Bergson - Laughter.pdf

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

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

AUTHORISED TRANSLATION BY

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

; AND Am) ;

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

NdD ~tltk THE MACMILLAN COMPANY 1921

.411 reserved j&l rigbts rights reser'l1ed

CoPYRIGHT, COPYRIGHT, 19II, igii,

Bv BY THE MACMILLAN COMPANY. COMPANY.

Set up and Publlshed November, November, 1911. and dectrotyped. Set up dectrotyped. Published 1911.

TRANSLATORS' PREFACE THIS work, been Professor Bergsan, has been work, by by Professor Bergson, has revised by the in detail detail by the author revised in author himself, and the the himself, and

present translatioll translation present

is is the the only authorised one. one. only authorised Für ungrudging labour this ungrudging For this labour of of revision, for the the revision, for thoroughness with which it has been carried it has been carried thoroughness with out, and for personal sympathy for in many out, personal sympathy in many aa difficul ty of of ward word and and phrase, desire to to affer offer difficulty phrase, we desire our acknowledgment to Professor our grateful to Professor grateful acknowledgment Bergson. Bergson. It be pointed the essay It may that the out that pointed out essay on may be Laughter originally appeared in aseries of in a series of Laughter originally appeared three in one articles in of the one of the leading three articles magazines leading magazines in .France, the Revue de Parz·s. This de will This will the Paris. Revue in 'France, account of the the form of the relatively for the account for relatively simple simple form. work and the the comparative of technical technical absence of comparative absence terms. It will also why the author has the It will also explain terms. explain why confined himself to to exposing confined himself illustrating exposing and illustrating his novel theory of the comic without entering the of his novel theory entering of other into other explanations discussion of a detailed into a detailed discussion explanations v

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LAUGHTER

already th~ ~~~c!. .H.e ile none the in th$ tne less less indicates, field, indicates, already in sundry examples, why the when discussihg·: discussirig' sundry examples, why the principal theories, theories, to to which which they have given principal they have given rise, appear to hirn inadequate. Ta him to To quote rise, appear inadequate. quote only only aa few, may mention those based based on mention those on conconone may few, ane trast, exaggeration, and degradation. trast, exaggeration, degradation. The book book has been highly highly successful has been in successful in France, where it is in its seventh edition. It in it is its where It seventh edition. France, has translated into into Russian, has been been translated and Russian, Polish, Polish, and Swedish. ungarian translations Swedish. German and H translations Hungarian are Its Its success are under is due under preparation. success is due preparation. partly to the novelty of the explanation offered of the the to offered novelty explanation partly of the comic, partlyalso of the also to to the that the the fact fact that the comic, and partly author discusses questions of still author incidentally discusses of still incidentally questions greater interest and importance. one of of Thus, one importance. Thus, greater interest the quoted best known and most frequently the best frequently quoted passages of the book is is that of the that portion the last last of the portion of passages chapter (pages 150-162), in which the author in the author 150-162), chapter (pages outlines a general outlines a of art. art. theory of general theory -

c. B. C. B. F. R. F. R.

CONTENTS CHAPTER II PAGB PAGE

THE

IN GENERAL -

COMIC

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

67 67

IN WORDS. WORDS

CHAPTER 111 III THE COMIC

IN CHARACTER

132

vii

vii

CHAPTER II THE COMIC IN GENERAL -

THE CO:M:IC COMIC ELEMENT AND l\10VE.l\1ENTS MOVEMENTS - EXPANSIVE FORCE OF THE COMIC FORMS

IN

WHAT does basal does laughter mean ? What is the basal is the laughter mean? element in What common in the the laughable? laughable? ground can we find between the find between the grimace of a ground grimace of merry-andrew, play upon words, an equivocal a play merry-andrew, a upon words, equivocal situation high in a a burlesque a scene situation in of high scene of burlesque and a comedy? \Vhat Inethod of distillation will yield What of method distillation will comedy? yield us so the same essence essence from which so us invariably invariably the many different products borrow either their their borrow either different products many obtrusive their delicate perfume ?? The odour or or their obtrusive odour delicate perfume greatest of thinkers, from Aristotle downwards, Aristotle of downwards, thinkers, greatest have tackled problem, which has a little problem, tackled this this little knack of baffiing every of slipping of baffling effort, of away slipping away every effort, a and escaping only to up again, apert bob to pert up again, escaping only challenge flung at philosophie speculation. at speculation. philosophic flung challenge B

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LAUGHTER

CHAP.

Gur excuse excuse for far attacking attacking the the problem problem in in our our Our turn must must lie lie in in the the fact fact that that we shall shall not not aim aim turn at imprisoning imprisoning the the comj^gpirit s.gmic. §Pirit within within aa definidefiniat a11 \i\le regard it, above all. as a llning tbj.og. tion. it. above tion. aft ? 1"*g thing We.reffi.rd trivial it it may may be, be, we shall treat it it with with shall treat However trivial the respect respect due due to to life. life. We Weshall confine ourourshall confine the selves to watehing it grow and expand. Passing selves to watching it grow and expand. Passing by imperceptible imperceptible gradations gradations from from one aue form form to to by another, it it will \viII be be seen see11 to to achieve achieve the the strangest strangest another, metamorphoses. We shall \ve shall disdain disdain nothing metamorphoses. nothing we have seen. Maybe we may gain from this this have seen. Maybe may gain from prolonged contact, for tl1e matter of somefor the of that, matter that, son1e.. prolonged contact, t11ing more flexible t11an an abstract abstract definition,flexible than definition, thing aa practical, as springs such as intimate acqllaintance, acquaintance, SUCl1 practical, intimate springs from companionship. And maybe from aa long maybe we long companionship. may also find find that, have that, unintentionally, unintentionally, we have may also made an acquaintance Für that is is useful. For the the useful. acquaintance that ~_~p,irit has a logic of its own, even in a its comicjspirit has logic of its own, even in its wildest It It 11as has a a nlethod in its wildest eccentricities. eccentricities. method in its madness. I admit, but it conjures It dreams, madness. It but it dreams, ladmit, conjures up up in its dreanls that are in its dreams visions are at at once visions that once accepted accepted a social .3:nd the whole of of a and understood understood by social group. by the group. Can it for us on the it then throw light then fail fail to to tI1row us for the light way that human imagination works, and more way that imagination work:s, particularly collective, and popular social, collective, particularly social" popular imagination? Begatten of real life and akin life of real akin imagination? Begotten i

