used in
often used this way,
in this way, that
that when we hear hear
it
it we dado not
not think
think of of the
the concrete,
concrete, the the material
material
connection
connection implied
implied in
in every
every relationship. "Ve
relationship. We
"
should notice it
should notice it more if if we were
were told
told that
that " Taus
Tous
" "
les
les arts
arts sont
sont cousins,"
cousins," for for the
the ward
word "cousin"
cousin is is

not
not soso aften
often employed
employed in in a a figurative
figurative sense;
sense;
that
that isis why
why the
the ward
word here
here already
already assunles
assumes a
 u6
116 LAUGHTER CHAP.

slight tinge of the

slight tinge of
the comic.
comic. But let let usus go
go further
further
still, and suppose that Dur attention
still, and suppose that our
attention is is attracted
attracted
to material side
the material
to the side of of the metaphor by
the metaphor by the
choice oi a relationship
choice of a relationship \\rhich
which is
is incompatible
incompatible
with
with the the gender
gender
of
of the two
the t\VO ,vords
words composing
composing
the
the metaphorical expression,
metaphorical expression,
'\ve
we get a
get a laugh-
laugh-
able result. Such is the well-known saying,
able result. Such is the well-kno\vn saying,
also
also attributed
attributed to to l\f.
M. Prudhomme,
Prudhomnie, U"Tous Tous lesles

arts (masculine)
arts (masculine) sant sont sceurs
sceurs (feminine)."
(feminine)."
"He
"
He is is al\vays running
always running after
after joke," was
aa joke/'
said presence
said in Boufflers' presence regarding a
in Bouffiers' regarding very
a very
"
conceited fellow.
conceited fellow. Rad
Had Boufflers replied, "He
Boufflers replied, He
won't
won't catchcatch it,"
it," that
that would have have been been thethe
beginning of
beginning of aa witty
witty saying, though nothing
saying, though nothing
"
more than the beginning,
than the beginning, far
for the
the word "catch
"
catch "
is interpreted
is figuratively almost
interpreted figuratively almost as as often
often as as
the word "run";
the word "run"; nor does it
nor dnes it campel
compel us us more
strongly
strongly than the latter
than the latter to materialise the
to materialise the image
image
of two runners,
of two runners, tbe
the one at
at the
the heels
heels of the
of the
other.
other. In
In order that the
order that rejoinder may
the rejoinder appear
may appear
to be aa thoroughly
to be thoroughly witty witty one,
one, we roust
must borrow
borrow
from the the language
language of of sport
sport an expression
expression so so
vivid
vivid and concrete
concrete that that we cannot refrain fram
cannot refrain from
witnessing
witnessing the the race
race in in good
good earnest.
earnest. This
This is is

what Bouffiers
Boufflers does "
does when he retorts,retorts, "1'11 back
111 back
the joke 1"
the jokeT
1
nn THE COMIC IN WORDS II?
117
We said
said that wit often
that wit often consists
consists in in extending
extending
the
the idea
idea of of one's
one's interlocutor
interlocutor to the point
to the point of of
making
making hirn him express
express the opposite of
the opposite of what
what he he
thinks
thinks and getting hirn, so to say,
getting him, so to say, entrapt by entrapt by
his
his own words.
words. "Ve We must
must now add add that
that this
this
trap
trap is
is almost
almost always
always some
some metaphor
metaphor or
or com-
com-
parison
parison thethe concrete
concrete aspect
aspect of
of which is
which is tumed
turned
against
against hirn.
him. VOll You maymay remember the the dialogue
dialogue
between
between a mather
mother and her
and her sonson in
in the
the Faux Bons-Bons-
ce My dear boy,
"
hommes:
kommes :
My dear gambling
boy, gambling on
on 'Change
'Change
is
is very risky.
very risky. Y
YouOll win
win one
one day
day and
and lose the
lose the
next.
next""-""Well,W eIl, the~,
then, II will gamble anly
will gamble only every
every
other
other day."
day." In
In the same play
the same play too too we find
find the
the
following edifying
following edifying conversation
conversation bet\veen
between two
company-promoters
company-promoters : "18 :
"
this aa very
Is this very honour-
honour-
ahle
able thing
thing we are are doing?
doing ? These unfortunateunfortunate
shareholders, you
shareholders, you see, see, we are
are taking
taking the money
the money
out of
out of their very pockets.
their very pockets. . . ."
. . ." - "Well,
" WeIl, outout of
of
"
what doda you expect us
you expect us toto take
take itit?? "
An amusing
amusing result result is is likewise
likewise obtainable
obtainable
whenever aa symbol
whenever symbol oror an
an emblem isis expanded
expanded
on its
on its concrete
concrete side,
side, and
and aa pretence
pretence is
is made of
of
retaining the
retaining symbolical value
the same symbolical value for for this
this
expansion
expansion as
as für the
for the emblem itself.
itself. In
In a
a very
very
lively comedy
lively comedy we are
are introduced
introduced to
to a
a Monte
Carlo
Carlo official whose uniform
official uniform is
is covered
covered with
with
 uS
IIS LAUGHTER
LACGHTER CHAP.
CHAP.

medals,
medals, although he has onl}· received a single
although he has only received a single
decoration. "You
decoration. "
You see, staked my
see, II staked my medal on
aa number at roulette,"
number at roulette, he said, "and as
1'

he said, as the
the
number turned
number turned up, up, I
I ,vas
was entitled
entitled to
to thirty-six
thirty-six
times
times m}·my stake."
stake." This
This reasoning
reasoning is is very
very
similar
similar to to that offered by
that offered by Giboyer
Giboyer in
in the
the
Effr01ztes.
Ejfraiit'es.
Criticism
Criticism is
is made of
of a bride of
a bride of
fort)· summers \vho is is ,vearing orange-blossoms
forty summers who wearing orange-blossoms
,,·ith
with her
her v,"edding
wedding costume:
costume : "'\lhy,
"
Why, sheshe was
"
entitled
entitled toto oranges,
oranges, letlet alone
alone orange-blossoms
orange-blossoms f "
!

remarked Giboyer.
Giboyen
But
But ,ve
we should
should never
never cease
cease \vere
were we to to take
take
one b
one y" one
by one all
all the
the Iaws
laws we have stated, and try
have stated, try
to prove
to prove them them on \vhat
what "\ve
we have called
have the
called the
plane of
plane of language.
language. We had better
vVe better confine
confine
oursel\"es to
ourselves to the
the three general propositions
three general propositions of of
the preceding
the section. We
preceding section. Wehave have sho'\vn
shown thatthat
u series of
"series events~' may
of events" may become comic comic either
either
bj~
by repetitzon, by
repetition, by inversion
-inversion oror by
by reciprocal
reciprocal
1:nteiference. Now we
interference. ,,"e shall
shall see that this
see that this is
is
also the
also the case "ith series
case with of words.
series of words.
take series
To take series of
of events and repeat
events and repeat them
them
in another
in another keykey or
or another
another environment,
environment, oror to
to
invert
invert whilst still
them whilst still leaving
Ieaving them aa certain
certain
meaning,
meaning, or
or mix them up
up so
so thattheir
that their respective
respective
meanings jostle
meanings jostle one
one another,
another, is
is invariably
invariably
n THE COMIC IN WORDS 119
119

comic,
comic, as as we have
have already
already said,said, for for it
it is
is getting
getting
life to submit
life to submit to be treated
to be treated as as a a machine.
machine. But But
thought
thought too too is a living
is a thing. And language,
living thing* language,
the
the translation of thought, should
translation of thought, should be just as
be just as
living.
living.
We may
may thus
thus surmise
surmise that
that a
a phrase is
phrase is

likely
likely to comic, if,
become comic,
to become though reversed, it
if, though reversed, it

still makes sense,

still sense, oror if
if it expresses equally
it expresses equally weIl well
two
two quite independent sets of ideas,
quite independent sets of ideas, or, finally, or, finally,
if
if it
it has been obtained
has been obtained by by transposing
transposing an an idea
idea
into
into samesome key key other
other tllanthan its own. Such,
its o\vn. Such,
indeed,
indeed, are the three
are the three fundamental
fundamental laws laws of of ,vhat
what
might
might be
be called
called the comic transformation of
the C01nz·c tra'Jziformatz:01z of
sß1z,tences,
sentences^ as
as we shall
shall sho"\v
show by
by a
a few
few examples.
examples.
Let it it first
first be
be said
said that these three
that these laws are
three laws are
far
far from beingbeing ofof equal importance as
equal importance as regards
regards
the theory of
the theory of the
the ludicrous.
ludicrous. I,zversio1z is
Inversion is the
the
least interesting of
least interesting the three.
of the three. IItt must be be easy
easy
of
of application,
application, ho\vever,
however, for for itit is
is noticeable
noticeable that, that,
no sooner professional ",,.its
sooner do professional wits hear hear a a sentence
sentence
spaken
spoken than
than they experiment
they experiment to
to see
see if
if aa mean-
ing
ing cannot
cannot be obtained
obtained by by reversing
reversing it, it, by
by
putting, für
putting, for instance,
instance, thethe subject
subject in in place
place of of the
the
object,
object, andand thethe object
object in place of
in place of the
the subject.
subject.
It
It is
is not unusual for
not unusual for this
this device
device to to be employed
employed
for refuting an idea
for refuting idea in in more or or lessless hurnorous
humorous
terms.
terms. One of of the
the characters
characters in in a comedy of
a comedy of
 120
120 L.L~UGHTER
LAUGHTER CHAP.

Labiche
Labiche shouts
shouts out out toto hishis neighbour
neighbour on on the
the
floor above,
floor above, ,vhowho isis inin the
the habit
habit of of dirtying
dirtying his his
balcony, "\\~hat
balcony, "What do you
do Y'OU mean b)' emptying
by emptying
"
your pipe
your pipe on
on to
to my
my terra
terracece ?"
? The
The neighbour
neighbour
retorts,
retorts, "\\That
"
What da do y""OU
you mean by
by putting your
putting your
"
terrace under my'
terrace under my pipe?
pipe ? " ThereThere is no necessity
is Da
necessity
to
to dweIl
dwell upon
upon thisthis kind of of \vif,
wit, instances
instances of of
which couldcould easily'
easily be multiplied.
multiplied.
The reciprocal
reciprocal zlzterference
interference of two sets
of t\VO sets ofof
ideas in
ideas in the the same sentence is an inexhaustible
sentence is an inexhaustible
source
source of of amusing
amusing varieties.
varieties. There
There are are many
many
wa)"s
ways of
of bringing
bringing about this
this interference,
interference, II
mean of of bracketing
bracketing in in the
the same expression
expression two two
independent
independent meaningsmeanings that
that apparently
apparently tally. tally.
least reputable
The least reputable of of these
these ways ways is is the pun.
the pun.
In the
In the pun,
pun, thethe same sentence
sentence appears appears to to offer
offer
independent meanings,
two independent meanings, but but it it is only an
is only an
appearance; in
appearance; in reality there are
reality there are two different
two different
sentences made up
sentences up of of different
different words, words, but but
claiming to
claiming to be
be oneone and the the same
same becausebecause both both
have thethe same sound. We pass
same sound. pass from from the the pun,
pun,
by imperceptible
by imperceptible stages,stages, to to the
the true
true play upon
play upon
words. Here
words. Here there
there isis really
really oneone and and the the same
same
sentence through
sentence through whichwhich two two different
different sets sets ofof
ideas are
ideas are expressed,
expressed, and and we we are
are confronted
confronted with with
only one
only one series
series of of words;
words; but but advantage
advantage is is
n WORDS
THE COMIC IN \VORDS 121
121

taken
taken of of thethe different
different meanings
meanings a a \vord
word maymay
have,
have, especiaIly
especially when used
used figuratively
figuratively
instead
instead
of
of literallye
literally.
So that
that in
in fact
fact there
there isis often
often only
only
aa sIight difference between the play
slight difference between the play upon words upon words
on thethe one
one hand,
hand, and
and a poetic metaphor
a poetic metaphor or or an
an
illuminating
illuminating comparison
comparison on the the other.
other. Whereas
Whereas
an
an illuminating comparison and
illuminating comparison and a a striking
striking
image always
image always seem to
to reveaI
reveal the
the close
close harmony
harmony
that
that exists between language
exists between language and and nature,
nature, re-re-

garded
garded as as twotwo parallel
parallel farms
forms of of Iife,
life, the
the play
play
upon words makes
upon words makes us think us think somehow of
of a a
negligence
negligence on the
the part
part of
of Ianguage, which,
language, which, for
for
the time being,
the time being, seems
seems to to have
have forgotten
forgotten itsits real
real

function and now claims

function claims toto accommodate things things
to
to itself
itself instead
instead of of accommodating
accommodating itself
itself to
to
things.
things. And so the play
so the play upon words al,vays
upon words always
betrays
betrays a
a momentary
momentary lapse oflapse of atte?ztz"on
attention in
in

language, and it
language, it is
precisely on that
is precisely that account
account
that it
that it is
is amusing.
amusing.
Inverslon a11,d
Inversion reciprocal inteiference,
and reciprocal interference^ after
after

all, are onlya

all, are only a certain
certain playfulness
playfulness of of the
the mind
whlch ends at playing
which ends at playing upon upon words.
words. The comic
in transposz,etion
in transposition is is much more far-reaching.
far-reaching.
Indeed,
Indeed, transposition
transposition is
is to
to ordinary
ordinary language
language
what repetition
repetition is to comedy.
is to comedy.
We said
said that repetition is
that repetition the favourite
is the
 122
122 LAUGHTER
L.4.l;GHTER CHAP.
CHAP.

method
method of of classic comedy. It
classic comedy'. It consists
consists in in soso
arranging events
arranging events
that
that a
a scene
scene is
is reproduced
reproduced
either
either bet\yeen
between the the same
same characters
characters under under fresh
fresh
circumstances
circumstances or bet\yeen fresh
or between fresh characters
characters un- un-
der the same circumstances.
der the same circumstances. Thus '\ve
we have, re-
have, re-

peated by
peated by lackeys
lackeys in in less
less dignified language, a
dignified language,
scene alread}"
scene played by
already played their masters.
by their masters. Now,
Now,
imagine ideas expressed in suitable style and
imagine ideas expressed in suitable st)rle
thus
thus placed in the setting of their natural en-
placed in the setting of their natural en-
\~ronment.
vironment. If think of
}"'OU think
If you of some arrangement
arrangement
\vhereby
whereby they
they are
are transferred
transferred to
to fresh
fresh surround.
surround-.
ings,
ings,
v.~hile
while maintainink
maintaining their
their mutual
mutual relations,
relations,
ort
or, in
in other
other ,vords,
words, if
if )rou
you can
can induce
induce them to to
express
express themselves
themselves in altogether different
in an altogether different

style and to transpose themselves into another

st)·Ie and to transpose themselves iota another
key,
key, - )~OU
you will
will have language
language itseIf
itself playing
playing a a

comedy -language
comedy language itself itself made comic. comic. There
,viII be Da need, moreover,
will be no need, moreover, actually to actually to set before
set before
us both expressions
us both expressions of of the
the same ideas, ideas, thethe
transposed
transposed expression
expression and the natural one.
the natural one.
For \\"e
we are acquainted with
are acquainted with the natural one-
the natural one
the one vv~hich
the which we ,ve should
should havehave chosen
chosen instine-
instinc-
tively.
tively. So it
it will
will be
be enough
enough if
if the
the effort
effort of
of
comic invention
invention bears bears on the the other,
other, and on the the
other
other alone.
alone. sooner is the second set
No sooner is the second set
before us than we spontaneously
before spontaneously supply supply the
the
II
n THE COMIC IN WORDS
\VORDS 12 3
123

first. Hence
first. Hence the the following general rule:
fol1owing general rule: A A
comic e.ffect is
comzc effect ls always
always obtainable
obta,i,zable by by transposing
transposi1zg
the natural ezpresszon
the natural expression of of an z·dea -i'Zto another
idea into another
key.
key.
The meansmeans of of transposition
transposition are are soso many
many
and varied, language affords
and varied, language affords so rich so rieh a
a con..
con-
tinuity of
tinuity of themes
themes and and the the comic
comic is is here
here
capable of
capable of passing
passing through
through so great aa number
so great nllmber
of stages, from
of stages, from the the most
most insipid buffoonery
insipid buffoonery
up
up to
to the
the loftiest
loftiest forms
forms of
of humour and irony,
and irony,
that we shall
that shall forego
forego thethe attempt
attempt to to make out out
aa eomplete
complete list.
list. Having
Having stated
stated the
the rule, we
rule,
will
will simply,
simply, here here and there, verify
and there, verify its its main

applications.
applications.
In
In the
the first place, we may
first place, may distinguish
distinguish two
keys at
keys at the
the extreme
extreme ends ends of of thethe scale,
scale, thethe
solemn and the
solemn and the familiar. familiare The most obvious
obvious
effects
effects are obtained by
are obtained merely
by merely transposing the
transposing the
one
one into
into the other, which
the other, which thusthus provides
provides us us with
two opposite currents of c~mic
opposite currents of comic fancy. fancy.
Transpose
Transpose the the solemn into into the familiar and
the familiar
the
the result
result is is parody.
parody. The effect effect of of parody,
parody,
thus
thus defined,
defined, extends
extends to
to instances
instances in
in which the
idea
idea expressed
expressed in familiar terms
in familiar terms is that, if
is one that, if

only
only inin deference
deference to to custon1,
custom, ought
ought to to be pitched
pitched
in another key.
in another key. Take as
as an example
example the
 124 LAUGHTER CHAP.
CHAP.

following description of the dawn, quoted by

following description of the dawn, quoted by
Jean
Jean Paul Richter:
Faul Richter: "The sky was beginning
sky '\vas beginning
to
to change
change from
from black
black to red,
to red, like
like aa lobster
lobster
being
being boiled.'·
boiled.'* Note
Note thatthat the
the expression
expression of of
old-world
old-world matters matters in
in terms
terms of of modern life
life

produces
produces the
the same
same effect,
effect, byby reason
reason of
of the
the
halo
halo of of poetry
poetry which surrounds
surrounds classical
classical

antiquity.
antiquity*
It is
It is doubtless
doubtless the the comic in in parody
parody that that has
has
suggested
suggested to to some philosophers,
philosophers, and and inin partieu-
particu-
lar
lar toto 44.1exander
Alexander Bain,Bain, the idea of
the idea of defining
defining the the
comic,
comic, in
in general,
general, as
as a
a species
species of
of degradatlon.
degradation.
They
They describe
describe the
the laughable
laughable as
as causing
causing some-some-
thing to
thing appear mean that
to appear that was fonnerlydignified.
formerly dignified.
But if
But if our analysis is
our analysis is correct,
correct, degradation
degradation is is

only
only one
one form
form of
of transposition,
transposition, and
and trans-
trans-

position itse1f only

position itself only one
one ofof the
the means
means of of obtain-
obtain-
ing laughter.
ing laughter. There is host of
is aa host of others,
others, and and
the source
the source of of laughter
laughter must be sought for
be sought for
further back.
much further back. Moreover,
Moreover, without
without going
going
far, we see
so far, see that while the
that while the transposition
transposition
from solemn to trivial, from
to trivial, from better
better to to worse,
worse,
is comic,
is comic, the the inverse
inverse transposition
transposition may may be be
even more so. so.
It is
It is met with as
with as often
often asas the
the other,
other, and,
and)
apparently,
apparently, we may distinguish
may distinguish two
two main
main fanns
forms
u
n THE COMIC IN WORDS 12
1255
of it,
of it, according
according as as it it refers
refers to the physical
to the phystcal
dz:mens·r:ons
dimensions of an object or to its moral
of an object or to its moral
value.
value*
To speak
speak of of smal1
small things
things as though they
as though they
were
were large
large is,
is, in
in a a general
general way,way, to to ezaggerate.
exaggerate*
Exaggeration
Exaggeration is
is always comic
always comic when prolonged,
prolonged,
and
and especially
especially when systematic;
systematic; then, indeed,
then, indeed,
it
it appears
appears as as one method of
one method of transposition.
transposition. It
It

excites
excites so
so much Iaughter that same
laughter that some writers writers
have
have been been led led to define
to define the the comic
comic as as
exaggeration,
exaggeration, just just as as others
others have have defined
defined it it

as degradation.
as degradation. As a matter of fact, exaggera-
a matter of fact, exaggera-
tion,
tion, like
like degradation,
degradation, is is only one
only one form form of of one
one
kind
kind of of the
the comic.
comic. Still, Still, it
it is
is a very striking
a very striking
form.
form. It has given
It has given birth
birth toto the mock-heroic
the mock-heroic
poem, aa rather
poem, rather old.. fashioned device,
old-fashioned device, ladmit,
I admit,

though
though traces
traces of of itit are
are still
still to be found
to be found in in
persons inclined
persons inclined to to exaggerate methodically.
exaggerate methodically.
It might
It might often
often be
be said
said of
of braggadocio that
braggadocio that it
it

is
is its
its mock-heroic
mock-heroic aspect aspect which makes us us
laugh.
laugh.
Far more artificial,
artificial, but but also
also farfar more re.. re-

fined,
fined, isis the
the transposition
transposition upwardsupwards from below below
when applied
applied to the moral
to the moral value
value of things, not
of things,
to their physical
to their physical dimensions.
dimensions. T To0 express
express in in
reputable
reputable language
language some disreputable
disreputable idea, idea, to
 126
126 LAUGHTER
L.4.l:GHTER CHAP.
CHAP.

ta~e some scandalous

take same scandalous situation,
situation, some
some low-class
low-class
call1ng or disgraceful beha,"iour, and describe
calling or disgraceful behaviour, and
describe
them
them in
in terms
terms of
of the utmost "" respectabi'lity,"
the utmost respectability? is
is
generally· comic.
generally comic.
The English ,,'ord
English word is
is here
here
purposeI)\"
purposely emplo)·ed,
employed, asas the
the practice
practice itself
itself is
is

characteristically
characteristically English.
English. ~Iany
Many instances
instances of
of
it
It mal" be
may be found
found in
in Dickens and and Thackeray,
Thackeray,
and in Engllsh literature generally.
and in English literature generally. Let
Let
us
us rernark"
remark, inin passing,
passing, that
that the
the intensity of
intensity of
the
the effect
effect does
does not
not here
here depend
depend on on its
its length.
length.
A v:ord
word }s sometimes sufficient,
js sometimes provided it
sufficient, provided it

gives
gives us
us a a gIimpse
glimpse of of anan entire system of
entire system of
transposition accepted
transposition accepted in
in certain
certain social
social circles
circles
and reveals,
reveals, as it 'U·ere,
as it were, a moral organisation
a moral organisation
of immorality. Take the
of immorality. the fol1owing remark
following remark
made byby an
an official
official to
to one ofof his
his subordinates
subordinates
in a novel
in nO'lel of Gogol's, "y
of Gogol's, "Your peculations
Gur peculations
are too
are toD extensive
extensive for official of
far an official of your
your
rank."
rank"
Summing up
Summing up the
the foregoing,
foregoing, then,
then, there
there are
are
two extreme
two extreme terms
terms ofoE comparison,
comparison) the very
the very
large and the
large very small,
the very smaIl, the
the best
best and
and the
the
warst,
worst, behveen
between which
which transposition may
transposition may be be
effected in
effected in one
ane direction
direction oror the
the othen
other.. Now,
N OW,
if the
if the interval
interval bebe gradually narrowed, the
graduaIly narrowed, the
contrast between the
contrast between the terms obtained will
terms obtained be
will be
n WORDS
THE COMIC IN \VORDS 127

Iess
less and
and less
less violent,
violent, andand thethe varieties
varieties of of comic
comic
transposition
transposition more more and and more
more subtle.
subtle.
The most common of of these
these contrasts
contrasts is is

perhaps that between the real

perhaps that between the real and the ideal,t and the ideal
between what is
between is and
and what
what ought to be. Here
Here
ought to be.
again
again transposition
transposition may may taketake placeplace in in either
either
direction.
direction. Sometimes
Sometimes we state state \vhat
what ought
ought
to
to bebe done, and
done, and pretend to believe that
pretend to believe that this
this
is just what is
is just is actually
actually beingbeing done; done; thenthen we
have irany.
irony. Sometimes,
Sometimes, on on thethe contrary,
contrary, we
describe
describe with scrupulous minuteness what is
with scrupulous minuteness is
being done,
being done, and pretend
pretend to to believe
believe thatthat this
this
is just what ought
is just
ought to to bebe done;
done such
;
such is is often
often
the
the method of of humour.
humour. Humour, Humour, thus thus defined,
defined,
is the counterpart of
is the counterpart of irony. irony. Bot11 are
Both are forms of
forms of
satire,
satire, hut
but irony
irony is
is oratorical
oratorical in
in its
its nature,
nature, \vhilst
whilst
humour partakes
partakes of of the
the scientific.
scientific. Irony
Irony is is

emphasised
emphasised the the higher
higher '\ve we allo,v
allow ourselves
ourselves to to
uplifted by
be uplifted by the
the idea
idea of
of the
the good
good that
that ought
ought
to
to be : thus irony
be: thus may
irony may grow grow so
so hot
hot \vithin
within us
us
that it
that it becomes aa kind kind of of high-pressure
high-pressure
eloquence.
eloquence. On the
the other hand, humour is
other hand, is

the
the more emphasised
emphasised the the deeper
deeper we go go down
into an
into evil that
an evil actually is,
that actually is, inin order
order to to set
set

down its its details

details in in the
the most cold-blooded
cold-blooded in- in-

difference.
difference. Several authors, J
Several authors, ean Paul amongst
Jean amongst
 128
128 LAl~GHTER
LAUGHTER CRAPc
CHAP.

them,
them, have
have noticed
noticed thatthat humour delights delights in in
concrete
concrete terms,
terms, technical
technical details,
details, definite
definite facts.
facts.

If our anal)"sis
If Dur is correct, this is not an
analysis is correct, this is not
accidental
accidental trait of humour,
trait of humour, it it isis its
its very
very
essence. ...4.
essence. A humourist
humourist is is aa moralist
moralist disguised
disguised
as
as a scientist, something
a scientist, something like
like an
an anatomist
anatomist
who practises
practises
disseetion
dissection ,vith
with thethe sole
sole object
object
of iilling
of filling usus \vith
with disgust;
disgust ;
so
so that
that humour,
humour, in in
the restricted sense
the restricted sense in in '\\orhich
which we are are here here
regarding
regarding the the \vord,
word, is really a
is really a transposition
transposition
from the moral to the scientific.
from the moral to the scientific.
Ey
By still
still further curtailing the
further curtailing the interval
interval be- be-
tween
tween the transposed, we may
terms transposed,
the terms may now
obtain
obtain moremore and more specialised specialised types types of of
comic transpositions.
comic transpositions. Thus, certain
Thus, certain profes- profes-
sions have
sions have aa technical
technical vocabulary:
vocabulary: what what a a
wealth of
wealth of laughable
laughable results
results have
have been
been obtained
obtained
by transposing
by transposing the the ideas
ideas of everyday life
of everyday into
life into
this professional
this jargon! Equally
professional jargon ! Equally comic
comic is is the
the
extension of
extension of business
business phraseology
phraseology to to the
the social
sociaI
relations of
relations of life,
Iife, -for instance, the
for instance, the phrase
phrase of of
one of of Labiche's
Labiche's characters
characters in in allusion
allusion to to anan
invitation he has
Invitation received, "Your
has received, "YQur kindness
kindness
of the
of third ult,"
the third thus transposing
ult.," thus tran.sposing the the com-
com-
mercial formula,
mercial formula, "Your "Your favour
favour of of thethe third
third
instant"
instant" This class of
class the comic,
of the comic, more- more·
 n
II THE C011:IC
COMIC IN WORDS 12
1299
over,
over, may
may attain
attain a a special
special profundity
profundity of its
of its
own when it it discloses
discloses notnot merely
merely a profes-
a profes-
sional
sional practice,
practice, but
but a
a fault
fault in
in character.
character. Recall
Recall
to
to mind the the scenes
scenes in in the Fa-zt:c Bonshommes
the Faux Bonshommes
and the Benoz·to1t, \vhere
Fam'ille Benoiton,
the Famille marriage is
where marriage is

dealt
dealt with
with as as a business affair,
a business affair, and
and matters
matters of
of
sentiment
sentiment are are set
set down in in strictly commercial
strictly commercial
language.
language.
Here,
Here, however,
however, we reach reach the the point
point at at
which peculiarities
peculiarities of of language
language really really express
express
peculiarities
peculiarities of
of character,
character, a
a closer
closer investigation
investigation
of which we must hold
of which hold over
over toto the next chapter.
the next chapter.
Thus,
Thus, as might have
as might have been
been expected
expected and and may may
be seen
be from the
seen from the foregoing,
foregoing, the
the comic
comic in
in words
words
follows
follows closely
closely on
on the comic
the comic in in situation
situation and is is

finally merged, along with

finally merged, along with the latter, the latter, in
in the
the
, comic
comic in iii character.
character. Language
Language only only attains
attains
laughable
laughable results because it
results because it is
is aa human product,product,
modelIed
modelled as as exactly
exactly as
as possible
possible on the
the fonns
forms
of the
of the human mind. mind. \Ve We feel
feel itit contains
contains same some
living element of our
living element of our own lifeo\vn life; ;
and if
if this
this life
life

of
of Ianguage
language werewere complete perfect, if
complete and perfect, there
if there

were
were nothing
nothing stereotype
stereotype in in it,it, if,
if, in
in short,
short,
language
language werewere an absolutely
absolutely unified
unified organism
organism
incapable
incapable of
of being split
being split up up into
into independent
independent
organisms, it
organisms, it would
would evade
evade the the comic as as would
 130
I 3o LAUGHTER
Li\UGHTER CHAP.
CHAP.

aa soul
soul whose
whose life was one
life "''aS one harmonious
harmonious whole, whole,
unruffled
unruffled as as the
the caIm
calm surface
surface of of a a peacefullake.
peaceful lake.
There
There is is no
no pool, hO\'7ever, which has
pool, however, has not
not same
some
dead leaves
dead leaves floatingfloating on
on its
its surface,
surface, no
DO human
soul
soul upon
upon ""·hich
which there
there do not
not settle
settle habits
habits that
that
make it it rigid against
rigid against
itself by
itself making it
by rnaking it rigid
rigid
against others, DO
against others, no language,
language, in
in short,
short, so subtle
so subtle
and
and instinct
instinct "rith with Iife, so fuIIy
life, so fully alert
alert in
in each
each ofof
its
its parts
parts as as toto eliminate
eliminate the the ready-made
ready-made and
oppose
oppose the mechanical operations of
the mechanical operations of inversion,
inversion,
transposition,
transposition, etc., etc., which one \vould
would fain
fain per-
per-
form
form upon upon it
it as
as on same
some lifeless
lifeless thing.
thing. The
rigid,
rigid,
the
the ready-made,
ready-made, the
the mechanical,
mechanical, in
in con-
con-
trast
trast '\\rith
with the
the supple,
supple, the
the ever-changing
ever-changing and
the living,
the absentmindedness in contrast with
living, absentmindedness in contrast with
attention, in
attention, in aa word, automatism in
word, automatism contrast
in contrast
with free
with activity, such
free activity, such are are the the defects
defects thatthat
laughter
laughter singlessingles out
out and would
would fain
fain correct.
correct
We appealed
appealed to to this idea to
this idea to give
give us light at
us light at
the outset,
the outset, when\vhen starting
starting upon upon the the analysis
analysis of of
the Iudicrous. We
the ludicrous. Wehave seen it
have seen it shining
shining at at every
every
decisive turning
decisive tuming in in our
aur road.
road. With its its help,
help,
. we shall
shall now enter enter upon upon aa more important important
investigation, one that
investigation, that will,
will, we hope, hope, bebe more
instructive. We
instructive. W e purpose,
purpose, in in short, studying
short, studying
comic characters, or rather
characters, or rather determining
determining the
the
nn THE COMIC IN WORDS 131
essential
essential conditions
conditions ofof comedy
comedy in in character,
character,
while
while endeavouring
endeavouring to
to bring
bring it
it about
about that
that this
this
study may contribute to ci better understand-
study may contribute to a better understand-
ing
ing of
of the real nature
the real nature ofof art
art and the
the general
general
relation between art
relation between art and
and life.
life.
 CHAPTER 111
III

THE COMIC IN CHARACTER

I
WE have
have foIlowed the comic along
followed the many of
along many of its
its

winding
winding channeIs
channels in
in an endeavour to to discover
discover
how itit percolates
percolates intointo aa fonn,
form, an attitude,
attitude, or a
gesture
gesture ;
;
a
a situation,
situation, an action,
action, or
or an expression.
expression.
The analysis
analysis of of comic characters has now
characters
brought us
brought us to
to the
the most important
important part part ofof Dur
our
task.
task. It
It would
would also
also be the
the most diflicult,
difficult, had
yie1ded to
we yielded to the temptation of
the temptation of defining
defining the the
laughable
laughable by by a
a few striking
striking - and consequently
consequently
obvious
obvious - examples;
examples for
; for then,
then, in proportion as
in proportion as
\ve
we advanced towards
towards thethe Ioftiest
loftiest manifestations
manifestations
of
of the comic, we should
the comic, have found
should have found thethe facts
facts
slipping
slipping between
between the
the over-wide
over-wide meshes of
of the
the
definition intended to
definition to retain
retain them.
them. But, But, asas aa
matter ofof fact, have followed
fact, we have followed the the opposite
opposite
plan, by
plan, by throwing
throwing light
light on the the subject
subject from
1]2
132
 m
CH.HI
CH. THE COMIC IN CHARACTER 133
133

above. Convinced that

above. Convinced that laughter
laughter hashas a a social
social
meaning
meaning and import, import, thatthat the comic expresses,
the comic expresses,
above
above all all else,
else, aa special
special lack lack ofof adaptability
adaptability
to
to society,
society, and and that,that, in in short,
short, there
there is is

nothing
nothing comic
comic apart
apart from
from man,
man, we have
have
made man and character character generally
generally ourour main
main
objective.
objective. Our chief
chief difficulty, therefore, has
difficulty, therefore, has
lain
lain in in explaining
explaining how we come to
to Iaugh
laugh at at ~
anything
anything else else than
than character,
character, and and by by what
what
subtle processes of
subtle processes of fertilisation,
fertilisation, combination.
combination, or or
amalgamation the comic can warm
amalgamation the comic can worm its way into its way into
aa mere movement,
movement, an an impersonal
impersonal situation,
situation, or or
an independent
independent phrase.
phrase. This
This isis what we have have
done
done so so far.
far. We started
started withwith the
the pure
pure metal,
meta!,
and allall our
our endeavours
endeavours have have been
been directed
directed
solely
solely towards reconstructing the
towards reconstructing the are.
ore. It
It is
is the
the
metal itself
metal itself we are
are now about
about to to study. Nothing
study. Nothing
could be
could be easier,
easier, for this time
for this time we have
have aa simple
simple
element to
element to deal
deal with.
with. Let Let us us examine
examine it it
closelyand
closely see how it
and see reacts upon
it reacts upon everything
everything
else.
else.

There are
There are moods,
moods, we said, said, which move us> u~
as soon
as soon as as we perceive
perceive them, them, joys
joys and sorrows
sorrows
with which
with which we sympathise,
sympathise, passions
passions and vices vices
which callcall forth
forth painful
painful astonishment,
astonishment, terror,
terror, oror
pity) in the beholder;
pity, in the beholder; in
in short, sentiments that
short, sentiments that
134
I 34 L.~UGHTER
LAUGHTER CRAP.
CHAP.

are
are prolonged in sentimental overtones from
prolonged in sentimental overtones
mind
mind to
to mind.
mind. All
All this
this concerns the essentials
concerns the essentials
of
of life.
life. ...'
All \11 this
this is is serious,
serious, at times even
at times
tragic.
tragic.
Comedy can only
Comedy can only begin at the begin at point
the point
'\\~here Dur
where our neighbour's personality ceases to
neighbour's personality ceases
to
affect
affect us.us. It
It begins,
begins, in with what might
fact, with
in fact, might
be cal1ed
be called a growing callozes1zess
a growing callousness to to social
social life.
life.
Any individual
Any individual is comic is comic ,vho
who automatically
automatically goes goes
his own
his own way ,vay without
without troubling himself
troubling himself about
getting into touch ,,~ith the
getting into touch with
the rest
rest ofof his
his fellow-
fellow-
beings. It
beings. It is is the part of
the part laughter to
of laughter to reprove
reprove
his absentmindedness
his absentmindedness and wake him out of
,vake hirn out of his
his
dream. Jf
dream. If it it is permissible to
is permissible
compare impor-
to compare Impor-
tant
tant things
things '\\rith
with triviaIones,
trivial ones, we \vould
would call to
call to
mind
mind what happens when aa youth
what happens enters one of
youth enters of
our military
our academies.
military academies. After getting through
After getting through
the
the dreaded
dreaded ordeaI ordeal of of the examination, he finds
the examination, nnds
he has other
he has other ordealsordeals to to face, which his
face, which his seniors
seniors
ha,,"e
have arranged
arranged with with thethe object
object ofof fitting hirn far
fitting him for
the
the new Iife life he he is is entering upon,
entering upon, or, or, as they
they
say,
say, ofof ce breaking him
"breaking hirn into
into harne55."
harness." Every
Every
small society
society that
that forms within the
forms within the larger
larger is
is

thus impelled,
thus impelled, by
by aa vague of instinct,
kind of
vague kind instinct, to
to
devise
devise some method
method of "
U breaking
of discipline
discipline or
or breaking
in/' so
in," so as
as to
to deal with the
deal with of habits
rigidity of
the rigidity that
habits that
have been formed
formed elsewhere and ha
elsewhere and ve now
have
in THE COMIC IN CHARACTER 135
m 135

to undergo aa partial
to undergo partial modification.
modification. Society,
Society,
properly
properly so
so caIled,
called, proceeds in exactly the same
proceeds in exactly the same
way.
way. Each member roust
must be
be ever
ever attentive
attentive to
to
his
his social surroundings he
social surroundings; ; he must model hirnself
must model himself
on his
his environment; in short,
environment; in short, he must avoid he must avoid
shutting
shutting himself
himself up
up in
in his
his own peculiar
peculiar character
character
as
as aa philosopher
philosopher in
in his
his ivory
ivory tower.
tower. Therefore
Therefore
society holds
society holds suspended
suspended over over eacheach individual
individual
member,
member, if
if not
not the
the threat
threat of
of correction, at
correction, at all
all

events
events the the prospect
prospect of of a a snubbing,
snubbing, which, which,
although
although it
it is
is slight,
slight,
is
is none
none the
the less
less dreaded.
dreaded.
Such must be be the function of
the function laughter. Always
of laughter. Always
rather
rather humiliating
humiliating for
for the
the one
one against
against wham
whom it
it

is
is directed,
directed, laughter
laughter is is really and
really and truly truly aa kind
kind
"
of social "ragging."
of social ragging."
Hence the the equivocal
equivocal nature nature of of the
the comic.
comic.
It belangs neither
It belongs altogether to
neither altogether art nor
to art nor alto-
alto-

gether
gether toto life.
life. On the the one
one hand, characters in
hand, characters in
real
real life
life would never never make us us laugh
laugh were
were we
not
not capable
capable of
of watehing
watching their
their vagaries
vagaries in in the
the
same way
way as as we look look down at at a play fram
a play from our
seat in a box; they
seat in a box; they are only are only comic in
in our eyes
eyes
because they
because perform
they perform a kind of
of comedy
comedy before
before
USa
us. But, on
But, on the the other
other hand,hand, the the pleasure
pleasure
caused by
caused by laughter,
laughter, even on the the stage,
stage, is not
is an
unadulterated
unadulterated enjoyment;
enjoyment; it it is not a pleasure
is not pleasure
 i 36
LAUGHTER CBll.
CHAP.

that
that is exclusiveI~y esthetic
is exclusively esthetic or or altogether
altogether dis..dis-

interested.
interested. It
It a1\\~a}·s
always impliesimplies a
a secret
secret or
or
unconscious intent,
unconscious intent, if if not
not ofof each
each one one of US, at
of us, at
all
all ev'ents
events of of society as a whole. In
society as a whole. In laughter
laughter
we al,,~ay's
we always find find an
an unavowed intention
intention to
to
humiliate,
humiliate, and and consequently
consequently to to correct
correct Dur our
neighbour, if not in his \viII, at least in his
neighbour, if not in his will, at least in his
deed.
deed. This is
This is the reason aa comedy
the reason comedy is is far
far more
like
like real
real Iife
life than
than a a drama is. is. The more
sublime
sublime the the drama,
drama, the the more profound profound the the
analjTsis to which the poet has
analysis to which the poet has had to subject
had to subject
the
the ra\v
raw materials
materials of of daily
daily lifelife in in order
order to to
obtain
obtain the tragic element
the tragic element in in its unadulterated
its unadulterated

fonn.
form. On the contrary, it
the contrary, is only
it is only in its lower
in its lower
aspects,
aspects, in
in light comedy
light comedy and farce,
farce, that
that comedy
comedy
is in striking
is in striking contrast
contrast to
to reality:
reality: the
the higher it
higher it

rises, the more it

rises, the it approximates
approximates to to life;
life
;
in
in fact,
fact,
there are scenes in real life so closely
there are scenes in real life so closely bordering bordering
on high-class
high-class comedy comedy that that thethe stagestage might
might
adopt
adopt them without
without changing
changing a
a single ward.
single word.
Hence it it follows
follows that that thethe elements
elements of of comic
comic
character
character on the the stage
stage and in
in actual
actual life
life will
will be
be
the same.
same. What are are these
these elements?
elements? We
shaII difficulty in
find no difficulty in deducing
shall find them.
deducing them.
It
It has often
often beep. said that
been said that it is theit is the tnJlz"ng
trifling
faults of
faults of our fellow-men that that make us us laugh.
laugh.
m THE COMIC IN CHARACTER 137
137