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THE COMIC IN GEN.ERAL GENERAL

33

to should it it not to art, not also also have have something of its its art, should something of own to tell us us about to tell about art art and and life life ? ? At the outset we shall put the outset shall put forward forward three three as fundaobservations which we look observations which look upon as fundaupon mental. have less bearing on the actually mental. They have on less the They bearing actually comic on the the field within which comic than on which it field within it roust must be sought. be sought.

II The first first point to which which attention attention should should be be point to called"'is "that the called 'is ·'that the comic comic does does not not exist exist outside outside the pale of Alandscape of what is is strictly human. human. the pale A landscape .strictly may be beautiful, charmirig~and sublime, or be and or beautiful, sublime, may charming insignificant ugly; it never be be laughwill never it ,viII insignificant and ugly laughable. YOll may laugl1. at an animaI, but only You able. at animal, but may laugh only beca~se you you have have detected detected in in it it same some human because attitude Y Oll may may laugh at a You a attitude or or expression. expression. laugh at hut what you are making fun of, in this case, hat, fun of, in this case, hat, but you are making not the the piece piece of of felt feIt or or straw, straw, but but the the shape shape is not is that men have have given given ijn:, the human caprice caprice the that i, it has has assumed. assumed. It I t is is strange strange whose mould it that so so important important aa fact, fact, and such such aa simple simple one that too, has has not not attracted attracted to to aa greater greater degree degree the the atattoo, tention of of philosophers. philosophers. Several Several have defined def1ned tention man as as"" an animal animal which' which; laughs." laughs." They They might might equally well weIl have have definied defin~ed him hirn as as an animal animal equally ;

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LAUGHTER

CHAP. CHAP.

which if any for if or at far other animal, is laughed which is animal, or any other laughed at; some it the same same effect, lifeless object, some lifeless effect, it object, produces produces the is always because of some resemblance to man) resemblance to man, is always because of of the stamp he gives it or the use he puts or the it to. to. it use he he of the stamp puts it gives ~ Here II would out, as a symptoln as a would point· "Here point 'out, symptom equally worthy of notice, the abse1zce 0/ /eeli1zg the absence of notice, of feeling equally worthy which usually accompanies laughter~l It seems which usually accompanies laughter.) It seems as though the th~ comic could not its not produce as though comic could produce its disturbing unless it to say, it fell, effect unless so to the on tlle fell, so say, on disturbing effect surface a soul soul tllat that is is thorougllly calm and surface of of a thoroughly calm and unruffled. Indifference is its natural eIlvironits natural unruffled. environIndifference is ment, no greater than for laughter has no foe than ment, for greater foe laughter has emotion. II da that we could not do not not mean that emotion. could not laugh at a person WIlD inspires us with pity, a at for person who inspires us with pity, for laugh or even with affection, but in such aa instance, or even but with in such instance, affection, put aur case case we must, for the the moment, our affection affection must, for moment, put out of court and impose silence upon out of court our pity. impose silence upon our pity. In composed of pure intelligences In a saciety of pure intelligences society composed there be no more tears, though there would probably no be tears, probably though perhaps there be laughter; whereas there would stilt stilt be whereas perhaps laughter; ;

highlyemotional jln tune tune and with and unison unison with souls, in highly emotional souls, life, would be be sentiIl1ent. in whom every sentiment-. life, in evept would every eVe}lt ally . echoed, would would neitller neither re-echoed, ally prolonged prolonged and rf~ know Dar understand laughter. Try, nor understand laughter. Try, für for a a moment, to become i\nterested in everything to in interested moment, everything that is is being said that an~ done; act, in imagina-said and in act, done; being imagina-

THE COMIC IN GENERAL

Ii

5 5

tion, with tl10se those who act, and feel feel with with those those tion, with act, and who feel; give your sympathy in a a ward, its feel; in word, give your sympathy its widest widest expansion: at the as though the touch touch of of expansion: as though at wand you will see the flimsiest of aa fairy fairy you will see the flimsiest of objects assume importance, a gloomy hue objects importance, and a gloomy hue spread No\v Now step look aside, look spread over everything. step aside, everything. upon as a a disinterested life as disinterested spectator: upon life spectator many many aa drama will It is enough turn into will turn into a a comedy. It is comedy. enough for aur ears to the sound of music in for us us to to stap our ears to the sound in of music stop aa room, is going on, for the the room, where dancing dancing is going on, for dancers at anee to appear ridiculous. How dancers at once to appear ridiculous. many actions would would stand stand a a similar similar test? test? many human actions Should we not pass not see see many of them suddenly many of suddenly pass from grave to gay, the ac. ac-. from the gay, on isolating grave to isolating them from cOlnpallying music of sentiment? "··.To produce of music -To sentiment? produce*~ companying the whole of then, the of its its effect, the comic demands the effect, then, something like aa momentary momentary anesthesia of the the anesthesia of something like heart. Its appeal is to intelligence, pure and Its appeal is to intelligence, pure heart. simple. simple. :