Evidently
Evidently there
there is
is a
a considerable amount of
considerable amount of
truth
truth inin this
this opinion;
opinion still,
still, it
;
it cannot
cannot be
be regarded
regarded
as
as altogether
altogether correct.
correct. First,
First, as
as regards
regards faults,
faults,
it is na
it is no easy matter to dra\v the line
easy matter to draw the line between between
the trifling
the trifling and the
the serious; maybe it
serious; maybe it is
is not
not
because
because a
a fault
fault is
is trifling, that it makes us
trifling, that it us laugh,
laugh,
hut
but rather
rather because
because it it makes us us laugh
laugh that
that we
we
regard it
regard it as
as trifling; far there is nothing dis-
trifling; for there is nothing dis-
arms us us like
like laughter.
laughter. But
But we maymay go go even
even far-
far-

ther,
ther, and maintain
maintain thatthat there
there areare faults
faults at
at which
which
we laugh, even though a\\'are
laugh, even though fully aware that they
fully that they
are
are serious,
serious, - Harpagon's avarice,
Harpagon's avarice, for
for instance.
instance.
And then,
then, we mayas may as weIlwell confess
confess - though
though
reluctantly - that
somewhat reluctantly that we laugh laugh not not
only
only at
at the
the faults
faults of
of our
our fellow-men,
fellow-men, but
but also,
also,
at times, at
at times, their good
at their qualities.
good qualities. We laugh
laugh at at
Alceste. The objection
Alceste. objection may may be be urged
urged thatthat itit

is not the earnestness of Alceste

is not the earnestness of Alceste that is that is ludi-
ludi-
crous, but
crous, hut rather
rather the the special
special aspect
aspect which
earnestness assumes
earnestness assumes in in his
his case
case; and,
;
and, inin short,
short,
a certain
a certain eccentricity
eccentricity that that mars
mars itit inin our
Qur eyes.
eyes.
Agreed;
Agreed ;
hut
but it
it is
is none
none the
the less
less true
true that
that this
this

eccentricity in
eccentricity in Alceste,
Alceste, at at which we laugh, laugh,
makes his
makes ea'Y1ZBstness laughable^
hzs earnestness laughable, and and that
that isis the
the
main point.
point. So we may conclude that
may conclude that thethe
comic is
comic is not
not always
always an an indication
indication of of a faulty
fault,
 i 38 LAUGHTER CHAP..
CHAP,

in
in thethe moral
moral meaning meaning of of the word, and if
the "orord, if

critics
critics insist
insist on on seeing
seeing aa fault, even though
fault, e\Ten though aa
trifling one, in the ludicrous, they"' roust
trifling one, in the ludicrous, they
must point
point
out ,,·hat it
out what it is here is here that
that exactly distinguishes
exactly distinguishes
the trifl.ing
the trifling
from
from the
the serious.
serious.
The truth truth is, is, the
the comic character
character may, may,
strictly speaking,
strictly speaking, be quite
be quite in
in accord
accord with
with stern
stern
morality'.
morality.
i\11
All it it has
has toto do is is to
to bring
bring itself
itself

into accord
into accord ,vith with society.
society. The character
character of of
Alceste
Alceste is is that
that of of aa thoroughl}"'
thoroughly honest honest man.
man.
But thenthen he he is
is unsociable, and,
unsociable, and, on on that
that very
very
account,
account, ludicrous.
ludicrous. A
A flexible
flexible vice
vice may not
may not
be
be so so easy
easy to to ridicule
ridicule as as a rigid
rigid virtue.
virtue. IItt is
is

rigidity that society eyes

rigidity that society eyes with suspicion. with suspicion. Con-
Con-
sequentl)',
sequently, it
it is
is the
the rigidity
rigidity of
of Alceste
Alceste that
that
makes us us laugh,
laugh, thoughthough here rigidity stands
here rigidity stands for for
honesty. The man ,vho
honesty. withdraws into
who withdraws into him-
hirn-
seH is
self is liable
liable to to ridicule,
ridicule, because
because the the comic
comie is is
largely made up
largely up of of this v'ery withdrawal.
this very withdrawaI. This This
accounts for
accounts for the comic being
the comic being so so frequently
frequently
dependent on the
dependent the manners or or ideas,
ideas, or, to put
Of, to put
it bluntly,
it bluntly, on the the prejudices,
prejudices, of of aa society.
society.
I t must be
It ackno\\dedged, however,
be acknowledged, however, to to the the
credit of
credit of mankind,
mankind, that that there
there is is no essential
essential
difference between
difference between the the social
social ideal
ideal and the the
moral. We may
moral. may therefore
therefore admit,
admit, as as aa general
general
m
in THE COMIC IN CHARACTER 139
139
rule,
rule, that it is
that it is the
the faults
faults of of others that make us
others that us
laugh, provided we add
laugh, provided add thatthat theythey make us us

laugh by
laugh reason of
by reason their unsoczability
of their unsociability rather rather
than
than of
of their immorality.
their immorality. What,
What, then, are the
then, are the
faults
faults capable
capable of
of becoming
becoming ludicrous,ludicrous, and
and
in what circumstances
in what circumstances da do we regard
regard them them as as
being toD
being too serious
serious to be laughed
to be laughed at? at ?
We
\Ve have
have aIready
already givengiven an
an implicit
implicit answeranswer
to this question.
to this question. . The cornic, comic, ,vewe said,
said, appeals
appeals
to the intel1igence
to the intelligence purepure and
and simple;
simple; laughter is
laughter is

incompatible with emotion. Depict

incompatible with emotion. Depict some fault, same fault,
however trifling,
trifling,
in
in such
such a a way
way as as to to arouse
arouse
sympathy,
sympathy, fear,fear, or pity; the
or pity ;
the mischief
mischief is is done,
done, itit

is impossible for
is impossible us to
for us to laugh.
laugh. On the the other
other
hand, take
hand, take a
a downright
downright vice, vice, - even
even one
one that
that
is,
is, generally
generally speaking,
speaking, of of an odious
odious nature,
nature,
-youyou maymay make it
it ludicrous
ludicrous if,
if, by
by same
some
suitable contrivance, you
suitable contrivance, you arrange
arrange so that it
so that it

I~aves
leaves our
our emotions
emotions unaffected.
unaffected. Not thatthat the
the
vice must then
vice then be be ludicrous,
ludicrous, but but it it may,
may, from
that time forth,
that time become so.
forth, become so. It must not
// not arouse
arouse
our feelings;
our feelings ; that
that is
is the
the sole
sole conditian
condition really
really
necessary,
necessary, though assuredly it
though assuredly it is not sufficient.
is not sufficient.

But,
But, then,
then, how will will the the comic poet poet set set to
to
work to prevent aur
to prevent our feelings
feelings beingbeing moved?
The question
question is
is an
an embarrassing
embarrassing ane. one. To0
T
 i 4o
14° LAUGHTER CHAP
CHAP

clear
clear it it up
up thoroughly',
thoroughly,
we should
should have have toto enter
enter
upon
upon aa ratherrather nov'el
novel line line of of investigation,
investigation, to to
analyse the artificial sy'rnpathy \vbich we bring
analyse the artificial sympathy which bring
with us to the
with us to the theatre, theatre, and determine
determine upon
upon thethe
circumstances
circumstances in in ,,,"hich
which \ve accept and
we accept and those
those inin
which
which we we refuse
refuse to to share imaginary joy's
share imaginary joys and
sorrO\1ts.
sorrows. There isThere is an
an art
art of
of lulling sensibility
lulling sensibility
to
to sleep
sleep
and
and providing
providing it
it ,,"ith
with dreams,
dreams, as as
happens
happens in in the case of
the case of a mesmerised person.
a mesmerised person.
And therethere is is also
also an an artart of throwing a
of thro\Ying a wet
wet
blanket upon
blanket upon sympathy sympathy at
at the
the very
very moment it
it

rnight
might arise,
arise, the result being
the result being that
that the the situation,
situation,
though
though a a serious
serious one,one, is is not
not taken
taken seriously.
seriously.
This
This latter
latter art \vould appear
art would appear to to be governed by
be governed by
t\\..
two o methods,
methods, '\vhich
which are
are applied
applied more
more or
or Iess
less

unconsciously
unconsciously by by the
the comic
comic poet. The first
poet. first

consists in
consists in tsolating,
isolating, withinwithin the the soul
soul ofof the
the
character,
character, the
the feeling attributed
feeling attributed to him, andto hirn, and
making
making it
it a
a parasitic organism, so
parasitic organism, so toto speak,
speak,
endowed with
endowed \\Tith an
an independent
independent existence.
existence. As aa
general rule,
general rule, an an intense
intense feeling
feeling successively
successively
encroaches upon
encroaches upon all all other mental states,
other mental states, and
colours them with
colours with its peculiar hue;
its own peculiar hue; if, if,
then, we are
then, are made to to witness
witness this this gradual
gradual im- im-
pregnation, we finally
pregnation, finally become impregnated impregnated
ourselves with
ourselves with a corresponding
corresponding emotion. emotion. To T0
 m THE COMIC IN CHARACTER 141
141

employ
employ aa different
different image,
image, an an emotion
emotion may may be be
said
said toto bebe dramatic
dramatic and and cantagious
contagious when all
all

the
the hannonics
harmonics in in itit are heard along
are heard along with
with the the
fundamental
fundamental note. note. It is because
It is because the actorthe actor
thus
thus thrills throughout his
thrills throughout whole being
his whole being that
that the
the
spectators themselves feel
spectators themselves feel the
the thrill.
thrill. On thethe
contrary,
contrary, in in the
the case
case of of emotion
emotion that that leaves
leaves us us
indifferent,
indifferent, and that is about
that is about to to become comic,
comic,
there
there isis always present
always present a
a certain
certain rigzaz·ty which
rigidity which
prevents it
prevents it from
from establishing
establishing a a connection
connection with with
the rest of
the rest the soul
of the soul in which it
in which it has
has taken
taken up up its
its

abode. This rigidity

abode. rigidity may may be be manifested,
manifested, when
the time comes,
the time by
comes, by puppet-like movements,
puppet-like movements, and and
_then it
.then it will provoke laughter;
will provoke laughter hut,; but, before that,
before that,
it had already
it had
already alienated
alienated Dur our sympathy:
sympathy: how can can
put ourselves
we put tune '\\~ith
ourselves in tune with a soul which is
in a soul which is

not in
not in tune with itself?
tune with itself? In
In Moliere's L'Avare
Moliere's LAvare
we have
have aa scene bordering upon
scene bordering upan drama.
drama. It It is
is the
the
one inin which the borrower and the
the borrower the usurer,
usurer, who
have never seen each
have never seen each other, other, meet face
face toto face
face
and find that
and find they are
that they are sonson and father.
father. Here
we should
should be be in
in the
the thick
thick of of a drama, if
a drama, if only
only
greed
greed and fatherly
fatherly affection,
affection, conflicting
conflicting with
each
each other
other in in the
the soul soul of of Hatpagon,
Harpagon, had
effected
effected a more or or less
less original
original combination.
But
But such
such is is not
not the
the case.
case. No sooner has the
 14
i 42 L.,.~UGHTER
LAUGHTER CHAP.

intervie\\f
interview come come to to an
an end
end than
than the the father
father for-
for-

gets everything. On meeting

gets everything. meeting his son again
his san again he
he
barel}~ alludes to the scene, serious though it
barely alludes to the scene, serious though
it

has been:
has been : "y
" OU, my
You, my son, son, vlhom
whom I
I am good
good
enough
enough to
to forgive )Tour
forgive your
recent
recent escapade,
escapade, etc."
etc."
Greed
Greed has thus passed
has thus passed elose
close toto all
all otherfeelings
other feelings
ahselztm-intledly,
absentmindedly, without either touching them or
,vithout either touching or
being
being touched..
touched. Although
Although it has
it has taken
taken up
up its
its

abode in
abode the soul
in the soul and become master master of of the
the
house,
house, nonenone thethe Iess
less it
it remains
remains a a stranger.
stranger. Far
different ,,"ould
different would be
be avarice
avarice cf
of a
a tragic sorte
tragic sort. We
should
should find find it it attracting and absorbing, trans-
attracting absorbing, trans-
forming and
forming assimilating the
and assimilating divers energies
the divers energies of of
the
the man:
man feelings
:
feelings and affections,
affections, likes likes and dis-dis-

likes,
likes, vices
vices and
and virtues,
virtues, would all
all become some.
some- .
thing
thing into which avance
into which would breathe
avarice would breathe aa new
kind
kind of of life.
life. Such seems to to bebe the
the first
first essen-
essen-
tial
tial difference
difference between high-class high-class comedyand
comedy and
drama.
drama.
There is is a a second,
second, which is is far more obvious
far more obvious
and arises
arises out out of the first.
of the first. When amentala mental
state
state isis depicted to
depicted to us us with the object of
the object mak-
of mak-

ing it
ing it dramatic,
dramatic, or merely of
or even merely inducing
of inducing
us toto take
take it it seriously, it
seriously, it gradually
gradually crystallises
crystallises
into acttOns
actions which provide provide the the realreal measure
measure of of
its
its grea.tness.
greatness. Thus, the
Thus, the miser
miser orders
orders his
his
in THE COMIC IN CHARACTER 143
m 143
whole
whole life with aa view
life with view to to acquiring wealt~,
acquiring wealth,
and
and the pious hypocrite,
the pious hypocrite, though pretending to
though pretending to
have
have his eyes fixed
his eyes fixed upon heaven, steers
upon heaven, steers mostmost
skilfully
skilfully
his
his course here
course here below. belo,v. Most
Most cer- cer-
tainly, comedy
tainly, comedy
does
does not
not shut
shut out
out calculations
calculations of
of
this
this kind;
kind; we need need only take as
only take as an
an example
example
the very machinations
the very machinations of Tartuffe.of Tartuffe. But
But that
that
is
is what comedy
comedy has
has in
in common with
with drama;
drama;
and in
in order
order to to keep
keep distinct
distinct from
from it,
it,
to
to prevent
prevent
our
our taking
taking a
a serious
serious action
action seriously,
seriously,
in
in short,
short,
in order to prepare us for
in order to prepare us for laughter, comedylaughter, comedy
utilises
utilises aa method,
method, the the formula
formula of \",hieh may
of which may be be
given
given asas folIows: :instead of
follows instead concentrating our
of c01zcentrati1zg our
attention on actzons,
attention 01Z comedy d'irects
actions, comedy directs itz·t rather
rather to to
gestures.
gestures. By gestures
By gestures ,,~e
we here
here mean the
the at-
at-

titudes,
titudes, the
the movements
movements and even
even thethe language
language
by
by which
which amental
a mental state
state expresses
expresses itself
itself out-
out-
wardly without
wardly without any any aim
aim or profit, from no other
or profit, other
cause
cause than
than a a kind
kind of inner itching.
of inner itching. Gesture,
Gesture,
thus defined,t is
thus def1ned profoundly different
is profoundly different from action.
action.
Action
Action is intentional or,
is intentional or, at any rate,
at any rate, con-con-
scious; gesture slips out
scious; gesture slips out unawares, unawares, it
it is
is auto-
auto-
matie.
matic. In
In action, the entire
action, the entire person
person is is engaged;
engaged;
in
in gesture,
gesture, an isolated
isolated part
part of
of the
the person
person is
is

expressed,
expressed, unknown to, to, oror atat least
least apart
apart from,
from,
the
the whole of of the personality. Lastly
the personality. Lastly - and
 144
LAUGHTER CHAP.
CHAP.

here
here isis the
the essential
essential point
point - action
action is is in
in exact
exact
proportion to the feeling that inspires it: the
proportion to the feeling that inspires it: the
one
one gradually
gradually passes
passes intointo the
the other,
other, so
so that
that we
may all 0'\\" our
may allow our sympathy sympath~y or
or our
our aversion
aversion to
to
glide along the line
glide along the
line running
running from feeling feeling
to
to action
action and and become
become increasingly
increasingly interested.
interested.
About
About gesture, ho\vev'er, there is
gesture, however, there
is something
something
explosive,
explosive,
which
which a ,vakes
awakes our sensibility
sensibility when
on the point
on the point of of being
being Iulled
lulled toto sleep and, by
sleep and, by
thus
thus rousing us up, prevents our taking matters
rousing us up, prevents our taking matters
seriously.
seriously.
Thus,
Thus, as as soon as as our
our attention
attention is is

fixed
fixed on gesture and not on action,
on gesture action, we are are inin
the
the realm
realm of of comedy.
comedy. Did \ve we merely take his
merely take his
actions into
actions into account,account, Tartuffe
Tartuffe would belong to
would belang to
drama: it
drama: it isis only
only when we take
take his
his gestures
gestures
into consideration
into considemtion that that we find
find him
hirn comic.
comic. You Y ou
may remember how he comes on to
may to the stage
the stage
with the
with words: ""Laurent,
the words : Laurent, lock
lock up my
up my hair- hair-
shirt and
shirt and my my scourge."
scourge." He knows Donne is
knows Dorine is
listening to
listening to him,
hirn, but
hut doubtless
doubtless he would say
he would say
the same ifif she
the same she were
were not there. He enters
not there. enters so so
thoroughly into
thoroughly into the rate of
the role of aa hypocrite
hypocrite thatthat hehe
plays it
plays it almost
almost sincerely.
sincerely. In In this
this way,
way, andand
way only,
this way
this only, can he become comic. comic. Were it it
not for
not for this material sincerity,
this material sincerity, were it it not for
not for
the language
the language and attitudesattitudes that his long-standing
that his long-standing
m THE COMIC IN CHARACTER 145
145
experience
experience as as aa hypocrite
hypocrite has has transformed
transformed into into
natural
natural gestures,
gestures, Tartuffe
Tartuffe \vould
would be
be sim pI)· adious,
simply odious,
because we
because should only
\ve should only think
think of \vhat is
of what meant
is meant

and willed
willed in in his
his conduct.
conduct And so
so we see ":hy
Vle see why
action
action is is essential
essential in in drama,
drama, but
but onl)' accessory
only accessory
in
in comedy.
comedy. In
In a
a comedy,
comedy, we fee}
feel any other
any other
situation might equally weIl
situation might equally well have been chosen have been chosen
for the purpose
for the purpose of introducing the
of introducing the character;
character;
he would still
he would still have
have been
been thethe same man though though
the
the situation
situation \vere were different.
different. No\\", we da
Now, do
not get this impression
not get this impression in a drama. Here in a drama. Here
characters
characters and situations situations areare welded
welded together;
together ;

or rather, events
or rather, events form form part
part and with the
parcel "'1th
parcel the
persons, so
persons, so that were the
that were the drama to to tell
tell us
us a a
different
different story,story, even
even though
though the
the actors
actors kept
kept
the
the same names, names, we should should in in reality
reality be
be dealing
dealing
with
with other persons.
other persons.
T~.... ~~~JE
Tp^ sum. . . t:tP)
up, whether a character is good or
is good

bad is
bad is of
of little
little moment; granted
moment; granted he is
is un-

sociable,
sociable, he is is capable
capable of of becoming
becoming comic. comic.
We now see see thatthat the
the seriousness
seriousness of of the
the case
case isis

of
of no importance either:
DO importance either: whether serious
serious or
trifling,
trifling,
it
it is
is still
still capable
capable of of making
making us laugh, laugh,
provided
provided that
that care
care be
be taken
taken not
not to
to arouse
arouse aur
our
emotions.
emotions. : Unsociability in the
Unsociability in the performer performer and
insensibility
insensibility in in the
the spectator
spectator - such, such, in in a word,
word,
 146 LAUGHTER
L..
4 .CGHTER CH.AP.
CHAP.

are
are the
the two essential conditions.
two essential conditions. There is
is aa
third,
third, implicit in the other hvo, \vhich so far it
so far
implicit in the other two, which it

has
has been
been the
the aim
aim ofof our
our anal)"sis
analysis to to bring
bring out.
out.
This third
This third condition
condition is
is automatism. We
vVe
pointed it
have pointed
ha'v'e out from the
it out the outset
outset of of this
this
,,,·ork, continuall)1 dra,ving
work, continually drawing attention to the attention to the
follo"ing
following point
point: ,vhat
what
: is
is essentialI)" laughable
essentially laughable
is
is ,vhat
what is is clone
done automatically'.
automatically. In
In a vice,
vice, even
even
in a virtue, the comic
in a virtue, the comic is that is that element by ,vhich
by which
the
the person unwittingly'
person unwittingly betrays betrays himself
himself - the
the
involuntary
involuntary gesture
gesture oror the unconscious remark.
the unconscious remark*
Absentmindedness
Absentmindedness is is a1\va~ys
always comical.
comical. Indeed,
Indeed,
the
the deeper
deeper the
the absentmindedness
absentmindedness the
the higher
higher
the comedy.
the Systematic
comedy. Systematic absentmindedness,
absentmindedness,
like
like that of Don Quixote,
that of Quixote, is is the
the most comical
comical
thing imaginable:
thing imaginable it
it :is
is the
the comic itself, drawn
itself,
as nearly as
as nearly possible from its
as possible its very source.
very source.
Take any other comic
any other comic character:
character: however
ho,vever
unconscious he may
unconscious may be of of what he he says
says or or
does, he cannot
does, cannot be be comical
comical unless unless there
there be be
aspect of
some aspect of his
his person
person of of which
which he is is un-
un-
aware,
aware, aue
one side
side of
of his
his nature
nature which he
he over..
over-
looks; on that
looks ; account alone
that account alone does* he make us
does- he us
Iaugh.t Profoundly
laugh.
1
Profoundly comic sayings sayings are are those
those
1 When the
1
the humourist
humourist laughs at himself,
Iaugbs at is really
himself, he is acting aa
really acting
double part;
doable part; the
the self
self who laughs is indeed
laughs is indeed conscious,
conscious, but
hut not
not the
the
&elf *ho
self who is
is laughed at.
laughed at.
m
in CHARACTER
THE COMIC IN CHi\.RACTER I.fj
14;

artless
artless onesones in in which
which samesome 'vicevice re,'"eals
reveals itselfitseli

in
in all
all its
its nakedness:
nakedness ho,v :how couldcould it it thus
thus expose
expose
itself were
itself were it it capable
capable of of seeing
seeing itself
itself as
as it
it is?
is ?

IItt is
is not
not uncommon for for a
a comic
comic character to
character to
condemn in in general
general terms
terms a
a certain
certain line
line of
of
conduct
conduct and immediately afterwards afford
immediately aftenvards afford an an
example
example of of it himself: for
it himself: instance, ~'l.
for instance, M. J aur·
Jour-
dain's
dam's teacher
teacher of of philosophy
philosophy flying fl)Ting into
into aa pas-
pas-
sion
sion after
after in\Teighing against
inveighing against anger; anger; Vadius
Vadius
taking
taking aa poem
poem from his
from his packet
pocket after after heaping
heaping
ridicule
ridicule on readers of poetry,
readers of poetry, etc. etc. \\That
What is is the
the
object
object of
of such
such contradictions
contradictions except
except to
to help
help us us
to
to put
put Qurour finger
finger on on the
the obliviousness
obliviousness of of thethe
characters
characters to to their
their 0'''"11
own actions?
actions? Inattention
Inattention
to self,
to self, and consequently
consequently to
to others,
others, is what we
is what

invariably
invariably find. find. And if if we looklook at at the matter
the matter
closely,
closely, \ve we see that inattention
see that inattention is here equiva-
is here equiva-
lent
lent to to what we have called unsociability.
have called unsociability. The
chief cause
chief cause of of rigidity
rigidity is is the
the neglect
neglect to to look
look
around - and
around and more
more especially
especially withinwithin oneself
oneself: :

how can can aa man fashion

fashion his his personality
personality after after thatthat
another if
of another
of if he does
does not
not first others as
study others
first study as
weIl as
well as himself?
himself? Rigidity,
Rigidity, automatism,
automatism, absent- absent-
mindedness and
mindedness and unsociability
unsociability are are all
all inextricably
inextricably
entwined;
entwined ;
and all serve
all serve as
as ingredients
ingredients to the
to the
making up
making up ofof the
the comic
comic in in character.
character.
 148 LAUGHTER
LACGH'I'ER CHAP..
CHAR

In word, if
In aa ,vord, if \ve leave on ane
we Ieav'e side, \vhen
one side, when
dealing ,yith human personality', that portion
dealing with human personality, that portion
\vhich interests
which interests Ollr our sensibility
sensibility or or appeals
appeals to to
our
our feeling,
feeling,
all
all the
the rest
rest is
is capable
capable of
of becoming
becoming
comic,
comic, and
and the
the comic
comic "\''1
will 11 be
be proportioned to
proportioned to
the
the rigid i ty'. \\r
rigidity*
Wee formulated
formulated this idea at
this idea at the
the
outset
outset ofof this
this "\vork.
work. We
\\:"e hav'e
have 'verified
verified it
it in
in its
its

main
main results,
results, and hav'e have just just applied
applied it it to
to the
the
definition
definition of of comedy'.
comedy. Now we must get get to to
closer quarters,
closer quarters, and sho\v
show ho\v it enables
how it enables us to us to
delimitate
delimitate the the exact
exact position
position comedy comedy occupies
occupies
among
among all
all thethe other
other arts.
arts.