~this /This

intelligence, intelligence,

however, however,

must must. always always

remain in in touch touch with with other other intelligences. intelligences. ' And remain

here here

is the the third third fact fact to to which wl1ich attention attention should

is

be drawn. drawn. be

YOll would hardly hardly appreciate appreciate the You comic if if you you felt feIt yourself yourself isolated isolated from others. others. comic echo. an of Laughter appears appears to to stand stand in in need of echo. Laughter Listen to to it it carefully: carefully: it it is is not an articulate, articulate, Listen

6 6

LAUGHTJiK

CHAP.

clear, it is is something which well-defined ^ound it clear, ,vell-defined,pound; something which \vould be prolonged would fain fain be from by reverberating reverberating fram prolonged by one to allotller, sOtnetlling beginning "\vith to one a another, something beginning with a crash, to continue in successive rumblings, like in successive to continue like crash, rumblings, thunder in a this reverberathunder in a mOul1tain. reverberamountain. Still, Still, tllis tion travel for ever. tion cannot ever, ~ IItt can can travel cannot go on for go on \vithin as wide a circle as you please : the within as wide a circle as you please the circle circle remains, none the less, a closed one. .Gur a none the closed one. jQur less, remains, !aughter the lauO"llter of ' It of a errou is always It always the laughter is ^a gro up. laughter may, anee, have to you, have happened happened to perchance, you, when may, perc seated in a railway carriage or at tabte hote, to to seated in a railway carriage or at table ä cFhbte, hear to oue another stories travellers relating to one another stories hear travellers relating \vhich been comic to to them, which roust must have have been for they them, for they laughed heartily. Had you been one of tl1eir their been one of you laughed heartily. company, you would them, would have have laughed like them, company, you laughed like but, as were not, not, you whatas you desire whatbut, you were you had no desire ever A man who was once ever to to da do so. asked so. once asl<:ed why did not at a a sermon when everynot weep why he did weep at every" body else was slledding tears 't I don don't replied "I body else shedding tears replied: " belang What that that man thought to the the parish!" parish belong to thought of tears would be be still of tears still more true true of of laughter. laughter. However spontaneous it seems, laughter it seems, spontaneous always laughter always a kind implies kind of of secret or secret freemasonry, implies a freemasonry, or even complicity, with other laughers, real or imimother real or complicity, laughers, aginary.1; Ho\v often has it been said How often has it said that that the the aginary. fuller the theatre, fuller theatre, the tlle more uncontrolled uncontrolled the the ;

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THE COJ\1IC COMIC IN GENERAL

Ii

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laughter of the the audience audience rOll On t11e the other other hand\ hand, laughter of how often often has has the the remark remark been been made made that that many effects are are incapable of translation translation many comic effects incapable of from one language to anotl1er, because language to another, because they they refer the customs to the refer to customs and and ideas of a a particular ideas of particular social It is tl1rough not understanding It social group! is not group through understanding the of this the ilnportance this double fact that that the double fact the importance of comic has been looked as a mere curiosity looked upon a mere as upon curiosity in in which the the mind finds finds amusement, and amusement, and laughter itself as as astrange, a strange, isolated isolated phenolaughter itself phenomenon, without any bearing of the rest rest of menon, any bearing on tl1e human activity. Hence tl10se definitions \vhich those definitions which activity. tend to make tl1e tend to the comic comic into into an abstract relaabstract rela" tion between ideas: intellectual contrast," tion an intellectual ideas "an contrast," "a patent patent absurdity," etc., definitions \vhich, definitions which, absurdity," etc., even were they they really really suitable to every of suitable to every form of the conlic, not in the least the in the least explain comic, would not explain \vhy why the comic makes us laugh. Hovv, indeed, the us laugh. How, indeed, should it it come about about that that this this particular particular logical logical should relation, as as soon as it it is is perceived, perceived, contracts, contracts, soon as relation, expands and and shakes our limbs, lin1bs, whilst \vhilst all all other other shakes our expands relations leave leave the the body body unaffected unaffected?? It It is is not relations from this this point point of of view view that that we shall shall approach approach from the problem. problem. To Ta understand understand laughter, lallghter, we must the !

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which it back back into into its Üs natural'lmwonment, natüräIenvrr;;~men(which is society, soci~ty,' and and above above all all must must we determine dctermine is

put put

it

LAUGHTER

88

CHAP.

the utility of which is a social one. the utility of its its function, is a social one. function, which Such, us say \viII be be the let us at once, the leading Such, let once, will leading say at idea Laughter all our of all idea of our investigations. Laughter must investigations. ariswer life in in life to certain of answer to certain requirements requirements of cO,l}1n1on. It roust must have a soc'l:al common. It have a social si nific ·Q..n. signifisatiap* Let us clearly mark t e point Let us clearly towards which the point towards our preliminary observations conare conour three three preliminary observations are verging. being, it it into being, will come into comic will verging. The comic appears, concentrate of men concentrate whenever aa group appears, wl1enever group of their attention on one of their number, imof their number, im.. their attention on one posing silence their emotions emotions and calling silence on their calling posing iota nothing hut their intelligence. W11at, their but into play What, play nothing intelligence. now, point on their which their the particular on ,vl1ich is the now, is particular point attention will have be concentrated, to be have to attention will concentrated, and what will here be the function function of of intelligence? will here be the intelligence ? Ta reply to be at at onee once to to will be these questions To reply to these questions will come to closer grips with tl1e problem. But here the here to closer grips with problem. aa few examples have become indispensable. have examples indispensable.

11 II

A

man, running along the street, stumbles man, running street, stumbles along the and falls; the passers-by passers-by burst burst out falls the out lallghing. laughing. They would not laugh at hirn, I imagine, not at I could him, They laugh imagine, could they that the the whim had suddenly suppose that they suppose suddenly him to sit down on the seized to sit seized hin1 the ground. They ground. They laugh because his sittil1g down is his is involuntary. laugh sitting involuntary. ;

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THE COMIC IN GENERAL

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Consequently, it is is not his sudden not his sudden change of Consequently, it change of attitude hut rather the inthat raises a laugh, attitude that raises a but rather the inlaugh, voluntaryelement in this element in this change, his clumclumvoluntary change, - his there was a stone siness, in fact. Perhaps in fact. on siness, Perhaps there was a stone on the He should road. the road. should have his pace altered his have altered or pace or avoided Instead the obstacle. avoided the obstacle. of that, Instead of that, through through lack of elasticity, lack of absentmindedness elasticity, through through absentmindedness and a kind of of physical as a a result, in " result^ in physical obstinacy, obstinacy, as fact,of or of the museIes muscles .' momentum, the of rigziiity rigidity or fac^ of momentum, continued to perform continued to same movement when the same when perform the the circumstances of the case called for same· the circumstances of the case called for something That is else. is the the reason reason of of the the man's man's thing else. fall, also of of the the people's fall, and also people's laughter. laughter. take the person who attends N OW, take the case case of a person of a attends Now, to the the petty petty occupations of his everyday to of his life occupations everyday life with mathematical mathematical precision. precision. The objects with objects around him, hirn, however, however, have have all been tampered all been tampered mischievous wag, wag, the the result result being being . with with by by aa mischievous that when he he dips dips his his pen pen into into the the inkstand inkstand that he draws draws it it out out all all covered covered with with mud, mud, when he he a faneies he he is is sitting asolid chair he solid chair fancies sitting down on a in the finds himself sprawling the floor, in a word ward on finds himself sprawling floor, his actions actions are are all all topsy-turvy topsy-turvy or or mere beating beating his the air, air, while while in in every every case case the the effect effect is is invariinvarithe has Habit ably one of momentum. given the given the ably one of impulse: what what was was wanted was to to check the the impulse:

LAUGHTER

10 io

CHAP~ CHAP,

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

of

All the All in both both cases cases the' has the result result has the same, same, in been brought by an extemal been about by external circumstance. circumstance. brought about The comic is therefore it remains, so comic is therefore accidental accidental : it remains, so :

to person. to speak, in superficial with the contact with the person. speak, in superficial contact How is Tl1e is it it to within ? ? to penetrate The necessary penetrate within necessary will be be fulfilled conditions conditions will fulfilled when mechanical mechanical rigidity langer requires requires far manifestation no longer for its its manifestation rigidity DO a stumbling-block which either either the the hazard of hazard of stumbling-block which circumstance has set in its circumstance or or human knavery its set in knavery has way, by natural extracts by natural processes, its from its way, but extracts processes, from own store, an inexhaustible series of oppor.. an inexhaustible series of opporstore,

ri

THE COMIC IN GENERAL

11 11

tunities for externally tunities for its presence. externally revealing revealing its presence. Suppose, then, we imagine a mind always a mind then, Suppose, imagine always thinking clone and never of of what it it has has just thinking of just done and never of what it behind is doing, like it is a song which lags doing, like a song which lags behind its to picture to its accompaniment. Let us us try accompaniment. Let try to picture to ourselves of a certain certain inborn ourselves a inborn lack of elasticity lack of elasticity of both senses and intelligence, which brings it to both senses intelligence, which brings it to that we continue to pass that continue to see see what what is is no no langer pass longer visible, audible, to hear hear what what is is no no lOllger to visible, to longer audible, to say at is what is no langer to the point: in short, to short, to say wh point in longer to the adapt ourselves to a past and therefore imagiourselves to a adapt past and therefore imagiwhen we ought nary situation, to be be shaping our nary situation, ought to shaping our conduct in accordance accordance with with the conduct in the reality which is is reality which present. This time time the will take up its comic will the comic take up its present. abode the person person himself himself; it person in the it is is the abode in the person with everything will supply it with who will matter and supply it everything - matter form, 15 then surIs it it then surcause and opportunity. form, cause opportunity. prising that the absent-minded individual-for individual for prising that the absent-minded this is is the the character character we have have just just been been depdfcokeescribthis ing - has has usually usually fired fired the the imagination imagination of of comic comic ing authors?? When La Bruyere Bruyere came across across this this authors that particular type, he realised, analysing it, that on he realised, analysing it, particular type, he had had got got hold hold of of aa recipe recipe for for the the wholesale wholesale he manufacture of of comic conlic effects. effects. As aa matter matter of of manufacture far too us he overdid it, and gave us far tao lengthy fact fact he overdid it, lengthy gave and detailed a description of Menalque, coming of a detailed and Menalque, coming description :

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CHAP.