In ane
In one sensesense it it might be said
might said that all char-
that all char-
acter
acter isis comic, provided
comic, provided ,ve
we mean by
by character
character
the readY-1nade element
the ready-made element in in our our personality,
personality, that that
mechanical element
mechanical element which resembles resembles aa piecepiece of of
clockwork
clockwork wound up
up once for all and capable
for all and capable
of working
of working automatically.
autornatically. It It is, if you
is, if will,
you will,
~thich causes
that which
that causes us us to to imitate
imitate ourselves.
ourselves.
And it it is also, for
is also, for that
that very reason, that
very reason, that which
which
enables others
enables others to to imitate
imitate us. Every comic
us. Every comic
character is
character type. Inversely,
is aa type. Inversely, every every resem-
resern-
blance to
blance to aa typetype has something comic
has something comic in in itit.
fhough we may
Though may longlang have associatedassociated with with an an
.ndividual without
.ndividual discovering anything
without discovering anything about about
1im. to laugh at,
to laugh at, still, if advantage
still, if advantage is is taken
taken of of
m THE COMIC IN CHi\RACTER
In CHARACTER 149
149
some accidental analogy to
accidental analog}1 dub hirn
to club him \\"ith
with thethe
name of of a a famaus
famous hero hero of of romance
romance or or drama,
drama,
he
he will in aur
will in eyes border
our eyes border upon upon the the ridiculous,
ridiculous,
if
if only far
only for amoment.
a moment And yet yet this this hero
hero of of
romance may may not
not be
be a
a comic
comic character
character at
at all.
all.

But then
then it it isis comic
comic to to bebe like
like hirn.him. It It is
is

comic to \vander out of one's

to wander out of one's own self. o\"\'tn seIfe It is
It is

comic ta to fall
fall into
into a a ready-made
ready-made category. And
category.
what isis most comiccomic of of all
all is to become
is to become aa cate- cate-
gory oneself into
gory oneseIf into \vhich
which others will fall,
others \viII fall, as
as into
into
aa ready-made
ready-made frame frame; ;
it
it is to
is to c117stallise
crystallise into a
into a
stock
stock character.
character.
Thus,
Thus, to depict characters,
to depict characters, that that is is to
to sa)''',
say,
general types, is
general types, the object
is the object of of high-cl
high-class ass comedy.
comedy.
This has
has often been said.
often been said. But it it isis as \vell to
as well to
repeat it,
repeat it, since there could
since there could be be no no better
better
definition
definition of comedy. Not onlyare
of con1edy. only are ,ve we entitled
entitled
say that comedy
to say that comedy gives us general types, but
to gives us general types,
might add
we might that it
add that is the
it is the 011,ly
only one one of of all
all the
the
arts that
arts that aims
aims at at the
the general
general; so ;
so that
that once
once this
this
objective has
objective has been
been attributed
attributed to it, we have
to it, ha\Te said
said
all that
all that itit isis and
and all that the
all that the rest
rest cannot
cannot be. be.
prove that
To prove that suchsuch is is really
really thethe essence
essence of of
comedy, and that
comedy, that itit is
is in this respect
in this respect opposedopposed
to tragedy,
to tragedy, drama and the other
the other ferms
forms of art,
of art,
should begin
we should begin by by defining
defining art art in in itsits higher
higher
 150
2 5o LAUGHTER CHAP.
CHAP.

forms:
forms then,
then, graduall:r
: coming down to
gradually coming to comic
poetry', '\ve should find that this
poetry, we should find that
this Iatter
latter is
is situated
situated
on the
on border-line behveen
the border-line between art art and life,
life, and

that, by' the generality"

that, by the generality of
of its
its subject-matter it
subject-matter it

contrasts \\·ith
contrasts with the
the rest
rest of
of the
the arts.
arts. We cannot
\Ve cannot
here
here plunge
plunge into into so
so vast
vast aa subject
subject of of investiga-
investiga-
tion;
tion but \ve needs must sketch its main out-
but
;
\\·e needs roust sketch its out-
lines,
lines, lest
lest ,ve
we overlook
overlook what,
what, to
to our
our mind,
mind, isis

essential
essential on on the
the comic stage.
stage.

\\"hat
What is is the
the object
object of
of art? Could reality
art? Could reality
come into
into direct
direct contact
contact with with sense
sense and and
consciousness, could
consciousness, could we enter into immediate
enter into immediate
communion ",,,ith
communion with things things and with ourselves,
",ith ourselves,
probably
probably art
art would
would be
be useless,
useless, cr
or rather
rather we
should all
should all bebe artists,
artists, for then our
for then aur soul would
soul would
continually vibrate
continually vibrate in in perfect
perfect accordaccord withwith
nature. Our eyes,
nature. eyes, aided
aided by by memory,
memory, would would
carve out in
carve out in space
space and fix :fix in
in time
time thethe most
most
inimitable of
inimitable of pictures.
pietures. Hewn in the living
in the living
rnarble of
marble of the
the human form, form, fragments
fragments of of statues,
statues,
beautiful as
beautiful the relics
as the relics of antique statuary,
of antique statuary, would
would
strike the
strike the passing
passing glance.
glance. Deep Deep in in our
our souls
souls
should hear
we should hear the strains of
the strains our inner
of our inner life's
life's
melody, - aa music
unbroken melody, music thatthat is is ofttimes
ofttimes
gay, but
gay, hut more frequently
frequently plaintive
plaintive and always always
m THE COMIC I~
IN CH.~RACTER 15
CHARACTER 1511

original.
original.
All this
All this isis around
around and \vithin us,
and within US, and
and
yet
yet no whit whit of of itit dado we distinctly perceive.
distinctly perceive.
Between
Between naturenature and and ourselves,
ourselves, nay, na}", between
bet\veen
ourselves
ourselves and and Dur
our o\vn
own consciousness a 'veiI
consciousness a veil is
is

interposed:
interposed : a
a veil
veil that
that is
is dense
dense and
and opaque
opaque far
for
the
the common herd, herd, - thin,
thin, almost
almost transparent,
transparent, for for
the artist and the
the artist and the poet. poet. \\That fairy \vove
What fairy wove that that
veil ?
veil ? Was itit done
done in in malice
malice oror inin friendliness?
friendliness ?
We had to to live,
live, andand lifelife demands that that ,,~e
we
grasp
grasp things
things inin their
their relations
relations to to our
our own needs.
needs.
Life is action.
Life is action. Life implies the
Life implies the acceptance acceptance
only
only of
of the
the utz·litarz·a,z,
utilitarian side
side ofof things
things in in order
order
to respond to
to respond to them by by appropriate
appropriate reactions:
reactions:
all other
all impressions must be
other impressions be dimmed or or else
else
reach
reach us vague and
us vague blurred. II look
and blurred. look and II
think
think II see, listen and
see, II listen and II think
think II hear,hear, I I

examine myself
myself and II think think II am reading
reading the the
very depths of my
very depths of my heart. heart. But ,vhat
what I
I see
see and
hear
hear of the outer
of the world is
outer world is purely
purelyand and simplya
simply a
selection
selection made by by mymy senses
senses toto serve
serve asas a light
light
to my
to my conduct;
conduct what II kno,v
;
know of myself is
of myself is what

comes to to the
the &urface, participates in
surface, what participates in mymy
actions..
actions. My
My senses
senses and my
my consciousness,
consciousness,
therefore, give
therefore, give me no more than
than a practical
practical
simplification of
simplification of reality. reality. In the
the vision
vision they
they
fumish
furnish me of of myself
myself and
and of
of things,
things, the differ..
differ-
 i 52 LAUGHTER
Li\UGHTER CHAP..
CHAP.

ences
ences that that are useless to
are useless to man are are obliterated,
obliterated,
the
the resemblances
resemblances that that are
are useful
useful to to hirn
him are are

emphasised; '\\·ays
emphasised; ways are are traced
traced outout forfor me in in
advance along \vhich
advance along which my activity my· activity is
is to
to travel.
travel.
These
These ,vays ways are are the ways \vhich
the way's which allall mankind

has
has trod before me.
trod before me. Things
Things have been classi.
have been classi-

fied
fied with a view to the use I can derive from
\vith a view to the use I can derive
them. And it
them. it is this classification
is this classification II perceive,
perceive,
far more clearI)T
far more than tl1e colour and the shape
clearly than the colour and the shape
of things. Doubtless
of things. Doubtless man is is vastly
vastly superior
superior
to the lo'\ver
to the lower animals
animals in
in this
this respect.
respect It
It is
is not
not
very Iikely
very that the e)te of a wolf makes any
likely that the eye of a wolf any
distinction
distinction between bet\veen aa kid kid andand aa lamb;
lamb; both both
appear
appear to the wolf
to the wolf asas the
the same identical
identical quarry,
quarry,
alike
alike easy
easy to
to pounce upon,
pounce upon, alike
alike good
good to
to devour.
devour.
W
We, e, for
for Durour part,
part, make a distinction
distinction between
between
a goat
goat and and a a sheep;
sheep hut
;
but can
can we tell
tell one
one goat
goat
from another,
from another, one sheep
sheep from another?
another? The
'indivzilualz·ty
individuality of of things
things or or of
of beings
beings escapes
escapes us, us,
unless it
unless it is materially to
is materially to aur
our advantage
advantage to
to per-
per-
ceive it.
ceive it. Even when we do take note of
take note of iitt -
as
as when we distinguishdistinguish one man from another another
- it it is
is not the the individuality
individuality itse]f
itself that
that the
the eye
eye
grasps,
grasps, z>. z·.e. an entirely original
entirely original harmony of
harmony of
fonns
forms and colours,
colours, but hut only
only one or or two features
features
will make practical
that will recognition
practical recognition easier.
easier.
 m
m THE COMIC IN CHARACTER 153
153
In
In short,
short, we da do not
not seesee the
the actual
actual things
things
themselves in
themselves; ;
in most cases we confine
most cases confine ourselves
ourselves
to reading
to reading the the labels
labels affixed
affixed to to them.
them. This This
tendency,
tendency, the
the result
result of
of need, has become even
need, has become even
more pronounced
pronounced underthe
under the influence
influence of
of speech;
speech;
for
for words - with with the
the exception
exception of
of proper
proper nouns
nouns
all denate
. - all denote genera.
genera, The ward, word, "\\~hich
which onlyonly
takes note of
takes note of the
the most
most ordinary
ordinary function
function and
and
commonplace
commonplace aspect aspect of
of the
the thing,
thing, intervenes
intervenes
between it it and ourselves,
ourselves, and would conceaI
and ,,,"ould conceal itsits

form
form from aur
our eyes, were that form not
eyes, were that form not already already
masked beneath
beneath the the necessities
necessities that that brough
broughtt
the
the ward
word into into existence.
existence. Not onlyonly externaI
external
objects,
objects, butbut even
even aurour own mental mental states,
states, are
are
screened
screened from us us in
in their inmost,
their inmost, their
their personal
personal
aspect,
aspect, in
in the
the original
original life
life they possess.
they possess. When \Vhen
we feel love or
feel love hatred, when we
or hatred, \ve are gay or
are gay or
sad, is it really the feeling itself
sad, is it really the feeling itself that reaches that reaches
our consciousness
our consciousness with with those
those innumerable
innumerable fleet- fleet-
ing shades
ing shades of of meaning
meaning and deep deep resounding
resounding
echoes that
echoes that make it it something altogether our
something altogether
own?? We should
own should all,
all, were
were it it so,
so, bebe novelists
novelists
or poets
or poets or or musicians.
musicians. Mostly, however, we
Mostly, however,
perceive nothing
perceive nothing but but the
the outward
outward displaydisplay of of
mental state.
our mental
our state. We catch catch only
only the imper-
the imper-
sona! aspect
sonal aspect of of our feelings, that
Dur feelings, aspect which
that aspect
 154
i 54 L~~UGHTER
LAUGHTER CHAP.

speech has set do\vn once for all because it is

speech has set down once for all because it is
almost the
almost the same,
same, in in the
the same conditions,
conditions, forfor all
all

men. Thus, e,·en in our

men. Thus, even in our own individual, in- o\vn individual, in-
div·id1.1alitjt escapes Dur ken. \\te
dividuality escapes our ken. We move amidst amidst
generalities and s}Tmbols, as \vithin aa tilt-yard
generalities and symbols, as within tilt-yard
in which our
in which our force
force is is effectively pitted
effectively pitted against
against
other forces; and fascinated
other forces and fascinated by action, tempted
;
b)i action, tempted
by it, for our o\,~n good, on to
by it, for our own good, to the field' it
the field" it has
has
selected,
selected, we \ve live
live in in a zone
zone midway between
midway between
things and
things ourselves, externally
and ourselves, externally to to things,
things,
externally
externally also
also to
to ourselves.
ourselves. From time
time to
to
time,
time, ho\vever,
however, in in a a fit
fit of
of absentmindedness,
absentmindedness,
nature
nature raises
raises up souls that
up souls, that are are more detached
detached
from life.
from life. Not \vith
with that
that intentional, logicaI,
intentional, logical,
systematical
systematical detachment - the
the result
result of
of reflec..
reflec-
tion
tion and philosophy - but rather
and philosophy with aa natural
rather with natural
detachment, one
detachment, one innate
innate in the structure
in the structure ofof sense
sense
or
or consciousness,
consciousness, ,vhich
which at
at anee
once reveals
reveals itself
itself by
by
aa virginal
virginaI manner,
manner, so so to
to speak,
speak, of
of seeing,
seeing, hear-
hear-
ing,or
ing, or thinking.
thinking. Were this this detachment
detachment com- com-
plete,
plete, did
did the
the soul
soul no
no langer cleave to
longer cleave to action action
by
by anyany of
of its
its perceptions, it
perceptions, it would be be thethe
soul
soul of of an artist
artist such as as the world has
the world never
has never
yet
yet seen.
seen. It
It would excel excel alike
alike in in every
every art art at
at
the same time; time; or rather,
rather, it
it wouId fuse
would fuse them them
all
all into
into one.
one. IItt would
would perceive
perceive all all things
things
m THE COMIC IN CHARACTER 155
TII
155

in their native
in their native purity:
purity: the the forms,
forms, colours,
colours,
sounds
sounds of the physical
of the ph)'rsical world
\vorld as as \\'reil
well as as the
the
subtlest
subtlest movements of the inner
of the inner life. life. But this
But this
is asking
is asking too
too much of
of nature.
nature. Even for
for such
such
of us as
of us as she
she has
has made artists,
artists, it
it is
is by accident,
by accident,
and
and on one one side
side only,
only, that
that she
she has
has lifted
lifted thethe
veil.
veil. In one direction only has
In one direction only has she forgotten she forgotten
to rivet the
to rivet perception to
the perception the need.
to the need. And since since
each
each direction
direction corresponds
corresponds to to what
what we call call aa
sense - through
sense through one one ofof his
his senses,
senses, and and through
through
that sense alone,
that sense alone, is
is the artist usually wedded to
the artist usually to
art.
art. Hence, originally,
Hence, originally, the
the diversity
diversity of
of arts.
arts.

Hence also also thethe speciality

speciality of
of predispositions.
predispositions.
This
This one applies himself to
applies himself to colours
colours and and forms,
forms,
and since
since he he loves
loves colour
colour for for colonr
colour and fonn form
for form, since
for form, since he perceives
perceives them for for their
their sake
sake
and not
not for
for his
his own,
own, it it is
is the
the inner
inner lifelife of
of things
things
that
that he sees
sees appearing through their forms and
appearing through their torms
colours.
colours. Little
Little by by little
little he insinuates it
he insinuates it into
into
our
our own perception,
perception) baffied
baffled though
though we may may be be
at the outset.
at the outset Für For aa few
few moments at at least,
least, he
diverts
diverts us us from the the prejudices
prejudices of of form and
colour that
colour that come between
between ourselves
ourselves and reality. reality.
And thus
thus he he realises
realises thethe loftiest
loftiest ambition
ambition of of art,
art,

which here consists in revealing

here consists in revealing to
to us nature.
nature.
Others,
Others, again,
again, retire
retire within
within themselves.
themselves. Be· Be-
 156 LAUGHTER CHAP.
CHAR

neath
neath the
the thousand rudimentary actions
thousand rudimentary actions which
are
are the
the out\vard
outward and and visible
visible signs
signs of of an emo'emo<
tion,
tion, behind
behind the the commonplace,
commonplace, conventional
conventional
expression that both
expression that both reveals reveals and conceaIs
conceals
an
an individual
individual mental state, it
mental state, it is
is the
the emotion,
emotion,
the
the original
original
mood,
mood, to
to ,vhich
which they
they attain
attain in
in its
its

undefiled
undefiled essence.
essence. And then, then, toto induce
induce us to to
make the same
the same effort
effort ourselves,
ourselves, theythey contrive
contrive
to
to make us us see
see something
something of of what they they have
seen: by
seen: by rhythmical
rhythmical arrangement
arrangement of of words,
words,
which thus become
which thus become organised organised and animated
animated
with
with a a life
life of
of their
their own, they
own, they tell
tell us
us - or
or rather
rather
suggest
suggest - things
things thatthat speech
speech waswas not
not calculated
calculated
to express.
to express. Others
Others deIve
delve yet yet deeper
deeper still. still.

Beneath
Beneath these
these joys
joys and sorrows
sorrows which
which can,
can, at at
a pinch,
a pinch, bebe translated
translated into
into language,
Ianguage, they grasp
they grasp
something that
something that hashas nothing
nothing in in common with with
certain rhythms
language, certain
language, rhythms of Iife and
of life and breath
breath
that are
that are closer
eloser to to man than
than hishis inmost
inmost feelings,
feelings,
being the
being the living
living law varying with
law- varying -with each indi-
each indi-
vidual - of
vidual of his
his enthusiasm
enthusiasm and despair, despair, his his
hopes
hopes and regrets.
regrets. By setting free
By setting free and and em-
phasising
phasising this
this music, they force
music, they force it it upon
upon our our
attention; they
attention ;
they compel
campel us, willy-nilly, to
us, willy-nilly, to fall in
fall in
Iike passers-by
it, like
with it, passers-by who join join in in aa dance.
dance.
thus they
And thus they impel
impel us
us to
to set
set in
in motion, in the
motion, in the
m THE COMIC IN CHARACTEk
m CHARACTER 159
07
depths
depths of
of our
our being, same secret chord \'\~hic!.r
being, some secret chord whicir
was only
only \vaiting
waiting to
to thrill.
thrill So
So art, whether it
art, ,,·hether it

be painting
painting or or sculpture,
sculpture, poetry
poetry or or music,
music, hashas
no other object than to brush aside the utilitarian
other object than to brush aside the utilitarian

symbols, the
symbols, the conventional
conventional and and sociall)r accepted
socially accepted
generalities,
generalities, in short, e'\re!}1thing
in short,
everything that that veils
veils
reality
reality from us,us, in order to
in order to bring
bring usus face
face to
to face
face
with reality
with reality itself.
itself. It
It is
is from a misunderstanding
a misunderstanding
on this
this point
point that
that the
the dispute
dispute between
between realism
realism
and idealism
idealism in in art
art hashas risen.
risen. Art
Art isis cer·
cer-
tainly only
tainly only a a more direct vision of reality.
direct vision of reality. But
But
this
this purity
purity of
of perception implies
perception implies a
a break
break with
with
utilitarian
utilitarian convention,
convention, an innate and specially
innate and specially
localised
localised disinterestedness
disinterestedness of of sense
sense cr
or conscious-
conscious-
ness, in short,
ness, in short, a
d. certain immateriality
certain immateriality of of life,
life,

which is
which is what
what has al\vays been
has always been called
called idealism.
idealism.
So'
So that might say',
that we might without in
say, without in any
any way\vay .
I

playing upon
playing upon thethe meaning
meaning of of the words, that
the words, that
realism is
realism is inin the
the work
work when idealism
idealism is
is in
in the
the
soul, and
soul, and that
that itit isis only
only through
through ideality that
ideality that
can resume
we can resume contact
contact with reality.
reality.
Dramatic art
Dramatic art forms
farms no exception
exception to
to this
this law.
law.
drama goes
What drama goes forth
forth to
to discover
discover and brings
brings
to light,
to light, is
is aa deep-seated reality that
deep-seated reality that is veiled
is veiled
from us,
from often in
US, often in our
our own interests,
interests, by the
by the
necessities of
necessities of life.
life. is this
What is reality ?? What
this reality
 LAUGHTER CHAP.
CHAP.
ISf
are necessities?? PoetI)~
these necessities
are these always expr~sses
Poetry always expresses
in\~rard
inward states.
states. But
But amongst
amongst these
these st~tes
states same
some
arise mainly'
arise mainly from
from contact
contact ,vith
with Dur our fello\v-men.
fellow-men.
They are the most intense as \\~ell as the
the most
They are the most intense as well as
violent.
violent As contrary electricities
As contrary electricities attract
attract each
each
other
other and and accumulate
accumulate between
between the the t\'"'O plates
two plates
of the condenser
of the condenser from \vhich the
from which the spark
spark will
will
presently' flash, so, b~y simply'
presently flash, so, by simply bringing peoplebringing people
together, strong attractions and repulsions
together, strong attractions repulsions taketake

place followed by
place follo\ved by an utter loss of
utter lass balance, in
of balance, in aa
,,~ord, by that electrification of the
word, by that electrification of the soul known soul kno't,vn
as passion. \Vere
as passion. Were man to to give
give way way to to the
the
impulse
impulse of of his natural feelings,
his natural feelings, '\vere there
were there
neither
neither social
social nar moralla\v,
nor moral these outbursts
law, tllese outbursts of of
violent feeling
violent feeling would be the
the ordinary
ordinary rule
rule in
in
life.
life. u~~l~ty demands that
But utility that these
these outbursts
outbursts
should
should be be foreseen
foreseen and averted.
averted. Man mustroust
live
live in in society, consequently submit
society, and consequently submit to to
ruIes.
rules. And what interest interest advises,
advises, reason
reason
commands: duty cal1s,
duty calls, and we have to
have to obey
obey
the
the summons. Under this this dual
dual influence
influence has has
perforce
perforce beenbeen formed an outward outward layer layer ofof feel-
feel-

ings
ings and ideas
ideas which make for
for permanence,
permanence, aim
at becoming common to
at becoming to all
all men,
men, and cover,cover,
when they
they are
are not
not strong
strong enough to extinguish
enough to extinguish
it, the inner fire of
it, the inner fire of individual passions. The
individual passions.
Iß
in THE COMIC IN CHARACTER I59
159
slo\v
slow progress
progress of mankind in
of mankind in the
the direction
direction of of
an
an increasingly peaceful sociallife
increasingly peaceful has gradually
social life has gradually
consolidated
consolidated this this la)Ter, just
layer, just
as
as the
the life
life of
of our
our
planet itself has been one lang
planet itself has been one long effort to cover effort to cover
aver
over \vith
with a a cool
cool andand solid crust the
solid erust the fiery mass
fiery mass
of
of seething
seething metals.
metals. But
But volcanic
volcanic eruptions
eruptions
occur.
occur. And if if the
the earth
earth werewere aa Iiving being,
living being,
as has feigned,
as mythology has feigned, most likely when in
mythology' most likely ",,,hen in
repose
repose it
it ,vould
would take
take delight
delight in
in dreaming of
dreaming of
these
these sudden eAl'losions
explosions whereby\vhereby it it suddenly
suddenly
resumes possession of
resumes possession of itsits innermost nature.
innermost nature.
Such is is just the kind of pleasure that is
just the kind of pleasure that is

provided
provided for
for us
us by
by drama.
drama. Beneath
Beneath the
the quiet
quiet
humdrum Iife life that reason and society'
that reason society have have
fashioned far
fashioned us, it
for US, it stirs
stirs something
something withinwithin us us
\vhich 1uckily does
which luckily does not explode, not explode, but
but which it
it

makes us us feel
feel inin its
its inner
inner tension.
tension. It
It offers
offers
nature
nature her her revenge
revenge upon upon society.
society. Sometimes
it
it makes straight for
straight for the the goal,
goal, summoning
summoning up up
to the surface, from the depths
to the surface, from the depths below, passions below, passions
that
that produce
produce a a general upheaval. Sometimes
general upheaval.
it
it follows
follows a a flank
flank movement,
movement, as as is
is often
often thethe case
in
in contemporary
contemporary drama; drama; with with a skill
skill that
that is
is

frequently sophistical it
frequently sophistical it shows up up the incon-
sistencies
sistencies of society it
of society; ;
it exaggerates
exaggerates the shams
and
and shibboleths
shibboleths of of thethe social law, and so
social law,
160
160 LAUGHTER eRAP"
CHAP.

indirectly, by merely' dissol\~ng or

indirectly, by merely dissolving
or corroding
corroding
the
the outer crust, it
outer ernst, it again
again brings
brings us
us back
back toto the
the
inner
inner core.
core. But,
But, inin both
both cases, whether it
cases, \vhether it

\veakens society or strengthens nature,

weakens society or strengthens nature, it has it has
the
the same
same end
end in
in vie\v:
view: that of la}Ting
that of laying bare
bare aa
secret
secret portion of ourselves, what might
portion of ourselves, might be be
called the
called the tragic element in our character.
tragic element in our character.
This indeed the
This is indeed the impression
is impression \ve we getget after
after
seeing
seeing
a
a stirring
stirring drama.
drama. \'\rhat
What has
has just in-
just in-

terested us is
terested us is not so much \\.That
not so what ,,"e
we have
have been
been
told about others
told about others as the glimpse
as the glimpse we have have
caught of ourseI-ves
caught of ourselves - a whole hast of ghostly
host of ghostly
feelings,
feelings,
emotions
emotions and events
events that
that would fain
\vould fain
have come
have come intointo real
real existence,
existence, but,hut, fortunately
fortunately
for us, did
for us, not. It
did not. It also
also seems as if an appeal
as if appeal
had been
had been made withinwithin us us toto certain
certain ancestral
ancestral
memories belonging
memories belonging to to aa far-away
far-away pastpast-
memories so
memories so deep-seated
deep-seated and so so foreign
foreign toto our
our
present life
present that this
Iife that latter, for
this latter, for aamoment,
moment,
seems something
seems something unreal
unreal and conventional,
conventional, for for
which we shall
which shaII have to to serve
serve aa fresh appren~
fresh appren-
ticeship. So it
ticeship. it is
is indeed
indeed aa deeper
deeper reality
reality
that drama draws
that draws up from beneath
up from beneath our Dur
utilitarian attainments;
superficial and utilitarian
superficial attainments; and and
tbis art
this art has the the same end in in view
view as as all
all
others.
the others*
the
m
m THE COMIC IN CH ..~R.~CTER
CHARACTER 161
161

Hence it follows that

it follo\vs that art always aims
art al\\"avs
,J aims at at
what is i'Jzdivldual. \Vhat the
what is individual. What the artist fixes on artist fixes on
his
his canvas
canvas is something he
is something he has has seenseen at at aa
certain
certain spot,
spot, on on a a certain
certain day,day, at at aa certain
certain
hour, '\\ith
hour, with a colouring
colouring that will never be seen
that will ne'ver be seen
again.
again. What the
the poet sings
poet sings of
of is
is a
a certain
certain
maod
mood which was his, his, and his his alone,
alone, and wh ich
and which
will never
will return. What
never return. \Vhat thethe dramatist unfolds '
dramatist unfolds
before us
before us is is the
the life-history'
life-history of of a a soul,
soul, a a living
living
tissue
tissue ofof feelings
feelings and and e~ents
events - something,
something, in in
short,
short, which
which has
has once
once happened
happened and
and can
can never
never
be repeated-
be repeated. We may, indeed, give
may, indeed, give general
general
names to to these feelings, but they cannot
these feelings, hut they cannot be
the
the same thing thing in in another
another soul.soul. They
They areare
indiv'idualised.
individualised. Thereby,
Thereby, and thereby thereby only,only, do
they belang
they belong to
to art;
art; for
for generalities, symbols,
generalities, symbols,
or
or even
even types
types form
form the
the current
current coin coin of of our
daily
daily perception.
perception. How,
How, then,then, does does a· a- mis-
mis-
understanding
understanding on
on this
this point
point anse?
arise ?

reason lies
The reason lies in the fact
in the fact that
that two very very
different things have
different things have been been mistaken
mistaken for
for each
other:
other: the the generality
generality of things and that
of things that of
of
the
the opinions
opinions we come to to regarding
regarding them.
Because
Because a
a feeling
feeling is
is gene rally recognised as
generally recognised
true, it
true, it does
does not not follow
follow thatthat it it is is a general
general
feeling.
feeling.
Nothing could
Nothing could be be more unique unique thanthan
 162
z6* LAUGHTER CHAP.
CHAP.

the
the character
character of of Hamlet.
Hamlet. Though Though he he maymay
resemble
resemble other other men in in same
some respects,
respects, it
it is
is

clearly not on that account that

clearly not on that account
that hehe interests
interests us us
most.
most But he But he is
is universally
universally acceptedaccepted and
and
regarded
regarded
as
as a
a living
living character.
character. In
In this
this sense
sense
only is he uni\rersally true. The same holds
only is he universally true. holds
good of all the other praducts
good of all the other products of art. of art. Each oI
of
them
them is
is unique,
unique, and
and yet,
yet, if
if it
it bear
bear the
the stamp
stamp of
of
genius,
genius,
it
it ,viII
will come to
to be
be accepted by every-
accepted by every-
body.
body. Why \Vhy will
will it
it be accepted?
accepted ? And if
if it
it is
is

unique of its
unique of its kind, bykind, by \\that
what sign
sign do we know it
it

to
to be genuine ? Evidently,
be genuine? Evidently, by the very
by the very effort
effort
it forces
it forces us us toto make against
against our our predispositions
predispositions
in
in order
order to to see
see sincerely.
sincerely. Sincerity
Sincerity is is cen-
con-
tagious.
tagious. \\?'hat
What the
the artist
artist has
has seen
seen we
we shall
shall
probably
probably never never see see again,
again, or cr atat least
least never
never seesee
exactly the
in exactly
in the same way way; but
;
hut ifif he
he hashas actually
actually
seen it,
seen it, the attempt he has
the attempt has made to to lift
lift the
the..

veil compels
veil compels our aur imitation.
imitation. His His workwerk is is anan
example which
example which we take take as as aa lesson.
lesson. And
the efficacy
the efficacy of of the
the lesson
lesson is is the exact standard
the exact standard
of the
of the genuineness
genuineness of of the
the work.
work. Consequently,
Consequently,
truth bears
truth bears within itself aapower
within itself power of of conviction,
conviction,
nay, of
nay, of conversion,
conversion, which wh ich is is the sign~ that
the sign* that
enables us
enables us to to recognise
recognise it. it. The greater greater the the
work and the profound the
the more profound dimly appre-
the dimly appre..
m THE COMIC IN CHARACTER
DI 163
163

hended
bended truth, truth, the the langer
longer may may thethe effect
effect be be in
in
coming;
coming; but, hut, on the the other
other hand,hand, the the moremore
universal
universal will will that
that effect tend to
effect tend become. So
to become. So
the universality
the universality here
here lies
lies in
in the effect produced,
the effect produced,
and
and not not in the cause.
in the cause.
Altogether different
Altogether different is is the
the object
object of of comedy.
comedy.
it
Here it is in the work itself that 'the generalit;.r
Here is in the v."ork itself that the generality
lies.
lies. Comedy
Comedy depicts depicts characters
characters 'we t\'Pe have
have
already come across
already across andand shall
shall meet
meet with
with again.
again.
It
It takes
takes notenote of of similarities.
similarities. It
It airns
aims at placing
at placing
types before our eyes.
types before eyes. IItt e,"en
even creates
creates new

types, if
types, necessary. In
if necessary. In this
this respect
respect it it farms
forms
aa contrast
contrast to to all
all the
the other
other arts.
arts.

The veryvery titles

titles of of certain classical comedies
certain classical comedies
are
are significant
significant in
in themselves.
themselves. Le :rvlisanthrope,
Misanthrope,
l'1'Avare,
A vare, le le J oueUT,
Joueur, le
le Distrait,
Distrait, etc.,
etc., are
are names
of whole classes
of whole classes of of people;
people; and and eveneven when a
character
character comedy comedy has
has a proper noun as
proper as its
its

title, this
title, proper noun is
this proper speedily s\vept
is speedily swept away,away,
by the
the very weight of
of its cont~nts,
its contents, into
into the
by very weight
stream
stream of of common nouns. nouns. We say say "a Tar-
Tar-
tuffe,"
tuffe," but
but we should
should never
never say
say "a Phedre"
"
or
or "a a Polyeucte."
Polyeucte."
Above a11, all, a a tragic poet will
tragic poet never think
will never think
of grouping
of grouping around around the
the chief
chief character
character in
in his
play secondary
play secondary characters
characters to to serve
serve as as simplified
simplified
 164
164 Li\.lJGHTER
LAUGHTER CHAP.
CHAP.

copies, so to speak, of the former. The

copies, so to speak, of the former. The herahero
of a traged}~
of a represents an indi'vidualit)T unique
tragedy represents an individuality unique
of its
of its kind.
kind. It It may'
may be be possible
possible to imitate hirn,
to imitate him,
but then \\·e
but then we shall shall be
be passing, whether
passing, whether con- con-
sciously
sciously
or
or not,
not, from
from the
the tragic
tragic to to the
the comic.
comic.
No oneone isis like
like hirn,
him, because
because he he isis Iike
like nono one.
one.
But a remarkable instinct,
But a remarkable instinct, on the contrary, on the contrary,
impels the
impels the comic
comic poet,
poet, onee
once he he has
has elaborated
elaborated
his
his central
central character,
character, to to cause
cause other
other characters,
characters,
displaying
displaying the
the same general
general traits,
traits, to
to revolve
revolve
as satellites round
as satellites round him. hirn. l'tlany
Many comedies have
comedies have
either
either a a plural
plural noun or
or same
some collective
collective term
term
as
as their
their title.
title. "Les Femmes savantes," savantes," "Les
"
Les
Precieuses ridicules,"
Precieuses ridicules," "Le
"
Le Monde ou DU l'on
Ton
s'ennuie," etc., represent
s'ennuie," etc., represent so
so man}T ral1ying
many rallying points points
the stage
on the adopted by
stage adopted different groups
by different groups of of
characters, all
characters, all belonging
belonging to to one
one identical
identical type.
type.
It would be
It be interesting
interesting to to analyse
analyse thisthis tendency
tendency
in comedy. Maybe
in comedy. Maybe dramatists
dramatists have have caught
caught aa
glimpse of
glimpse fact recently
of a fact recently brought forward by
brought forward by
pathology,. viz.
mental pathology,, vize that
that cranks
cranks of of thethe
same kindkind areare drawn by by aa secret
s.ecret attraction
attraction to to
seek each
seek each other's
other's company.
company. Without Without precisely
precisely
coming within
coming within the the province
province of of medicine,
medicine, the the
comic individual,
comic individual, as as we have have shown,
shown, is is inin
some way
some way absentminded,
absentminded, and and thethe transition
transition
m
m THE COMIC IN CHARACTER 16
1655
from
from absentmindedness
absentmindedness to to crankiness
crankiness is is con-
con-
tinuous.
tinuous. Eut
But there
there is is also
also another
another reason.
reason.
If
If thethe comic
comic poet's
poet's object
object is is to
to offer
offer us us
types,
types, that
that is
is to
to say,
say, characters capable of
characters capable of
self-repetition,
self-repetition, ho\v
how can
can he
he set
set about
about it
it better
better
than by
than by showing
showing us, us, in
in each
each instance,
instance, several
several
different copies of the
different copies of the same model?same model? That
That is is

just
just ,\\That
what the
the naturalist
naturalist does
does in
in order
order to
to define
define
aa species.
species. He enumerates
enumerates and and describes
describes its its

main varieties.
varieties.
This
This essential
essential difference between tragedy
difference bet",·eell tragedy
and comedy,
comedy, the
the former
former being
being concerned
concerned with
with
individuals and the
individuals the latter
latter \\"ith
with classes,
classes, is is re-
re-

vealed in
vealed yet another
in yet another way.'\'\;~y. It
It appears
appears in in the
the
first
first draft
draft ofof the
the work.
work. From the the outset
outset it it is
is

manifested by
manifested by two
two radicaIly
radically different methods
different methods
of
of observation.
observation.
Though
Though the the assertion
assertion may ma y seem paradoxical,
paradoxieal,
a study
a study of of other
other men is is probably
probably not not necessary
necessary
the tragic
to the
to poet. We
tragic poet. W e find that some of
find that of the
the
great poets
great poets have
have lived
lived aa retiring, homely sort
retiring, homely sort of
of
life,
life, without having
without having a
a chance
chance of
of witnessing
witnessing
around them an
around an outburst
outburst of the passions
of the passions they they
have so
have so faithfully depicted. But,
faithfully depicted. But, supposing
5upposing
even
even theythey had witnessed
witnessed such such a spectacle,
spectacle, it it is
is
doubtful whether
doubtful whether theythey would have found found it it ofof
 166
166 LAUGHTER CRAP.
CHAP.

much
much use.use. Für
For what
what interests
interests us in the
us in the work
work
of
of the
the poet is the glimpse we get of certain
poet is the glimpse we get of certain
profound
profound moods moods or or inner
inner struggles.
struggles. N ow, this
Now, this
glimpse cannot be
glimpse cannot be obtained
obtained fram
from without.
without Our
souls
souls are
are impenetrable
impenetrable to one another.
to one another. Certain
Certain
signs of passion are all
signs of passion are
all that
that \ve ever apperceive
we ev"er apperceive
externally.
externally.
Theseweinterpret-though
These we interpret though always,
always,
by the "\\·ay, defectively
by the way, defectively - only analogy
only by analogy with
by
vrhat
what we we have ourselves experienced.
have ourselves experienced. So
\\9hat
what ,ve we experience
experience is is the main point,
the main point, and
and
\\"e cannot
we cannot become thoroughlyacquainted
thoroughly acquainted with with
anything
anything hut
but our
our own heart - supposing
heart supposing we
ever
ever getget so so far.
far. Does thisthis mean that that the
the
poet has
poet has experienced
experienced what he he depicts, that
depicts, that
he has
he has gone through
gone through the
the various
various situations
situations
he makes
he makes his his characters
characters traverse, lived the
traverse, and lived the
whole of
whole of their
their inner
inner life?
life? Here, too, the
Here, too, the
biographies of
biographies of poets
poets would
would contradict
contradict suchsuch aa
supposition.
supposition. How, indeed,
How, indeed, could
could the
the same
same
,man
man have have been been Macbeth,
Macbeth, Hamlet,Hamlet, Othello,
Othello,
King Lear,
King Lear, and many many others?
others? But then then aa
distinction should
distinction perhaps here
should perhaps here be made be- be-
tween the the personality
personality we have have and all all those
those
rnight have
we might have had.
had. Our Gur character
character is the
is the
result of a choice
result of a choice that
that is is continually being
continually being
renewed. There are
renewed. are points
points - at at all events
all events
m THE COMIC IN CHARACTER
III 16
1677
there
there seem to to bebe - allall along the
along the Vv"ay, where
way, where
\ve
we maymay branch
branch off, off, and
and \ve perceive many
we perceive many
possible directions
possible directions though though ,ve we areare unable
unable to to
take
take more than one. T retrace
than one. To retrace one's steps,
0 one's steps,
and follow
follow to to the end the
the end the faintly distinguish-
faintly distinguish-
able"
able' directions,
directions, appears
appears to to be be thethe essential
essential
element
element in poetic imagination.
in poetic imagination. Of course, course,
Shakespeare
Shakespeare \vas
was neither Macbeth, nor Ham-
neither Macbeth, nor
let,
let, nor
nor Othello;
Othello; still, still, he mzght
he might have have oeen
been
these
these several characters, if
several characters, if thethe circumstances
circumstances
of the case
of the case on on one hand, and
one hand, and the the consent
consent
of his will
of his will on the the other,
other, had
had cause
cause to
to break
break
out into explosive
out into explosive actionaction ,vhat what was \vas nothing
nothing
more than than an an inner prompting. \y"P"
inner prompting. Wee areare
strangely
strangely mistaken
mistaken as
as to
to the
the part play"ed
part played by by
poetic imagination
poetic imagination if
if we think think it
it pieces
pieces to-
to-

gether
gether its
its heroes
heroes out
out of
of fragments
fragments filched
filched from
right
right and left, left, as though it
as though it ,vere patching to-
were patching to-

gether
gether a
a harlequin's
harlequin's motley. motley. Nothing
Nothing living living
would result
result from from that.
that Life cannot be
Life cannot be re-
re-

composed it
composed; ;
can only
it can only be be looked
looked at at and repro-
repro-
duced. Poetic imagination
duced. Poetic imagination is
is but
but a fuller
fuller view
of reality. If
of reality. If the
the characters
characters created created by by a poet
poet
give
give us
us the
the impression
impression of
of life,
life, it
it is
is only
only because
because
they
they are
are the
the poet himself, - a multiplication
poet himself, multiplication or or
division
division of
of the poet, - the
the poet, the poet plumbing the
poet plumbing
 168
1 68 L.~CGHTER
LAUGHTER CHAP.
CHAP.

depths of his o\vn nature in so powerfuI an

depths of his own nature in so powerful
effort
effort of
of inner
inner obserV'ation,
observation, that
that he
he la)Ts
lays hold
hold
of
of the
the potential in the real, and takes
potential in the real, and
takes up
up what
nature has left
nature has left as
as a
a mere outline
outline or
or sketch
sketch
in
in his
his soul
soul in
in order
order to
to make ofof it
it a finished
finished
\\~ork
work ofof art.
art.