back to dwelling and expatiating or~ back to his his subject, subject, dwelling and expatiating on it T~e of the it beyond all The very bounds. facility of the very facility beyond all bounds. subject hirn. Absentmindedness, infascinated him. Absentmindedness, insubject fascinated not perhaps the actual fountain-head deed, is actual fountain-head the is not deed, perhaps of the comic, it is is contiguous to a', of the but surely a; comic, hut surely it contiguous to certain facts and faneies flows fancies \\Thich which flows certain stream stream of of facts straight from the fountain-head. It is sit~ated, is It situated, straight from the fountain-head. so to say, on ane of the great natural waterthe natural of waterone so to on great say, sheds Iaughter. sheds of of laughter. Now, the of absentmindedness effect of the effect absentmindedness may Now, may gather strength in its (There is general its turn. a turn. in is a {There general gather strength law, the first example of which have just of which have first we the law, example just encountered, which we will will formulate formulate in in encountered, and which the follawing terms: when a certain comic efa certain comic efthe following terms certain cause, feet has its in a a in its origin certain fect has the more cause, the origin natural regard the the cause ~o be, ~he natural we regard to be, the more Even now we comie find the the effect.. shall we find comic shall effect. laugh at absentmindedness when presen~ed to at to presented laugh us fact. Still laughable will a simple as a Still us as fact. more will simple laughablfe be the the absentmindedness absentmindedness we have have seen seen spring.. springing up up and growing with before aur our very ing growing before very eyes, eyes, with acquainted and whose whose origin we are are whose origin acquainted can reconstruct. Ta clloose aa life-history we reconstruct. To choose life-history definite has taken definite example: taken to to example suppose suppose a man has but reading nothing hut romances af love and of love reading nothing Attracted chivalry. Attracted and fascinated by his fascinated his chivalry. by 1 i

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THE COMIC IN GENERAL

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heroes, his thoughts and intentions intentions gradually heroes, his thoughts and gradually turn till one towards them, till turn more and more towards one fine fine them, day find hirn him walking us like like a a day we find walking among among us somnambulist. His actions are distractions. His actions are distractions. somnambulist. But his distractions then his distractions can But then can be traced back be traced back to to rafa definite, They cause. are no no Ipnger definite, positive positive cause. They are longer ,cases absence of of mind, of abse'Jzce cases of and simple; mind, pure simple they pure and they ffind presence of their explanation find their in the the presence of the the explanation in in quite individual definite, though imaginarYJI individual in quite definite, though imaginary surroundings. Doubtless a fall Doubtless a fall is is always a fall, surroundings. always a fall, J:>ut it is is one thing to tumble but it a weIl tumble into into a well because, because thing to you were looking anywhere hut in front of in of you, but front you looking anywhere you, it another thing to fall inta it because it is is quite another to fall it into because quite thing upon astar. It was certainly certai'~fy· you were intent a star. intent upon It was you star at which Don How ~ star at I2.2..~..Q.u~xote gazing. Quixote was gazing. ja profound is the comic element in the overthe in is comic the overelement profound if And yet, yet, if romantic, Utopian U topian bent bent of of mind! mind romantic, .,OU reintroduce the the idea idea of of absentmindedness, absentmindedness, you reintroduce acts as a go-between, you will will see see this this which' a as which acts go-between, you profound comic comic element element uniting uniting with with the the most profound ,superficial type. Yes, Yes, indeed, indeed, these these whimsical whimsical superficial type. are wild enthusiasts, enthusiasts, these these madmen who are yet yet so so wild to strangely reasonable, excite us to laughter by us excite laughter by strangely reasonable, playing on the same chords wit11in ourselves, within chords the same on ourselves, playing by setting setting in in motion motion the the same inner inner mechanism, mechanism, by as does the victim of a practical joke or or the the a of as does the victim practical joke ;

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passer.. by who slips down in the street.

CHAP. CHAP.

They,

passer-by who slips down in the street. They, too, are are runners runners who fall fall and and simple simple souls souls who too,

are being being hoaxed hoaxed are

runners after after the the ideal ideal who WIlD runners stumble over realities, child-like dreamers for stumble over realities, child-like dreamers for life delights delights to to lie lie in in wait. wait. But, But, above above whom life all, they they are are past-masters past..masters in in absentmindedness, absentmindedness, all, their fellows that that with this superiority over with this superiority over their fellows their absentmindedness absentmindedness is is systematic ortheir systematic and organised around one one central central idea, idea, and and that that their their ganised around mishaps are thanks to to the the also quite are also coherent, thanks quite coherent, mishaps inexorable logic which reality applies to the inexorable logic which reality applies to the correction that they they kindle kindIe in in so that of dreams, correction of dreams, so those around them, by a series of cumulative of cumulative those around them, by aseries effects, capable of unlimited exa hiIarity effects, a hilarity capable of unlimited ex.~ pansion. pansion. Now, let not a little little further. further. "Might us go let us Now, Might not go a certain to charcharrelation to certain vices the same relation"' have the vices have has to of a fixed idea has, ~,o fixed id~a acter ._~~~t that..,' the "r~~~~~y ~~t~r _~.h.e rigidity of, intellect Whether as or a as a a moral a moral kink kink or intellect?? crooked has often to the vice has often twist given the will, crooked t'wist will, vice given to the the soul. of the soul. the appearance a curvature curvature of of a appearance of Doubtless there are vices inta which the soul which the soul into there are vices Doubtless plunges all its with all its pregnant pregnant potency, plunges deeply deeply with potency, it which it and drags along with it it rejuvenates rejuvenates drags along with into Those of reincarnations. into a a moving circle of reincarnations. moving circle are vices. But the vice capable are tragic of the vice vices. capable of tragic .