Altogether different is the kind of observa-

Altogether different is the kind of observa-
tion
tion from which comedy'
from \vhich comedy springs.
springs. It
It is
is directed
directed
out\vards.
outwards. Ho
However interested a
"\\re ver interested a dramatist
dramatist
may be in the comic
may be in the comic features of features of human nature,
nature,
he \\·iIl hardly
he will hardly go, go, I
I imagine,
imagine, to
to the
the extent
extent of
of
tr:ying to discover his
trying to discover
his own. Besides,
Besides, he would
not
not find
find them,
them, for for '\ve
we are are never
never ridiculous
ridiculous
except
except in in some remains
point that remains hidden from
point that hidden
Dur own consciousness.
our consciousness. It is
It is on others, then,
others, then,
that such
that such observation
observation must perforce perforce be be prac-
prac-
tised. But
tised. But it will, for
it will, this very
for this very reason,
reason, assume
a character
a character of of generality
generality that that itit cannot
cannot havehave
when "\ve
when apply it
we apply it to to ourselves. Settling on
ourselves. Settling on
the surface,
the surface, it it will
will notnot be be more than than skin-deep,
skin-deep,
dealing with
dealing persons at
\yith persons at the
the point
point atat which
which theythey
come into into contact
contact and and become capable capable of of re-
re-
sembling one
sembling one another.
another. It will go
It will go no
na farther.
farther.
Even if if it
it could,
could, it it would not not desire
desire toto do so,
da so,
for it would have nothing
for it nothing to to gain
gain in the process.
in the process.
penetrate too
To penetrate too far far into the personality,
into the personality) to to
m THE COMIC IN CHARACTER 169
169

couple
couple the
the outer
outer effect
effect with
with causes
causes that are tao
that are too
deep-seated,
deep-seated, would
would mean to to endanger,
endanger, and and in In
the
the end
end to sacrifice all
to sacrifice all that
that waswas laughable
laughable in in
the effect. In order that
the effect. In order that we may be tempted
\\re may be tempted
to
to laugh
laugh atat it,
it, we mustmust localise
localise its its cause
cause in in
same
some intennediate
intermediate regionregion of of the
the soul.
soul. Conse-
Conse-
quently,
quently, the effect ~ust
the effect must appear
appear to to usus as as anan
average effect,
average effect, as
as expressing
expressing an
an average
average of of
mankind.
mankind. And, And, likelike all averages, this
all averages, this one
one is is

obtained
obtained by by bringing
bringing together
together scattered
scattered data, data,
by comparing analogous cases
by comparing analogous cases and extracting and extracting
their essence in
their essence; ;
short by
in short by a a process
process of of abstrac-
abstrac-
tion
tion and generalisation
generalisation similar similar to to that which
that which
the
the physicist brings to
physicist brings to bear
bear upon
upon facts
facts with
with thethe
object
object of
of grouping
grouping them under
under laws.laws. In
In aa
ward,
word, method and object object are are here
here of of the
the same
same
nature
nature as as inin the
the inductive
inductive sciences,
sciences, in that
in that
observation is
observation always external
is always external and and the result
the result
always general.
always general.
And so so we come back, back, by by a a roundabout
roundabout
way, to the
way, to the double
double conclusion
conclusion we reached reached in in the
the
course
course of our investigations.
of our investigations. On the
the one
one hand,
hand,
a person
person is is never
never ridiculous
ridiculous except 'through
except 'through
some mental
mental attribute
attribute resembling absent-
resembling absent-
mindedness, through something
mindedness, through something that that lives upon
lives upon

him without
without farming
forming part part of
of his
his organism,
organism,
 170
L-,4.GGHTER
LAUGHTER CRAP.
CHAP.

after
after the fashion
the fashion parasite;
of aa parasite;
of that
that the
is the
is

reason this
reason this state
state of of mind
mind is
is observable
observable from
from
v.,~ithout and
without and capable
capable of of being
being corrected. But,
corrected. But,
on the other hand, just because laughter
on the other hand, just because laughter aims aims
at correcting,
at correcting, itit is
is expedient that the
expedient that the correction
correction
should reach
should reach asas great
great aa number of of persons
persons as
as
possible. This
possible.
This is the reason
is the reason COmlC observation
comic observation
instinctiv'eI)r proceeds to \\~hat is
instinctively proceeds to what
is general.
general. ItIt
chooses such
chooses peculiarities as
such peculiarities as admit
admit of being
of being
reproduced, and consequently are not indis-
reproduced, and consequently are not indis-
soIubly bound up "\vith the individuality of a
solubly bound up with the individuality of
single person, - aa possibly
single person,
possibl)f common sort sort of un-
of un-
commonness,
commonness, so to say',-
so to say, that are
peculiarities that
peculiarities are
held
held in
in common.
common. By B)T transferring
transferring them to to the
the
stage,
stage,
it
it creates
creates works ,,"hieh
which doubtless
doubtless belang
belong
to
to art
art in
in that their onl)T
that their only visible
visible aim
aim is
is to
to please,
please,
but \vhich
hut will be
which will be found
found to contrast with
to contrast with other
other
\vorks
works of art by
of art by reason
reason of
of their
their generality,
generality,
and
also
also of
of their
their scarcely
scarcely confessed
confessed or or scarcely
scarcely
conscious
conscious intention
intention toto correct
correct and
and instruct.
instruct So So
we were probably right
probably right in
in saying
saying that
that comedy
comedy
lies midVt'ay
lies midway bet\veen
between art
art and life.
life. It
It is
is not
not
disinterested
disinterested as
as genuine
genuine artart is.
is. By
By organising
organising
Iaughter, comedy accepts
laughter, comedy accepts social
social life
life as
as a
a natural
natural
environment it
environment; ;
it e"v'en
even obeys
obeys an impulse
impulse of
of social
social
life.
life. And in
in this
this respect
respect it
it turns
turns its
its back
back upon
upon
m THE COMIC IN
nI IN CHARACTER 171
171

art,
art, which
which is
is a breaking a\vay
a breaking away from
from societyand
society and
areturn
a return to
to pure nature.
pure nature.

11
II

Now let us see,

let us see, in
in the
the light of what has gone
light of what has gone
before, the
before, the line
line to take for
to take for creating
creating an ideally
ideally
comic
comic type
type of
of character,
character, comic in
comic in itseH,
itself, in
in its
its

origin,
origin,
and in in allall its
its manifestations.
manifestations. It must
It must

be deep-rooted,
be deep-rooted, so so as
as to
to supply
supply comedy
comedy with with
matter, and y'et
inexhaustible matter, and yet superficial, in
inexhaustible superficial, in
order
order that
that it rernain
it may remain
may \vithin
within the
the scope
scope of of
comedy;
comedy invisible
; invisible to to its
its actual
actual o,vner,
owner, for
for the
the
comic e'ver
ever partakes
partakes of of the
the unconscious,
unconscious, but but
visible to ever~ybody else, so that
visible to everybody else, so that it may call it may call
forth
forth generallaughter;
general laughter extrelnely
; extremely considerate
considerate to to
its
its own self,
self, so
so that
that it may be displayed
it may be
displayed without
without

scruple, hut
scruple, but troublesome
troublesome to to others,
others, so
so that they
that they
may repress
may repress it
it without
without pity,
pity,
but
but immediately
immediately
repressible~
repressible, so
so that
that our
our Iaughter may
laughter may not ha've
not have
been \vasted;
wasted sure; sure ofof reappearing
reappearing underunder fresh
fresh
aspects,
aspects, so
so that
that laughter may always
laughter may always find
find same-
some-
thing
thing to
to da
do; inseparable
; inseparable from social social life,
life,

although
although insufferable
insufferable to
to society;
society; capable
capable - in
in
order
order that it it mayassume the greatest
that may assume the greatest imagin-
imagin-
able
able variety
variety of
of fonns
forms - of
of being
being tacked
tacked on to all
to all
 172 LAU"GHTER
LAUGHTER CHAR

the
the "ices
vices and
and even
even to a good
to a many virtues.
good many virtues.
Truly
Truly aa goodlygoodly number
number of of elements
elements to to fuse
fuse
together
together ! ! But
But aa chemist
chemist of of the soul, entrusted
the soul, entrusted
\vith this elaborate preparation,
with this elaborate preparation, would be
be same-
some-
what
what disappointed
disappointed \vhenwhen pouring
pouring out out the
the con-
con-
tents
tents of his retorte
of his retort. He \vould
would find find he had
taken vast deal
taken a vast deal of trouble to compound
a of trouble to compound a
mixture
mixture which which may may be found ready-madeready-made and
free
free of expense, for
of expense, for it is as
it is as widespread
widespread through-·
through-
'

out mankind as
out mankind as air throughout nature.
air throughout nature.
This
This mixture
mixture is is vanity.
vanity. Probably there
Probably there isis

not
not a a single failing
single failing that
that is
is more superficial or
superficial or
more
more deep.rooted.
deep-rooted. The wounds it
it receives are
receives are
ne'\ter
never very very serious,
serious, and yet they are
yet they are seldom
seldom
healed. The services
healed. rendered to
services rendered to it are the
it are the
most unreal
most unreal of of all services, and
all services, they are
yet they
and yet are the
the
"\tel)'
very ones that meet
ones that meet with
with lasting
lasting gratitude.
gratitude. It
It

is scarcely aa vice,
is scarcely vice, and yet yet allall the vices are
the vices are
drawn into its orbit
into its orbit and,
and, in proportion as
in proportion as they
they
become more refined refined and and artificial,
artificial, tend
tend toto be
be
nothing
nothing more than
than a
a means of satisfying
of satisfying it. it.
The outcome of of social
social life,
life, since
since itit is
is an
an admira-
admira-
tion of
tion of ourselves
ourselves basedbased on the the admiration
admiration we
think we are
think are inspiring
inspiring in in others,
others, itit is
is even
even more
more
natural,
natural, more universally innate than
universally innate than egoism egoism; ;

e~oism may
for egoism
for may be be conquered
conquered by by nature,
nature,
m
m THE COMIC IN CHARACTER 173
173

whereas
whereas only only by by reflection
reflection do do we get get thethe
better of
better of vanity.
vanity.
It
It does
does not seem, indeed,
not seem, indeed, as as
if
if men were were ever born modest,
ever born unless we
modest, unless we club
dub
with
with the the name of of modesty
modesty a
a sort
sort of
of purely
purely
physical bashfulness,
physical bashfulness, which
which is
is nearer
nearer to
to pride
pride
than
than is is generally
generally supposed.
supposed. True modesty
modesty
can be nothing
can be nothing but but a
a meditation
meditation on vanity. vanity.
It
It springs
springs from from thethe sight
sight of of others'
others' mistakes,
mistakes,
and the
and the dread
dread of of being similarly
being similarly deceived.
deceived.
It
It isis a a sort
sort of of scientific
scientific cautiousness
cautiousness with with
respect
respect to
to what we shall
shall say
say and
and think
think of
of
ourselves.
ourselves. It
It isis made up up of of improvements
improvements
and
and aftertouches.
aftertouches. In short, it
In short, it is an acquired
is an acquired
virtue.
virtue.
It
It isis no easy
easy matter
matter to to define
define thethe point
point at at
which the the anxiety
anxiety to become modest
to become modest may may
be distinguished
be distinguished from from the the dread
dread of of becoming
becoming
ridiculous.
ridiculous. surely, at
But surely, at the outset, this
the outset, this

dread and
dread this anxiety
and this anxiety are are one
one and the the same
thing.
thing. A complete investigation into
complete investigation into thethe
illusions
illusions of of vanity,
vanity, and into into the ridicule that
the ridicule that
clings
clings to
to them,
them, would
would cast
cast a
a strange light
strange light upon upon
the whole theory
the whole theory of
of laughter.
laughter. We should
should findfind
laughter performing, with
laughter performing, with mathematical
mathematical regu- regu-
larity,
larity, oneone of
of its
its main functions
functions - that
that of
of
bringing back
bringing back to to complete
complete self-eonsciousness
self-consciousness
 Ii4
i
74
Ll\I;GHTER
LAUGHTER CHAP.

a certain
a certain self-admiration
self-admlration which
\vhich is almost
is almost auto-
auto..
matic~
matic, and thus
and thus obtaining
obtaining the
the greatest
greatest possible
possible
sociability of cha!'acters. \\~ e
We see that
should see
should that
sociability of characters.
vanity', though it is a natural product of
vanity, though it is a natural product
of social
social
life, is an incon,,"enience to society', just as
life, is an inconvenience to society, just as

slight poisons,
certain slight
certain continual1y secreted
poisons, continually by
secreted by
the human organism, l\"ould destroy it
the human organism, would destroy it in the in the
long run,
long run,
if they
ifthey' were
,vere not neutralised by
not neutralised other
by other
secretions. Laughter is
secretions. Laughter is unceasingly doing
unceasingly' doing
,,·ork
work of this kind.
of this kind. In respect, it
this respect,
In this might be
it might be
said that the
said that the speci:fic remedy for
specific remedy vanity is
for vanity is

laughter, and that the one failing that is

laughter, and that the one failing that
is essen-
essen-
tial1y laughable is
tially laughable
is ,"anity.
vanity.
While dealing ,,~ith
'Vhile dealing with thethe comic
comic in in form
form and
movement,
movement, '\vewe showed how any any simple
simple image,
image,
laughable in itself, is capable
is of worming
laughable in itself, capable of worming its its

,,~a)" into other images

way into other images of a of a more complex
complex
nature,
nature, and instilling
instilling into
into them something
something of of
its
its comic essence;
essence; thus,thus, the
the highest
highest farms
forms of of
the
the comic can can sometimes be explained by
be explained by the
the
lowest The inverse
lo\vest. inverse process, however,
process, however, is
is per-
per-
haps even more common,
haps common, and
and many
many coarse
coarse
comic effects
effects are the direct
are the direct result
result of of aa drop
drop
from some very subtle
very subtle comic element.
element For in-
in-
stance,
stance, vani ty,
vanity, that
that higher
higher form of
of the
the comic,
comic, is is

an element we are are prane

prone to to look
look for,
for, minutely
minutely
m THE COMIC IN CHARACTER 175
175

though unconsciously, in
though unconsciously, in every manifestation
every manifestation
of
of human activity. We look
\Ve look forfor itit if
if only to
activity. only to
laugh
laugh at at it.
it. Indeed,
Indeed, our our imagination
imagination often often
locates it ""here
locates it where it has it has no business to be.
business to be.
Perhaps
Perhaps we must attribute
attribute to
to this
this source
source the
the
altogether
altogether coarse
coarse comic
comic element
element in in certain
certain
effects \\7hich psychologists
effects which psychologists have have ver~y very in..in-

adequately explained b)'

adequately explained by contrast: contrast : a
a short
short
man bo\ving
bowing his head to
his head pass beneath
to pass beneath aa large large
door; two individuals,
door; t\VO individuals, one one very
very tall,
tall, the
the other
other
aa mere dwarf, gravely
mere d\varf, walking along
gravely \valking along arm-in-
arm-in-
arm,
arm, etc.
etc. By scanning
By scanning narrowlynarro\vly this
this Iatter
latter
image,
image, \\Te
we shall probably find
shall probably find that
that thethe shorter
shorter
of the two persons
of the persons seems
seems as as though
though he were were
trying
trying to
to razse
raise himseif
himself to
to the
the height
height of the
of the
taller,
taller, like
like the
the frog
frog that
that wanted
wanted to
to make itself
itself

as
as large
large as the ox.
as the ox*

111
III

It
It would be
be quite impossible to
quite impossible to go
go through
through
all
all the peculiarities of
the peculiarities of character
character that
that either
either
coalesce or
coalesce or compete
compete ",ith
with vanity in order
vanity in order to
to
force
force themselves upon the
themselves upon the attention
attention of the
of the
comic poet.
poet. We have shown thatthat all
all failings
failings
may
may become laughable,
laughable, and
and even, occasionall)l',
even, occasionally,
 1 76 LAUGHTER CHAP.

man}~ a
many a good qualit}·. Even
good quality. Even though
though aa list list
of alt the
of all the peculiarities
peculiarities that that have
have ever
ever been
been
found ridiculous
found ridicuJous were draVr~n up,
\vere drawn up, comedy
comedy wouldwould
manage to acid
manage to add to them, to them, not
not indeed
indeed by creating
by creating
artificiaI ones,
artificial but by
ones, but b~y discovering
disco,'"ering lines
lines of
of comic
comic
development that
development that had
had hitherto
hitherto gone
gone unnoticed;
unnoticed;
thus does imagination
thus does imagination isolate ever isolate ever fresh
fresh figures
figures
in the
in the intricate
intricate design
design of of one
one and
and thethe same
piece of tapestry. The essential
piece of tapestry.
conditioDt as
essential condition, as
we know,
we know, is is that the peculiarity
that the peculiarity observed
observed should
should
straight\vay
straightway appear
appear as
as a
a kind
kind of
of categor)' into
category into
which aa number
which number of individuals can
of individuals can step.
step.
there a.re
NOl\1, there
Now, are ready-made categories estab-
ready-made categories estab-
lished by society
lished by society itself, itself, and necessar:y
necessary to to itit

because it
because it isis based
based on the division oE
the division of labour.
labour.
We mean the
\Ve the various
various trades,
trades, public
public services,
services,
a.nd professions.
and professions. Each particular profession
particular profession
impresses
impresses on
on its
its corporate
corporate members certain certain
habits
habits of of mind and and peculiarities
peculiarities of of character
character
in
in which they they resemble
resemble each each other
other andand also
also
distinguish
distinguish themselves
themselves from
from the
the rest.
rest Small
Small
societies
societies areare thusthus fonned
formed withinwithin the
the bosom of of

Society at
Society at large.
large. Doubtless they
Doubtless they arise
arise from
from the
the
very organisation
very organisation of
of Society as a whole.
Society as a whole. And
yet,
yet, if
if they held tao
they too much aloof, there
aloof, would be
there would be
aa risk of their
risk of
proving harmful
their proving to so
harmful to ciabiliry.
sociability.
m THE COMIC
m IN CHARACTER 177
177
Now, it
Now, it is the business
is the business of
of laughter
laughter to repress
to repress
any
any separatist
separatist tendency.
tendency. Its
Its function
function is is to
to
convert rigidity
convert rigidity
into
into plasticity,
plasticity,
to
to readapt
readapt the
the
individual to the
individual to the whole,
whole, inin short,
short, toto round
round off
off
the corners wherever
the corners wherever they are they are met with.
with.
Accordingly,
Accordingly, we here
here find
find a
a species
species of
of the
the
comic
comic whose varieties
varieties might
might be be calculated
calculated be-
be-
forehand.
forehand. This
This we shall
shall call the professional
call the professional

&omzc.
comic.
Instead
Instead of of taking
taking up up these
these varieties
varieties in in detail,
detail,
we prefer
prefer to
to lay
lay stress
stress upon
upon what they
they have
have in
in
common. In In the
the forefront
forefront we find find professional
professional
vanity.
vanity. Each ane
one of M. Jourdain's teachers
of 1\1. Jourdain's teachers
exalts
exalts his
his own art art above
above all all the
the rest.
rest. In
In a play
a play
of Labiche
of there is
Labiche there is a a character
character who cannot cannot
understand
understand how it
it is
is possible
possible to
to be
be anything
anything
else
else than
than a a timber
timber merchant.
merchant Naturally Naturally he he is
is

aa timber
timber merchant
merchant himself.
himself. Note that
that vanity
vanity
here
here tends
tends toto merge
merge into
into solemn1:ty,
solemnity, in
in propor-
propor-
tion
tion toto the
the degree
degree of
of quackery
quackery there
there is
is in
in thethe
profession under consideration.
profession under consideration. For it
it is
is a
remarkable
remarkable factfact that
that the questionable an
the more questionable
art,
art, science,
science, oror occupation
occupation is, is, the
the more those those
who practise
practise it
it are
are inclined
inclined to
to regard
regard them-
selves as
selves as invested
invested with with a kind of of priesthood
priesthood
and to to claim
claim that
that aII
all should
should bow befare before its its

N
 17 8
1 78 LAUGHTER CHAP.
CHAP.

mysteries.
mysteries.
Useful
Useful professions
professions are are clearly
clearly
mea.:lt
meant for for the
the pt:blic,
public,
but
but those
those ",.hose
whose utility
utility
is
is more dubious ca~
more dubious can onl~y
only justif)' their existence
justify their existence
by
by aS5uming
assuming that that the public is
the public is meant forfor them:
no\v,
now, this
this is just the
is just the illusion
illusion that
that lies
lies at
at the
the root
root
of
of solemnity'.
solemnity. Almost everything
.:\lmost everything comic in in
l\Io1iere's doctors
Moliere's doctors comes from
from this
this source.
source.
They'
They treat
treat the
the patient
patient as as though
though he had been
made
made for
for the
the doctors,
doctors, and nature nature herself
herself asas an
appendage to medicine.
appendage to medicine.
~4.nother
Another formform of of this comic rigidity
this comic rigidity isis \vhat
what
may
may be be called professio12al callous1zßss..
called professional callousness. The
comic
comic character
character is is soso tightly jammed into
tightly jammed into the
the
rigid
rigid
frame
frame of
of his
his functions
functions that
that he
he has no
has
room to
room to move or to be
or to be mo\red
moved Iike like other men.
other men.

Only caII
OnI}1 call toto mind the the ans\ver
answer Isabelle receives
Isabelle receives
from Perrin Dandin,
Perrin Dandin, the judge,the judge, when she
she asks
asks
hirn how he
him he can
can bear
bear to look on
to look on when the the poor
poor
wretches are
wretches are being
being tortured
tortured : :

Bah! cela
Bah cela fait
1 fait toujours
toujours passer
passer une heure
beure cm deux.11
on deux.

not Tartuffe
Does not Tartuffe also
also manifest
manifest aa sort
sort of
of
professional callousness
professional callousness when hehe says it is
says - it is
true,
true, by the
by the mouth of
of Orgon:
Orgon:
1
Ba.h!
1 Bah! it always
it he1ps to
aIways helps to while
while away an hour
away an hour or
or two.
two.
m
in THE COl\JIIC CHARACTER
COMIC IN CHARi\CTER 179
179
Et je yerrais
Et je verrais mourir
mourir frere,
fr&re, enfants,
enfants, mere
m&re et
et femme
femme
Que je m'en
m' en soueierais 1
Que je soucierais autant
autant que
que dede cela
cela 11I

The de,rice
device most
most inin use, hO\Ve\ier, for
use, however, for making
making
aa profession
profession ludicrous
ludicrous is to confine it,
is to confine so to
it, so to

say, '\vithin the four corners of its o'\vn par-

say, within the four corners of its own par-
ticular jargon. J
ticular jargon. udge, doctor
Judge, doctor and and soldier
soldier are are
made to to apply
apply thethe language
language of of Ja,v,
law, medicine
medicine
and strategy to the everyday affairs
strategy to the everyday affairs of life, of life, as
as
though
though theythey bad
had become
become incapable
incapable of
of talking
talking
like
like ordinary people.
ordinary people. As a
a rule,
rule, this
this kind
kind of
of
the
the ludicrous
ludicrous is rather coarse.
is rather coarse. It becomes
It becomes

more refined, howev'er,

refined, however, as
as ,ve
we have already
have already
said,
said, if
if it
it reveals
reveals same
some peculiarity'
peculiarity of
of charac-
charac-
ter
ter in
in addition
addition to to a a professional habit. "Ve
professional habit. We
will instance
will instance only only Regnard's joueltr, '\vho
Regnard's Joueur, who
expresses
expresses himself
himself ,vith
with the
the utmost
utmost origin-
origin-
ality
ality in
in terms
terms borro\ved
borrowed from gambling,
gambling, giving
giving
his valet the
his valet the name of of Hector,
Hector, and callingcalling hishis
betrothed
betrothed
Pallas,
Pallas, du Dom
nom connu
connu de
de la
la Dame de
de Pique;
Pique i
*
;

or
or Moliere's sava1ztes, where the
Moliere's Femmes savantes the
y

comic element
element evidently
evidently consists
consists largely
largely in
in the
the
translation
translation of
of ideas
ideas of
of a scientific
scientific nature
nature into
into

11 Let
Let brother,
brother, children, mather and wife
children, mother wife 311
all die,
die, what $nould
mould
II care!
care!
~ Pallas,
2 Pallas1 from the well-known
from the well-known name of
of the
the Queen
Queen ofof Spades.
Spades.
 ISo
iSo LAUGHTER CHAP.

terms
terms of
of feminine
femininesensibility': "Epicure
"Epicure me
sensibility:
plai! ..."
plait . (Epicurus is
." (Epicurus
.
is charming),
charming), "]'ai1ne
"faiine lesles
tourbillons " (I dote on vortices),
tourbillons" (I dote on vortices), etc. etc. You
YOll
ha\1e onl~y
have only to to read
read the
the third
third act
act to
to find
find that
that
Armande, Philaminte
Armande, Philaminte andand Belise
BeIise almost invari-
almost invari-
ablyexpress themselv'es in in this stj~le.
this style.
ably express themselves
Proceeding further
Proceeding further in
in the
the same direction, we
direction,
. discover
,
discover that
that there
there is is also
also such
such aa thing as aa
thing as
professional logic, z·.e_ certain ways of reasoning
professional logic, i& certain ways of reasoning
that are
that customary in
are customary in certain circles, which are
certain circles, are
valid für
valid these circles,
for these hut untrue
circles, but untrue for
for the rest of
the rest of
the public.
the public. Now,
Now, the
the contrast between these
contrast between these
t\\'"o kinds
two kinds of
of logic
logic - one
one particular, the other
particular, the other
universal-
universal produces
produces comic effects
effects of
of a
a special
special
nature,
nature, on
on ,,"hieh
which we may
may advantageously
advantageously dweIl
dwell
at
at greater
greater length.
length. H ere we touch
Here upon aa
touch upon
point
point of
of SQme
some consequence
consequence inin the
the theory
theory ofof
laughter.
laughter. We propose, therefore,
propose, therefore, to
to give the
give the
question
question a
a wider
wider scope
scope and consider
consider it in its
it in its

most general
general aspect.
aspect.

IV
Eager
Eager as
as we have beenbeen toto discover
discover the
the
deep-seated
deep-seated cause
cause of.
of the
the comic,
comic,
* we have
have so
so
far
far had to
to neglect
neglect one of
of its
its most striking
striking
m
m THE COMIC IN CHARACTER 181

phenomena. We refer
phenomena. refer to the logic
to the logic peculiar
peculiar to
to
the
the comic
comic character
character and
and the
the comic
comic group,
group, aa
strange
strange kind
kind ef
of logic, which, in seme cases,
logic, which, in some cases,
may
may include
include a a good
good deal
deal ofof absurdit}T
absurdity. e

Theophile
Theophile Gautier
Gautier said
said that
that the cOlnic
the comic in in its
its

extreme
extreme form form was \vas the
the Iogic
logic of of the
the absurd.
absurd.
More than one philosophy of laughter
than one philosophy of laughter revolves revolves
round
round a a like
like idea.
idea. Every
Every comic effect, it
comic effect, it is
is

said,
said, implies
implies contradiction
contradiction in in same
some of of its
its

aspects.
aspects. What makes us us laugh
laugh is is alleged to
alleged to
be the absurd in
be the absurd realised in concrete shape,
realised concrete shape, a
" "
"palpable
palpable absurdity";
absurdity ;
- or,
or, again,
again, anan apparent
apparent
absurdity,
absurdity, ,vhich
which ,ve
we swallow
swallow for
for the
the moment
only to
only rectify it
to rectif}r it immediately after\vards
immediately afterwards;; - or, or,
better
better still, something
still, something absurd
absurd from
from one
one point
point
of view though
of view capable
though capable of
of a
a natural
natural explanation
explanation
from
from another,
another, etc. etc. All theories may
these theories
All these may
contain
contain same
some portion
portion of of the
the truth;
truth but,
; but, in
in the
the
first
first pIace, they apply
place, they apply only only to
to certain
certain rather
rather
obvious
obvious comiccomic effects,
effects, and then, then, even where
even where
they do
they do apply,
apply, they evidently take
they evidently take no account
account
of the characteristic
of the characteristic element
element of
of the
the laughable,
laughable,
that
that is,
is, the
the partitular
particular kind of
of absurdity
absurdity tllethe
comic contains
contains when it it does
does contain
contain something
something
absurd.
absurd. Is
Is an immediate
immediate proof proof of desired ?
this desired
of this ?

Y
YouDU have only
only toto choose
choose one of of these
these definitions
definitions
 182
i8a LAUGHTER CHAP.
CHAP.

and
and makemake up up effects
effects in in accordance
accordance with with the the
formula t\\1Ce
formula: : twice out out ofof e"reI)"
every three
three times
times therethere
will be
,viII be nothing
nothing laughable
laughable in in the
the effect
effect obtained.
obtained.
So ",oe see that
So we see that absurdity, absurdit:r, \vhen
when met with
with in in
the
the comic,
comic, is is not absurdity Z..'~
not absurdit}" in ge1zeral.
general. It is an
It is an
absurditv, of a definite kind. IItt does
absurdity of a definite kind. does not
not create
create
the comic;
the comic rather,
;
rather, we might
might say say that
that the
the comic
comic
infuses into
infuses into itit its own particular
its o\vn particular essence.
essence. It
It is
is

not
not a cause but
a cause effect - an
but an effect an effect
effect ofof a a very
very
special kind, ,vhich reflects the
special kind, which reflects the special nature
special nature
of
of its
its cause.
cause. No,,",
Now, thisthis cause
cause is is kno\vn
known to to us;
us ;

consequentl}"
consequently ,ve we shall have no
shall have no trouble
trouble in in under-
under-
standing
standing the the nature
nature of of the
the effect.
effect
Assume,
Assume, when out
out for
for a
a country
country walk, that
walk, that
notice on the
J'OU notice
you top of
the top of aa hill
hilI something
something that that
bears aa faint
bears faint resemblance
resemblance to to aa large
large motionless
motionless
bod}" with
body with revolving
revolving arms. arms. So far you do
far you do not
not
kno'v what
know ,,"hat it it is,
is, but
hut you you begin
begin to to search
search
amongst your
amongst zaeas- that
your ideas that is is toto say,
say, in in the
the
present instance,
present instance, amongst
amongst the the recollections
recollections at at
}~our disposal-for
your disposal for that
that recollection
recollection which
which will will
best fit
best fit in
in with
with what you you see.see. Almost immedi- immedi-
ately the
ately the image
image of of aa windmill
'tvindmil1 comes
comes intointo your
your
mind: the the object
object before
before you you is is aa windmill
windmill.
No matter
matter if, if, before
before leaving
Ieaving the the house,
house, you YOll
have just
have just been
been reading
reading fairy-tales telling
fairy-tales teIling of
of
m THE COMIC IN CHARACTER 183
183

giants with enormous arms; for although com..

giants with enormous arms for although com-
;

mon sense
sense consists
consists mainly
mainly in being able-
in being ahle' to
to

remember, it
remember, it consists
consists even
even more
more in in being
being ahle
able
to
to forget.
forget Common sense represents
sense represents the
the en..
en-
deavour
deavour of of a a mind continually adapting
continually adapting itself
itself

anew and and changing

changing ideasideas when it it changes
changes
objects.
objects. I t is the mobility of the intelligence
It is the mobility of the intelligence

confonning
conforming exactlyexactly toto the
the mobility
mobility of of things.
things.
It
It is
is the moving continuity
the moving continuity of
of Gur
our attention
attention
to
to life.
life.

But now,
now, let us take
let us Quixote setting
take Don Quixote setting
out for
out for the wars. The romances
the wars. romances he he has been
has been
reading
reading all tell of
all tell of knights
knights encountering,
encountering, on on the
the
way,
way, giant
giant adversaries.
adversaries. He therefore
therefore must
needs encounter
needs encounter a a giant.
giant. This
This idea
idea of
of a
a giant
giant
is
is aa privileged
privileged recollection,
recollection, which
which hashas taken
taken
its
its abode
abode inin his
his mind and lieslies there wait,
in wait,
there in

motionless, watching for an opportunity to sally

motionless, watehing for an opportunity to sally
forth and become embodied
forth embodied inin a thing. It
a thing. It 'tS
is

bent entering the

bent on entering the material
material world,
world, and so
so the
the

very first
very first object he sees
object he hearing the
sees bearing the faintest
faintest
resemblance
resemblance to
to a
a giantis
giant is invested with the
invested with the form
of
of one.
one* Thus,
Thus, Don Quixote
Quixote sees
sees giants where
giants where
we see windmills. This is
see windmills. comical it
is comicaI; it is
is also
;
also
absurd.
absurd. But is
is it
it a mere absurdity,
absurdity, - an
absurdity
absurdity of indefinite kind?
of an indefinite
 184
~GGHTER
L..
LAUGHTER CHAP.

It
It is 'ter~t special
is aa very In,-ersion of common
special inversion of
sense.
sense. It consists in
It consists in seeking
seeking to mould things
to mould things
on
on anan idea
idea of
of one's own, instead
one's 0""'0, instead ofof moulding
moulding
one's
one's ideas
ideas on
on things,
things,
- in
in seeing before us
seeing before us "'tvhat
what
'\ve
we are
are thinking of, instead of thinking of what
thinking of, instead of thinking of what
\ve see.
we see. Good sense ',,"Duld
Good sense would hav'e
have us leaveleave all
all

our
our memories
memories in their proper
in their proper rank and file; file;
then the appropriate
then the appropriate memory memory will
will every
every time
time
ans\\·er
answer the the summons of situation of
the situation
of the of the
the
moment
moment and and sen~e
serve only
only to
to interpret
interpret it.
it. But in in
Don QuL.xote,
Don Quixote, on the
the contrary,
contrary, there
there is
is one
group
group of
of memories
memories in
in command of
of all
all the
the rest
rest
and dominating the
and dominating the character
character itself:
itself : thus it
thus it is
is

reality that nOVl has

reality that now
has toto bow to to imagination,
imagination, its its

onI)~
only function
function being
being to
to supply fancy
supply fancy with
with a body.
body.
Onee
Once the
the illusion has been
illusion has been created,
created, Don Quixote
Quixote
develops it logically enough all its
develops it logically enough in in all its con-
con-
sequences; he proceeds
sequences he proceeds
;
with
with the certaintyand
the certainty and
precision of
of a
a somnambulist who is acting his
is
precision acting his
dream.
dream. Such,Such, then,
then, is the origin
is the
origin of
of bis
his delu-
delu-
sions and such the
sions the peculiar logic which con-
peculiar Iogic con-
trols
trols this particular absurdity.
this particular absurdity. Now,
Now, is
is this
this
logic
logic peculiar
peculiar to to Don Quixote?
Quixote ?
We have shown that
Wehave that the
the comic
comic character
character
always
always elTS
errs through obstinacy
through obstinacy of of mind or
or of
of dis-
dis-
position, through absentmindedness,
position, through absentmindedness, in
in short,
short,
m
m THE COMIC IN CHARACTER 185
185

through
through automatism.
automatism. At the the root
root ofof the
the comic
comic
there
there is is a sort of
a sort rigidity \vhich
of rigidity which compels
compels its its

victims to
victims keep strictly
to keep to one path, to follow it
strictly to one path, to follow it
straight
straight along, to shut their ears
along, to shut their ears andand refuse
refuse to to
listen.
listen. In
In Moliere's
Moliere's plays plays how many many comic
comic
sC,enes
scenes can can be be reduced
reduced to this simple
to this simple type:type a
: a
character followi1tg up
character following up his idea, and
one idea,
his O1ze and con·
con-
tinually recurring
tinually recurring to
to it
it in
in spite
spite of
of incessant
incessant
interruptions!
interruptions! The transition
transition seems
seems to to take
take
place imperceptibly
place imperceptibly from from the the man who '\-vilI will
listen to nothing
listen to nothing to the one to the one who will
will see
see
nothing,
nothing, and from
from this
this latter
latter to
to the
the one
one who
sees only
sees only what he he wants
wants to to see.
see. A stubbom
A stubborn
spirit ends by
spirit ends by adjusting
adjusting things things to to its
its own

way
way of
of thinking,
thinking, instead
instead of
of accommodating
accommodating
its
its thoughts to
thoughts to tl1e
the things..
things. So every comic
every comic
character
character is is on the highroad to
the highroad the above-men-
to the above-men-
tioned illusion, and Don Quixote
tioned illusion, Quixote furnishes
furnishes us us
with
with the
the general
general typetype of
of comic absurdity.
absurdity.
15
Is there
there a name far for this inversion of
this inversion of common
sense? Doubtless it
sense? Doubtless may be found,
it may found, in in either
either
an acute
an acute or or a chronic
chronic form,
form, in
in certain
certain types
types ofof
insanity.
insanity. In many
In many of of its aspects it
its aspects it resembles
resembles a
fixed
fixed idea.
idea. But neither
neither insanity
insanity in general, oor
in general, nor
fixed
fixed ideas
ideas in particular, are
in particular, provocative of
are provocative of
laughter:
laughter: they they are
are diseases,
diseases, and arouse
arouse our pity.
pity.
 186
186 L:\l:GHTER
LAUGHTER CHAP.
CHAP,

Laüghter, as '\ve ha~\r·e seen, is incompatible \vith

Laughter, as we have seen, is incompatible with
emotion. If
emotion. If there
there existsexists a madness that
a madnes5 that is is

laughable, it can on}}"· be one compatible \vith

laughable, it can only be one compatible with
the general health
the general health of the mind,
of the mind, - a sane type
a sane type of of
madness,
madness, one
one might saJ'.
might say. Now, Xow f there
there is
is a
a sane
sane
state
state ofof the
the mind that resembles madness in
that resembles in
ever.y respect~ in \\"hich
every respect in which we find the '\ve find the same aSSQ-
asso-
ciations
ciations of of ideas
ideas as we da
as \ve do inin lunac}~,
lunacy, the
the same
peculiar Iogic
peculiar logic as
as in
in a
a fixed
fixed idea.
idea. This state
state is is

that
that ofof dreams.
dreams. So either either aur analysis is
our analysis is in-
in-
correct,
correct, or
or it
it roust
must be
be capable
capable of
of being
being stated
stated in
in
the follo'\ving
the following theorem:
theorem : C01nzc
Comic absztrdity
absurdity zs
is of
of
tlze nature as that
sa11ze 1zatu?"e
the same that ofof dreanzs.
dreams.
behaviour of
The behaviour of the
the intellect
intellect in in a
a dream
dream is is

exactly
exactly what
what \\~e
we have
have just
just been
been describing.
describing.
mind, enamoured of
The mind, itself, now
of itself, seeks in
no\v seeks in
the outer
the '\\~orld nothing
outer world nothing more more thanthan aapretext
pretext
for realizing
for realizing its imaginations. A confused
its imaginations. confused
murmur of of sounds
sounds still still reaches
reaches the the ear, ear,
colours enter
colours enter thethe field
field of of vision,
vision, thethe senses
senses are are
not completely shut
not completely shut in. in. But the the dreamer,
dreamer,
instead of
instead of appealing
appealing to the whole
to the whole of of his
his recol-
recol-
lections for
lections for the interpretation of
the interpretation of what
what hishis senses
senses
perceive, makes use
perceive, use of of what
what he perceives to
he perceives to
give
give substance
substance to
to the
the particular recollection
particular recollection he he
favours: thus,
favours: thus, according
according to to the
the mood of of the
the
m THE COMIC,
ID COMIG IN CHARACTER 187
187

d~eamer
dreamer and
and the
the idea
idea that
that fil1s
fills his
his imagination
imagination
at the time,
at the time, a a gust
gust of
of '\vind
wind blo\ving
blowing do\vn down the the
chimney becomes the
chimney becomes howl of
the ho\vl of a a \vild beast
wild beast
or a tuneful
or a tuneful melody. melod)r. Such is
is the ordinary
the ordinary
mechanism
mechanism of of illusion
illusion in in dreams.
dreams.
N O\V, if
Now, comic illusion
if comic illusion is is similar
similar to to dream
dream
illusion, if
illusion, if the logic of the comic is the logic of
the logic of the comic is the logic of
dreams,
dreams, ,ve
we may expect
may expect to
to discover
discover in
in the
the Iogic
logic
of the laughable
of the laughable all
all the
the peculiarities
peculiarities of
of dream
dream
logic..
logic.
Here,
Here, again,
again, ,ye
we shall
shall findfind an an illustra-
illustra-

tion of the la\v

tion of the law with which \vith \vhich we are
are ,vell
well
acquainted:
acquainted: given given one
one form
form of
of the
the laughable,
laughable,
other
other farms
forms that
that are
are lacking
lacking in
in the
the same comic
comic
essence
essence become laughable laughable from from theirtheir outward
outward
resemblance to
resemblance to the
the first.
first. Indeed,
Indeed, it
it is
is not
not diffi..
diffi-

cult
cult toto see
see that
that anyan:y play
play of ideas n1ay
of ideas afford
may afford
us amusement if
us arnusement if only it
only it bringbring back back to mind,
to mind,
more or or less
less distinctly,
distinctly, the play of
the play of dreamland.
dreamland.
We shall first
Weshall call attention
first call attention to to aa certain
certain
general
general relaxation
relaxation of of thethe ruIes
rules of of reasoning.
reasoning.
The reasonings
reasonings at
at which '\ve
we laugh
laugh are those
are those
we }{now
know to
to be false,
be false, hut
but which we might
might
accept
accept as
as true
true were
were \ve
we to
to hear
hear them in
in a a
dream.
dream. They They counterleit
counterfeit true true reasoning
reasoning just just
sufficiently
sufficiently to to deceive
deceive a a mind droppingdropping off off to
to
sleep.
sleep. There is
is still
still an element
element of
of logic
logic in in
 rSB
i88 LAUGHTER
them, if
them, if }~OU
you '\\;11, but it
will, hut it is
is aa logic
logic lacking
lacking
in tension and,
in tension and, for
for that reason, affording
very reason,
that very affording
us relief from
us relief from intel1ectual
intellectual eifort.
effort, ::\Iany""
Many "ritti-
witti-
"
cisms" are reasonings
cisms are reasonings of
of this
this kind, considerably
kind, considerably
abridged reasonings,
abridged reasonings,
of
of which
which we areare given
given
onI}·
only the
the beginning
beginning and
and the
the end.
end. Such play
play
upon ideas evolves in the direction of aa
upon ideas evolves in the direction of
pla)~ upon words in proportion as the rela-
play upon words in proportion as the rela-
tions
tions set up bet\veen
set up between the the ideas
ideas become more
superficial: gradually \ve come to
superficial: gradually we
to take
take nano
a.ccount of the meaning
account of the meaning of
of the
the words
words we hear,
hear,
but only
hut only of
of their
their sound.
sound. I
Itt might
might be
be instruc-
instruc-
tive
tive to
to compare
compare '\\"ith
with dreams certain
certain comic
comic
scenes
scenes in which one of
in which the characters
of the characters system-
system-
atical1y repeats
atically repeats
in
in a
a nonsensicaI
nonsensical fashion
fashion what
what
another character
another whispers in
character whispers in his
his earl
ear. If yon
If you
fall
fall asleep with people
asleep with people talking
talking round
round you, you
you, you
sometimes find find that
that what they they say
say gradually
gradually
becomes devoid
becomes devoid of meaning, that
of meaning, the sounds
that the sounds
get
get distorted,
distorted, asas it
it were,
were, and
and recombine
recombine in in aa
haphazard
haphazard fashion
fashion to to form.
form inin your
your mind the the
strangest
strangest of
of meanings,
meanings, and that
that you are re-
you are re-
producing
producing between yourself
yourself and
and the
the different
different

speakers the
speakers the scene
scene between Petit-Jean
Petit-Jean and
and
The Prompter. 11
Prompter.
1
1 Les Plaideurs (Racine).
Les Plau&urs (Racine).
m
in THE COMIC IN CHARi\.CTER
CHARACTER 189
189
There
There are also comic
are also comic obsessz·o1tS
obsessions that that seem
seem to to
bear
bear aa great resemblance to
great resemblance to dream
dream obsessions.
obsessions.
Who hashas not
not had
had the
the experience
experience of of seeing
seeing the
the
same image appear
image appear in
in several successive
several successive dreams, dreams,
assuming
assuming plausible meaning in
a
a plausible meaning in each
each of of them,
them,
whereas these
whereas these dreams
dreams had had no no other
other point
point inin
common. Effects
Effects of of repetition
repetition sometimes
sometimes
present
present this
this special
special form
form on
on the
the stage
stage or or inin
fiction:
fiction same
:some of of them,
them, in in fact,
fact, sound
sound as as though
though
they belonged
they belonged to
to a
a dream.
dream. It
It may be
may be the
the
with the burden of many a song: it
same ,vith the hurden of many a song: it

persistently recurs, al,vays

persistently recurs, always unchanged, unchanged, at
at the
the
end of
of every verse, each
every verse, each time
time withwith a a different
different
meaning.
meaning.
infrequently do we notice
Not infrequently notice in in dreams aa
particular crescendo, aa weird
particular crescendo, weird effect
effect that
that grows
grows
pronounced as
more pronounced as wewe proceed.
proceed. The first first

concession extorted
concession extorted fromfrom reason
reason introduces
introduces aa
second;
second; and
and this
this one,
one, another
another of aa more
of
serious nature;
serious nature; and and so so on till till the
the crowning
crowning
absurdity is
absurdity is reached.
reached. Now, N OW, thisthis progress
progress to- to-
wards the
wards the absurd
absurd produces
produces on the the dreamer a
very peculiar
very peculiar sensation.
sensation. Such is is probably
probably
the experience
the experience of of the
the tippler
tippler when he feels feels
himself pleasantly
himself drifting into
pleasantly drifting inta aastate state of of
blankness
blankness in in which neither
neither reason
reason nor pro-
pro-
 19°
igo L~-\LGHTER
LAUGHTER CHAP.
CHAP.

priety' has any' ~eaning for hirn.