-

"

,Q,

J,

Ii

THE COMIC IN GENERAL

15 15

making that which us comic is, on the the contrary, is, on making us contrary, that which is a ready-made like a is brought without, like brought from without, ready-made frame It into which we are are to to step. It lends frame inta lends us us step. its own rigidity instead of borrowing from us its rigidity instead of borrowing from us our We do do not not render it more our flexibility. render it more flexibility. complicated; the contrary, it simplifies us* complicated on the simplifies us. contrary, it Here, shall see as we shall see later in the on in later on the concludconcludHere, as ing section of this study, lies the essent~a1.. of this section ing study, lies the essential difference A difference between comedy drama. ;,[A comedy and drama. when portraying even ~4~'~~ drama, portraying passions or vices' vices' drama, eve~ passions or th'ät····be'är' ~ ~ame, so completely incorporates' that 'bear a name, so completely incorporated them in the perso,n in the that their their names are are forforperson that gotten, their general characteristics effaced, and their and characteristics effaced, general gotten, think of at all, hut rather of of think of them we no langer at but rather all, longer the person person' in they are in whom they are assimilated; assimilated the the title of a drama can seldorn be anyany~ hence, title of a be the seldom hence, thing the other a proper noun. On the other than a else than proper nou~:. thing else hand, many comedies have a c6mmon noun as a as hand, many comedies their title title: l'Avare, le Joueur, Joueur, etc* etc. Were you you their VAvare, le asked to to think think of of aa play play capable capable of of being being called cal1ed asked le Jaloux, Jaloux, for for instance, instance, you you would find find that that le to Sganarelle or George Dand~in occur to occur would Sganarelle or George Dandin your mind, mind, but but not not Othello Othello:: le le Jaloux Jaloux could could your only be be the the title title of of aa comedy. comedy. ,,', The reason reason is is only is however intimately intimately vice, vice, when comic, comic, is that, however that, retains less it none the associated with persons, it the less retains associated with persons, ;

;

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16 16

LAUGHTER

CHAP.

its simple, simple, independent independent existence, existence, it it remains remains the central central character, character, present present though though invisible, invisible, the to which which the the characters characters in in flesh flesh and and blood blood on on to '.the stage are attached. ' tirnes it delights in At it times .the stage are attached. delights in dragging them them down with with its its own weight weight and dragging making them them share in its its tumbles. tumbles. More frefreshare in making quently, however, it plays on as on an quently, however, it plays on them as on an instrument or pulls tl1e strings as though they instrument or pulls the strings as though they were puppets. puppets. Look closely: closely: you you will will find find were that the the comic poet consists in consists in of the comic poet art of that the art making us us so weIl acquainted with the the parparso well acquainted with making ticular vice, in introducing us, the spectators, ticular vice, in introducing us, the spectators, to such with it, that in in of intimacy a degree to such a it, that intimacy with degree of the hold of of some of of the the strings of the end end we get get hold strings of the with which he is playing, and he is marionette with the marionette playing, actually work them ourselves; this ourselves this it it is that ex.. is that exactually plains part of the pleasure we feel. Here, toD, of the feel. Here, too, pleasure plains part that it is of automatism is really it a kind of a?t9.~at.~~1?~hat makes us really laugh as we have have already reautomatism, as laugh - an automatis'm, already re· marked" closely akin to mere absentmindedakin to absentmindedmarked, closely it need only ness. this more fully, To realise realise this ness. ,'Ta fully, it only be noted a comic that a noted that is generally comic character character is generally comic in of hi~self in proportion to his his ignorance of himself.. proportion to ignorance .The person is unconscious.. ,' As though The comic comic person is unconscious. though wearing the ring of GygE7s with reverse effect, the of with reverse effect, ring wearing Gyges he becomes invisible to himself invisible to' himself while while remainremainits

;

Ii

THE COMIC IN GENERAL

17

ing A character to all all the visible to world. the world. character in in a a ing visible tragedy will make no no change in his his conduct conduct tragedy will change in because he will know how it is judged will it is because us judged by by us; he continue therein even though fully con.. he may continue even therein conmay though fully scious of what he he is is and scious of and feeling the feeling keenly keenly the horror he inspires in us. But adefeet that horror But a defect that is is inspires in us. it feels itself to be so, ridiculous, as soon as as soon it as itself feels to be ridiculous, so, itself or at least to appear endeavours to modify at endeavours to itself or to least modify appear it Were Harpagon to see as it did. did. as though to us see us though Harpagon laugh at his miserIiness, I da not say that he at his miserliness, I do not say that he laugh rid of would get rid of it, but he would either either show he would show it, but get it Indeed, it less it differently. it is less or or show it is in in Indeed, it differently. this this sense sense only that laughter "corrects men's men's only that laughter "correets manners." It makes us at once endeavour to It at manners." us once endeavour to appear to be, be, what what same some day ought to day appear what we ought perhaps end in being. in being. we shall shall perhaps It unnecessary to this analysis It is to carry is unnecessary carry this analysis any any the runner runner who \vho falls falls to to the the further. From the further. simpleton who is is hoaxed, hoaxed, from aastate of bebestate of simpleton ing hoaxed hoaxed to to one one of of absentmindedness, absentmindedness, from ing absentmindedness to wild enthusiasm, from wild absentmindedness to enthusiasm, wild enthusiasm enthusiasm to to various various distortions distortions of of charcharwild acter and and will, ,viII, we have have followed followed the the line line of of acter more progress along along which which the the comic comic becomes progress in and more deeply imbedded in the the person, person, yet yet imbedded and deeply without ceasing, ceasinl:>cy, in in its its subtler subtier manifestations, manifestations. without • ;