priety has any meaning for him.
N OVl,
Now,
whether some oi
consider \\·hether
consider of :\Ioliere's
Moliere's plays
plays
\ro~ld not produce the same
would not produce the same sensation: sensation: far
for
instance, _lfoJz.s:-eltr
instance, Monsieur de
de PoztyceattgJzac, which,
Pourceaugnac, which,
after beginning
after beginning almost
almost reasonably, de\Telops
reasonably', develops
into
into a a sequence
sequence of of all
all sarts
sorts of of absurdities.
absurdities.
Consider aIs') the BOltrgeois
Consider also the Bourgeois gentilhomme^ geJztilhomnze,
where tl1e
\vhere different characters
the d:tterent characters seem to to allo\v
allow
themselves
themselves to be caught
to be caught up up inin a a ,rery
very ,vhirl-
whirl-
"
"yind
wind of of madness
madness as the play'
as the play proceeds.
proceeds, "If
If

it is
it is possible
possible
to
to find
find aa man more completely
completely
mad,
mad, I
I \\·ill
will go
go and publish
publish it
it in
in Rome." This
sentence, \~lhich
sentence, which \varnswarns us us that
that the play is
the play is over,
over,
rouses us fram the increasingly
rouses us from the increasingly extravagant extravagant
dream into \vhich, along
into which, along ,vith
with .M. Jourdain, we
M. Jourdain,
ha\"e been
have been sinking.
sinking.
But, above
But, above all, all, there
there is is aa special
special madness
madness
that is
that is peculiar
peculiar to to dreams.
dreams. There are are certain
certain
special contradictions
special contradictions so so natural
natural to to the
the imagina-
imagina-
tion of
tion of aa dreamer,
dreamer, and and soso absurd
absurd to to the
the reason
reason
of \vide-a'\vake, that
of aa man wide-awake, that it would be
it would be im-
im-
possible to
possible to give gi"ve aa full
fuII and correctcorrect idea
idea of of
their nature
their nature to to anyone
anyone who ,vho hadhad notnot ex- ex-
perienced them.
perienced them. We 'Ve allude
aIlude to the strange
to the strange
fusion that
fusion that aa dream often often effects
effects between two two
persons who henceforth
persons henceforth form form onlyonly oneone andand
 CO~1IC IN CHARi\CTER
m THE COMIC CHARACTER 191
191

yet remain distinct. Generally

yet remain distinct. Generally ane one of these
of these
is the dreamer
is the dreamer himself.
himself. He feelsfeels hehe hashas not
not
ceased to be he
ceased to be what he is; yet he has be-
\vhat is; yet he has be-
come
come someone else.
else. He is
is himself,
himself, and
and not
not
himself.
himself. He hears
hears himself
himself speak speak and sees sees
himself act, hut
himself act, but he he feels
feels that
that same
some other other
""he"
he" has
has borrowed his body and stolen his
borro\ved his body and stolen his
voice.
voice. Or perhaps
perhaps he he isis conscious
conscious of of speak-
speak-
ing
ing and
and acting
acting as
as usual,
usual, but
but he
he speaks
speaks of of

himself as
himself a stranger "\vith
as astranger with whom \\~hom he he hashas
nothing
nothing in
in common;
common; he
he has
has stepped
stepped out
out of
of
his
his o\vn
own self.
self. Does it it not seem as
not as though
though
we found
found thisthis samesame extraorclinary
extraordinary confusion
confusion
in many aa comic
in many comic scene?
scene? II am not not speaking
speaking
of Amph:itryo1z, in
of Amphitryon, in ,vhich
which playplay the the confusion
confusion
is
is perhaps suggested to
perhaps suggested to thethe mind of of the
the
spectator,
spectator, though
though the the bulk
bulk of of thethe comic effect effect
proceeds
proceeds rather
rather from what we have
have already
already
"
called
called a a" reciprocal
reciprocal intenerence
interference of
of two series."
series."
II am speaking
speaking of the extravagant
of the extravagant and comic comic
reasonings
reasonings in in which we really real1y meet \vith with this
this
confusion
confusion in in its pure form,
its pure though
form, though it
it requires
requires
same
some looking
looking into
into to
to pick
pick it
it out.
out Für
For instance,
instance,
listen to
listen to Mark Twain'sTwain's replies
replies to the reporter
to the reporter
who called
called toto interview
interview him hirn : :
Question.
Question. Isn't
Isn't that
that a brother
brother of yours ?
of yours ?
 i 92 LJ>~UGHTER
LAUGHTER CHAP.
CHAP.

A,ZrdJ€l'.
Answer. Oh! Oh y'es, }·es, j"es! Now you
yes, yes, yes
! !
you
remind
remind me of of it, that was aa brother
that was
it, brother ofof mIne.
mine.
Thafs William -Bill
Thafs \\:illiam we called
Bill \ve called hirn.
him. Paar
Poor
old
old Bill!
BillI

Q. Why? 15
Q. \\11)'"? Is he
he dead, then??
dead, then
A.
A. Ah!Ah \vel1,
well, II suppose
I
suppose so.so. \'l
Wee never
never could
could
tell.
tell. There ,vas a great mystery
There was a great mystery about it. about it.
Q.
Q. That
That is sad, ,,"ery
is sad, very sad.
sad. He disappeared,
disappeared,
then?
A.
A. \Vell,
Well, yes, in a sort of general way.
yes, in a sort of general way.
We
buried
buried hirn.
him.
Q.
Q. Bt~ried
Buried hirn
him I Bztried
! Buried hirn,
him, without
without know-
ing
ing ,,,"hether
whether he was dead
dead or
or not?
not ?
A. Oh no
A. no! Not that
that. He was
! dead enough.
\vas dead enough.
Q.
Q. WeIl,
Well, II confess that II can't
confess that understand
can't understand
this. If
this. If you
yau buried hirn, and
buried him, and you
you knew hehe was
dead-
dead
A. No
No! nona! We only
! thought he was.
only thought
S was.
Q. Oh,
Q. see! He came to
Oh, II see to life
! life again
again??
A. II bet
bet he
he didn't
didn't.
Q. Well,
Q. WeIl, II never heard anything
never heard like this.
anything like this.
Some1Jody
Somebody was dead.
dead. Sonubody was buried.
Somebody was buried.
Now, where was the
Now, the mystery?
mystery?
A.
A. Ah
Ah! that's
that's just
I just it
it I That's
That's it
it exactly.
exactly.
!

You see, we were twins,

YOll see, defunct and I1,- and
twins, - defunct and 5

we got
got mixed _in the bath-tub
_in the were
bath-tub when we were
m
m THE COMIC IN CHAR.l\CTER CHARACTER 193 193
only
only t'\vo
two weeks oId, old, and oneone of of us was drowned.
us "vas drowned.
But we didn't kno\v which.
didn't know which. Same
Some think it
think it was
was
Bill.
Bill, Same
Some think
think it it was me. me.
Q.
Q WeIl,
m that is
Well, that is remarkable.
remarkable. What \Vhat da you
do you
think?
think ?
A. Goodness knows! II wauld would give whole
give whole
worlds
worlds to to know. This solemn,
solemn, this this awful
awful
tragedy
tragedy has cast
cast a
a gloom
gloom over
over my
my whole life.
life.

But II will tell you

will tell you a
a secret
secret now,
now, which
which I
I have
have
never revealed to
never revealed any creature
to any befare. One
creature before.
of us had aa peculiar
of us mark, - a Iarge
peculiar mark, large mole on
the back of
the back of his
his left
left hand:-
hand that
: \vas me.
that was me. That
chz-Id
child was the the otze
one that
that was drowned
drowned!/ • . .. . .

etc.,
etc., etc.
etc.
A close
close examination
examination will will show us us that
that the
the
absurdity
absurdity of
of this
this dialogue
dialogue is
is by
by no means an
absurdity
absurdity of
of an ordinary type.
ordinary type. I
Itt would dis-
dis-
appear
appear were not not the
the speaker
speaker himself
himself one of of the
the
twins
twins in in the
the story.
story. It
It results
results entirely
entirely from the
the
fact that Mark Twain asserts
fact that asserts he is is one of these
of these
twins, whilst all
twins, whilst all the the time he talks
talks as though he
as though
were aa third
third person
person who teIls the tale_
tells the tale. In
many
many of
of our dreams we adopt exactly
adopt exactly the
the same
method.

o
 194
I 94 LAUGHTER CH.AP.
CHAP.

vV
Regarded
Regarded from this latter
from this latter point
point of of view,
view, the
the
comic seems to sho\v
comic seems to show itself itself in
in aa form same-
some-
what
what different
different fromfrom thethe one
one \-re
we Iately
lately attributed
attributed
to it
to it Up
Up to to this
this point,
point, \ve we have
have regarded
regarded
Iaughter
laughter as
as first
first and
and foremost
foremost a
a means of
of
correction.
correction. IE
If Y'OU
you take
take the
the series
series of
of comic
comic
,"arieties
varieties and isolate the
and isolate predominant types
the predominant types at
at
lang all the
the inter-
long intervals,
intervals, you}·ou \viII
will find that all
find that inter-
vening ,'"arieties borro\v their
vening varieties borrow their comic quality comic quality
from
from their resemblance to
their resemblance to these
these types,
types, and that that
the
the t}rpes themselves are
types themselves are so many models
so many models of of
impertinence
impertinence \\;th regard to
with regard to society.
society. To these
these
impertinences
impertinences society society retorts
retorts by laughter, an
by Iaughter, an
even
even greater
greater impertinence.
impertinence. So evidently evidently therethere
is nothing very
is nothing benevolent in
very benevolent in laughter.
laughter. It
It
seems rather inclined
rather inclined to
to return
return evil
evil for evil.
for evil
But this
this is is not
not what we are are immediately
immediately
struck by
struck by in
in aur
our first
first impression
impression of
of the
the laughable.
laughable.
The comic character
character is is often
often one with with whom,
whom,
to begin with,
to begin with, our mind, mind, or
or rather
rather oür
our body,
body,
sympathises.
sympathises. By this is
By this is meant that that we p.ut p.ut
ourselves for
ourselves for a very
very short
short time
time in in his place,
his place,
adopt
adopt his gestures, words and actions,
his gestures, actions, and,and,
if
if amused by by anything Iaughable
anything laughable in
in him,
him,
m
m THE COMIC IN CHARACTER 195
195

we invite
invite him,hirn, inin imagination, to share his
imagination, to share his
amusement ,vith us; in
with us ;
in fact,
fact, \vewe treat
treat hirn
him first
first

as a
as a playmate.
playmate. So, So, in in the
the laugher, ,ve find a
laugher, we find a
""hail-fellow-well-met"
hail-fellow-\vell-met" spirit spirit - as far, at
as far, at least,
least,
as appearances
as appearances go go - ""'hich
which it
it ,vould
would be
be '\\~rong
wrong
of us not
of us not toto take
take into
into consideration.
consideration. In partie-
In partic-
ular, there is
ular, there is in laughter a
in laughter a movement of of relaxa-
relaxa-
tz·on
tion which has has often
often been been noticed,
noticed, and
and the
the
reason
reason of which we must
of which must try try toto discover.
discover. No-
where
where is this impression
is this impression more more noticeable
noticeable than than
in the last few examples.
in the last few examples. In
In them, indeed, we
them, indeed,
shall
shall find
find its
its explanation.
explanation.
When the the comic
comic character
character automatica11y
automatically
follows
follows up up hishis idea,
idea, he ultimately thinks,
he ultin1ately thinks, speaks
speaks
and acts
acts asas though
though he
he '\vere
were dreaming.
dreaming. Now, N OW,
aa dream is is aa relaxation.
relaxation. T
To0 remain
remain in in touch
touch
with
with things
things and men, men, to to see
see nothing
nothing hut but what
is existent and think
is existent and think nothing butnothing hut ,vhat
what is
is con-
con-
sistent,
sistent, demands a
a continuous
continuous effort
effort of
of inteI-
intel-

lectual
lectual tension.
tension. This
This effort
effort is is common sense. sense.
And to to remain sensible
sensible is, is, indeed,
indeed, to to remain
remain at at
work.
work. Hut But to to detach
detach oneself
oneself from things things and
yet
yet continue
continue to
to perceive images,
perceive images, to
to break away
away
from logic
logic and yet
yet continue
continue to
to string together
string together
ideas,
ideas, isis to
to indulge
indulge in play or,
in play or, ifif you prefer, in
you prefer, in
dolce
dolcefarfar niente.
niente. So,
So, comic absurdity
absurdity gives gives us
 I 96 LAUGHTER
Li\UGHTER CHAP.
CHAP.

from
from thethe outset
outset the the impression
impression of pla}Ting ,,"ith
of playing with
ideas. Our first
ideas. first impulse
impulse is is to join in
to join the game.
in the game.
That relieves us from the strain
That relieves us from the strain of thinking. of thinking.
No\v, the
Now, the same
same might might be be said
said of of the
the other
other
forms
forms of the laughable.
of the laughable. Deep-rooted
Deep-rooted in in the
the
comic,
comic, there
there is is al,vays
always a tendency, we said,
a tendency', said,
to take
to take the the line
line of
of least
least resistance, generally
resistance, generally
that
that of habit The comic character
of habit. character no langer longer
tries
tries to be ceaselessly
to be adapting
ceaselessly adapting and
and readapting
readapting
himself
himself to the society
to the society of of "\\"hich
which he he isis a
a member.
member.
He slackens
slackens in in the
the attention
attention that that isis due to to life.
life.

He more
more or or Iess resembles the
less resembles the absentrninded.
absentminded.
Maybe
Maybe his will is
his will here even
is here even more concerned concerned
than
than hishis intelIect,
intellect, and there
there is
is not
not so
so much aa
want of
want of attention
attention as as a lack
lack of of tension:
tension still,
: still, in
in
same
some way way or or another,
another, he is is aasent,
absent^ away away from
from
his work, taking
his work, taking it easy. it easy_ He abandons
abandons social social
convention,
convention, as
as indeed
indeed - in
in the
the case
case we have just
have just
been considering
been considering - he he abandoned
abandoned logic. logic. Here,
Here,
too,
too, our :first
first impulse
impulse is is to
to accept
accept the the invitation
invitation
to take it
to take it easy.
easy. For a short time, at
short time, at all
all events,
events,
we joinjoin inin the
the game.game. And that
that relieves
relieves us
us
from the the strain
strain of of Iiving.
living.
But we rest rest onlyonly for for a a short
short time.time. The
sympathy
sympathy that
that is
is capable
capable of
of entering
entering into into the
the
impression
impression of
of the comic is
is a very fleeting
very fleeting one.
one.
m
nI THE COMIC IN CHARACTER 197
197
IItt also
also comes
comes from
from a a Japse
lapse in in attention.
attention. Thus,
Thus,
astern
a stern father
father mayat
may at times
times forget
forget himself
himself and
and
join in some prank his child is playing, only to
join in same prank his child is playing, only to
check
check himself
himself at at onee
once in in order
order to
to correct
correct it
it
Laughter
Laughter is,
is, above
above all,
all, a
a corrective.
corrective. Beil.l
Beiug o
intended
intended to humiliate, it
to humiliate, must make aa painful
it must painful
impression
impression on the person against
the person against whom it it is
is

directed.
directed. By laughter, society
By laughter, society avenges avenges itself
itself

far the liberties

for the liberties taken
taken with
with it. it. It would fail
It would fail in
in

its object if
its object if it
it bore
bore thethe stamp
stamp of of sympathyß
sympathyjgf
kindness.
kindness.
Shall
Shall we be be toldtold that
that the the motive,
motive, at at all
all

events,
events, may may be be a a good
good one, one, that that we oftenoften
punish because
punish because we love, love, andand that laughter, by
that laughter, by
checking
checking the
the outer
outer manifestations of
manifestations of certain certain
failings,
failings, thus
thus causes
causes the
the person Iaughed
person laughed at at toto
correct these failings
correct these failings
and thereby
thereby improve
improve him-him-
self inwardly?
seH inwardly ?
Much might
might be be said
said on this point As a
this point
general
general ruIe,rule, and
and speaking
speaking roughly,roughly, laughter
laughter
doubtless
doubtless exercises
exercises a a useful
useful function.
function. Indeed,
Indeed,
the
the whole
whole of of aur
our analysis points
analysis points to
to this
this fact.
fact
But
But it it does
does not
not therefore
therefore follow
follow thatthat laughter
laughter
always
always hits
hits the
the mark or
or is
is
invariably inspired
invariably inspired
by
by sentiments
sentiments of of kindness
kindness or or even of justice.
of justice.
To be certain
certain of of always hitting
always hitting the
the mark, it
mark, it
 Ig8
198 LAUGHTER CHAP.

would have
would have to
to proceed
proceed from
from an
an act
act of
of reflec-
reflec-
tion..
tion. ~O\\" laughter
Now is simply
laughter is simply' the
the result of aa
result of
mechanism set up
mechanism set in us
up in by nature
us by nature or,
or, what
what is
is
almost same thing,
the same
almost the thing, byb)· our
our long acquaint-
lang acquaint-
ance with
ance '\vith :;ociallife.
social life. It goes
It goes off
off spontaneously
spontaneously
and returns
and returns tit
tit for
for tat
tat. ItI t has no time
has no time to
to look
look
\vhere
where it hits.
it hits. Laughter
Laughter punishes certain fail-
punishes certain fail-

ings some,,·hat
ings somewhat as as disease
disease punishes
punishes certain
certain
forms of
forms of excess,
excess, striking
striking down same ,vho
do\vn some who areare
innocent
innocent and and sparing
sparing samesome ,,·ho
who areare guilty,
guilty,
aiming
aiming at
at a
a general
general result
result and
and incapable of
incapable of

dealing separatel)1
dealing separately ,vithwith each
each indi\idual
individual case.
case.
And so so it is ",.ith
it is with everything
everything that that comes
comes to to
pass by natural
pass by natural means instead of happening
instead of happening by by
conscious
conscious reflection.
reflection. An average
average of justice
of justice
may
may show itseHitself inin the
the total
total result,
result, though
though the the
details, taken separately,
details, taken separately, often
often point
point to to any-
any-
thing
thing hut
but justice.
justice.
In this sense, laughter
this sense, laughter cannot
cannot be be absolutely
absolutely
just. Nor should
just. should it it be kind-hearted either.
be kind-hearted either.

~~9D-i~
Its functiorkosjto intimidat~
intimidate, by by humiliatin~
humiliating
Now,
Now, it
it would not
not succeed
succeed in
in doing this,
doing this, had
had
not nature implanted
implanted for for that
that very
very purpose,
purpose,
even inin the
the best
best of men, a spark
of men, spark of
of spi tefuI-
spiteful-
ness
ness or,
or, at
at all
all events, of mischief.
events, of mischief. Perhaps
Perhaps
we had better
better not investigate
investigate this
this point
point tootoo
m THE COMIC IN CHARACTER 199
199

closely, far should not find anything \"ery

closely, for we should not find anything very
flattering to ourselves. We should
flattering to ourselves. should see see that
that
this
this movement of of relaxation
relaxation or or expansion
expansion
is
is nothing
nothing but but aprelude
a to laughter,
prelude to laughter, that that the
the
laugher immediately
laugher immediately retires
retires within
within himself,
himself,
more self-assertive
self-assertive and and conceited
conceited thanthan ever,
ever, and
and
is
is evidently disposed to look
evidently disposed to look upon another's upon another's
personality as
personality a marionette
as a marionette of of \vhich
which he pulls
pulls the
the
strings.
strings.
In
In this presumptuousness '\ve
this presumptuousness we speedily
speedily
discern
discern a a degree
degree of
of egoism
egoism and,
and, behind
behind this
this
latter, something less spontaneous
latter, something less spontaneous and and more
bitter, the
bitter, beginnings of
the beginnings of aa curious
curious pessimism
pessimism
which becomes the the more pronounced
pronounced as as the
the
laugher
laugher more closely closely analyses
analyses his his laughter.
laughter.
Here,
Here, as
as elsewhere,
elsewhere, nature
nature has
has utilised
utilised evil
evil

with
with a view to
a view to good.
good. It is more especially
It is especially thethe

good that
good that hashas engaged
engaged aur our attention
attention through-
through-
out this work. We have seen that
out this work. Wehave seen that the
the more

society improves,
society improves, the the more plastic is the
plastic is the adapt-
adapt-
ability
ability it
it obtains
obtains from
from its
its members;
members ;
while
while the
the
greater
greater the tendency towards
the tendency towards increasing
increasing stability
stability
below,
below, the
the more does
does it
it force
force to
to the
the surface
surface the
the
disturbing
disturbing elements
elements inseparable
inseparable from so so vast
vast
bulk; and thus
a bulk; thus laughter performs a
laughter performs useful
a useful
function
function by by emphasising
emphasising the the fann
form of these
of these
significant
significant undulations.
undulations.
 200
200 LAUGHTER CHAP.
CHAP, m

Such is
Such is also tl1e truceless
also the truceless warfare
,,"arfare of the
of the
waves on
waves on the the surface
surface oof the the sea, ,,"hilst pro-
sea, whilst pro-
found peace reigns
found peace reigns in the depthsin the depths belo'\v.
below. The
billo\vs clash
billows clash and and collide
collide with each other,
\vith each other, as as
they strive to find their level A fringe of
they strive to find their level. fringe of
snow-\vhite foam,
snow-white foam, feathery feathery and
and frolicsome,
frolicsome,
follo\\'rs their
follows their changing outlines. From time
changing outlines. time
to time,
to time, the the receding
receding wave \vave leaves
leaves behind
behind aa
remnant
remnant of of foam on
on the
the sap.d~y
sandy beach.
beach. The
child,
child, who plays hard
\vho plays hard by,by, picks
picks up up aa handful,
handful,
and,
and, thethe nextnext moment,
moment, is is astonished
astonished to to find
find
that nothing
that nothing remains remains in
in his grasp
his grasp hut
but a
a fe,v
few
drops
drops of
of \\~ter,
water, ,vater
water that
that is
is far
far more brackish,
brackish,
far
far more
more bitter, than that
bitter, than that of of the wave which
the \vave
brought
brought it. it. Laughter
Laughter comes into being in
into being in the
the
self-same
self-same fashion.
fashion. It
It indicates
indicates a a slight
slight revo]t
revolt
on the
the surface
surface of of sociallife.
social life. It'instanflyadopts
iTmstarilly adopts
t~
the cli~g~or"-the
changlng^(3"riiiy' 'of the disturbance.
r
disturbance. It,
It,

also,
also, is
is a
a froth
froth with
with a
a saline
saline base.
base. Like
Like froth,
froth,
it
it sparkIes.
sparkles. It
It is
is gaiety
gaiety itself.
itself. But
But the
the philos-
philos-
opher
opher who gathers gathers a handful to
a handful to taste
taste may may
find
find that
that thethe substance
substance is is scanty, and
scanty, and the
the after-
after-
taste
taste bitter.
bitter.

Printed in the United States of Amerka.