18 i8 to recall recall to to us us to

LAUGHTER

CKAP. CHAP.

same trace trace of of what what we noticed noticed some

in its its grosser grosser forms, forms, in

an effect effect of of automatism automatism an

and of of inelasticity. inelasticity. Now we can can obtain obtain aa first first and gIimpse-a distant one, it is true, and still it is still and a distant one, true, glimpse hazy and and confused confused - of of the the laughable laughable side side of of hazy human nature nature and and of of the the ordinary ordinary function function of of human laughter. laughter. What life life and and society society require require of of each each of of us us is aa constantly constantly alert alert attention attention that that discerns discerns the the is outlines the present present situation, together with with of the outlines of situation, together aa certain body to to enable of mind and body enable certain elasticity elasticity of u.s to adapt ourselves in consequence. Te"zin Tenourselves us to adapt consequence. sion and mutually com.. are two forces, comand elastzcity sion forces, mutually elasticity are plementary, If life brings into If brings into play. play. plementary, which life these are lacking in the forces are to two forces the body these two body to lacking in any considerable extent, we have sickness and have sickness any considerable extent, infirmity and accidents of every kind. If of accidents kind. If they every they infirmity are in the mind, we find every degree in the are lacking find mind, every degree lacking of of insanity. of mental mental deficiency, every variety deficiency, every insanity. variety of Finally, if they are Iacking in the character, in are the character, we lacking Finally, if they have the gravest of the to have cases cases of gravest inadaptability inadaptability to social are the the sources social life, sources of of misery life, which are misery and at of crime. at times times the the causes causes of crime. Once these these elements of inferiority that affect the serious that of the elements affect serious inferiority side of existence are removed - and they side of existence are they tend to to eliminate in what has has been eliminate themselves' themselves in been called called

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THE COMIC IN GENERAL

19

the the person can for life life the person can live, the struggle and live, and struggle for that with other persans. But in common with other persons. that in But society asks far for something it is is not not more; it society asks something more; satisfied with simply living, it insists on living with it satisfied insists on living simply living, weIl. it now has well What it has to to dread dread is is that that each each one paying attention of US, content with one of with paying attention to to us, content what affects the essentials of life, will, so far as affects the essentials of life, will, so far as the to the is concemed, rest is the rest the easy concerned, give easy give way way to automatism habits. Another thing of acquired automatism of habits. acquired thing it fear is is that that the is it must fear it is of whom it the members oI made up, instead of aiming after an increasingly instead of an up, increasingly aiming after delicate of wills which will fit fit more will of delicate adjustment wills which adjustment and more perfectly perfectly into will conconinto one one another, another, will fine respecting simply fundafine themselves to respecting themselves to the fundasimply the mental a cutcutof this this adjustment: mental conditions conditions of adjustment: a and-dried persons will will the persons and-dried agreement among the agreement among not strivit insists a constant constant strivinsists on a not satisfy it, it satisfy it, will . ing after reciprocal adaptation. Society Society will ing after reciprocal adaptation. of therefore be suspicious all inelast'icity of all therefore be inelasticity of suspicious of body, because because character, of body, even of of mind and even character, of it is the possible sign of a slumbering it is the possible sign of a slumbering activity activity as weIl as with separatist tend.. with an activity as of of an as well separatist tendactivity encies, the common to swerve from the that i1?-clines inclines to encies, that in centre round which which society centre ra,und gravitates: in society gravitates: short, of an eccentricity. the sign it is is the because it eccentricity. short, because sign of at this this stage And yet, society cannot intervene at intervene cannot stage yet, society

20

LAUGHTER

by material material repression, since by repression, since

CHAP

it it is is not affected not affected

It in It is is confronted with confronted with a material fashion. material fashion. in a something that makes it uneasy, hut only as a a something that makes it uneasy, but only as symptom scarcely a threat, at the very most a at most the threat, very scarcely symptom aa gesture. A gesture, therefore, will be its its will be therefore, gesture, gesture. must be s01m..z.thi~f this reply. Jeughter something of this reply. Laughter m~t be. kind, a... sort cf social gestu,:e. By the fear kind, a, sprtofjw^g/ gesture. By the fear which it eccentricity, keeps restrains it resfi'äins it inspires, which it eccentricity, keeps inspires, constantly in mutual contact contact certain certain constantly awake and in vities of which might might acti a secondary order which of a activities secondary order retire inta their shell and go to sleep, and in in shell their retire into go to sleep, short, whatever the of the the softens down whatever surface of the surface short, softens social may retain retain of of mechjlnical social body mechanical inelasticity. inelasticity. body may Laughter, then, does not belang to province the province to the Laughter, then, does not belong of since unconsciously even of esthetics esthetics alone, alone, since (and even unconsciously (and immorally particular instances) in many it purinstances) it purimmorally in many particular improvement. sues a utilitarian utilitarian aim of of general sues a general improvement. And yet there is is something esthetic it, yet there something esthetic about it, since just the comic comes inta into being since the when being just society and the individual, freed from worry the freed from the the worry individual, society of to regard of self-preservation, themselves self-preservation, begin begin to regard themselves as works of art. '~~in a ward, if a circle works of a a art. as circle be be '..In word, if drawn round those those actions actions and dispositionsdispositions in implied in individual or social life - to to which individual or social life implied their their natural natural consequences their own consequences bring bring their penalties, there remains outside this sphere there this of outside penalties, sphere of l,

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THE COMIC IN GENE,RAL GENERAL

21 21

emotion emotion and struggle within a a neutral neutral struggle - and witllin zone exposes himself to in which man simply zone in himself to simply exposes man's curiosity-a certain rigidityof body, mind a certain rigidity of body, mind man's curiosity al1d character that and character that society would still still like to like to society would get rici of in order to obtain from its members in of rid order to obtain its from members get the and the greatest of elasticity possible degree greatest possible degree of elasticity and This rigidity is the comic, sociability. and sociability. rigidity is the comic, and laughter is corrective. is its its corrective. laughter Still, must not not accept this formula formula as a as a Still, we roust accept this definition It of the definition of the comic. comic. It is is suitable suitable only only for theoretical that are for cases cases that are elementary, and elementary, theoretical and perfect, in which the comic is free from all in is the comic free from all perfect, adulteration. Nor da adulteration. do we offer an offer it, as an it, either, either, as explanation. We prefer to make it, if you if it, explanation. prefer to you will, the leitmotiv which is to accompany leitmotiv the which is to all will, accompany all our explanations. must ever it in in ever keep explanations. We must keep it mind, though though without without dwelling it too much, on it too much, mind, dwelling on as aa skilful skilful fencer fencer must think think of of the the somewhat as 'discontinuous of the the lesson lesson whilst whilst discontinuous movements of his body body is is given given up up to to the the continuity continuity of of the the his fencing-match. We will will now endeavour endeavour to to fencing-match. reconstruct the the sequence sequence of of comic comic forms, farms, taking taking reconstruct up again again the the thread thread that that leads leads from from the the horsehorseup play of of aa clown clown up up to to the the most most refined refined effects effects play of comedy, comedy, following following this this thread thread in in its its often often of at intervals intervals to to look lo~k unforeseen windings, windings, halting halting at unforeseen

LAUGHTER

22

C~.

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

111 Ill Let begin at the simplest point. What at the us begin Let us simplest point. is aa comic a does a comic physiognomy? is physiognomy? Where does ridiculous expression of the face come from? of the from ? face ridiculous expression And what in this this case, bethe distinction distinction bewhat is, is, in case, the ugly?? Thus stated, tween the ugly the comic comic and the tween the stated, the in could scarcely be answered answered in the question scarcely be question could any other than an arbitrary fashion. Simple than other fashion. Simple arbitrary any though it it is, even now, toD it may appear, it too even now, is, may appear, though subtle We should a direct allow of of a direct attack. attack. should subtle to to allow adefinition of ugliness, have to begin with a with to have definition of ugliness, and begin then then discover addition the the comic discover what addition comic makes to now, not much easier it is not to it; to easier to now, ugliness ugliness is analyse beauty. However~ is beauty. will However, we will analyse than is employ an artifice which will often stand us in artifice which will often stand us in employ good We will will exaggerate t11e problem, problem, stead. good stead. exaggerate the so to speak, so to to the the effect effect to the speak, by by magnifying magnifying the point of Suppose, of making the cause cause visible. visible. point making the Suppose, then, we intensify ugliness to the point of to the of then, intensify ugliness point ;

FORMS

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23 23

defarmity, transition from the transition from the the study the deformity, and study deformed to the the ridiculous. ridiculous. deformed to N ow, certain certain deformities deformities undoubtedly Now, posundoubtedly possess over others the sorry privilege of causing others the of sess over sorry privilege causing same to laugh; same hunchbacks, to some persons some for hunchbacks, for persons laugh instance, will excite Without excite laughter. Without at at this this instance, will laughter. point entering iota useless details, we will will point entering into useless details, simply ask the reader to think of a number of ask the reader to a of think of simply deformities, and then then to to divide two into two divide them inta deformities, and groups: those which which nature the oue one hand, nature hand, those groups on the has directed towards the ridiculous; and has directed towards the ridiculous; and on on the those which absolutely diverge from those which the otller, from other, absolutely diverge it. No doubt he will hit the following he will hit upon it. upon the following law: A deform'ity z·s a that may law A become tomzc comic is deformity that may become deformt:ty that a normally buz"lt person could that could built normally deformity person successfully im~~tll:.te. in^Hate. successfully Is that the the case Is it it not, the hunchback case that not, then, then, the suggests the appearance of a person holds a person who holds suggests the appearance of himself badly?? His to have con.. conHis back seems to himself badly back seems tracted ugly stoop. By physical of physical kind of tracted an ugly stoop. By aa kind obstinacy, in aa ward, persists it persists word, it rigidity^ in obstinacy, by by ngz·dt:ty, to see in the habit it has contracted. Try it has contracted. in the habit Try to A void reflection, reflection, and with Avoid alone. with your your eyes eyes alone. all your above Abandon all reason. do not not reason. above all, your all, da prepossessions ; seek to recapture a fresh, to fresh, recapture prepossessions; seek vision direct impression. The vision direct and primitive primitive impression. ;

:

:

24

LAUGHTER

CHAP. CHAP.

you reacquire will be one kind. this kind. will be of this one of will reacquire you will You have before bent on a man bent on culticultibefore you You will will have you a vating a certain rigid attitude whose body, if vating a certain rigid attitude whose body, if one use the vast grin. is one one vast the expression, one may expression, is grin. may use OW, let us go back to the point we wished N to the wished back us let Now, point go to up: By that . a deforlnity to clear clear up; toning down a deformity that By toning is laughable, we ought to obtain an ugliness to obtain an ugliness is laughable, ought that tl1e of the that is comic. A laughable is comic. laughable expression expression of face, that will us think will make us one that think of of is one face, then, then, is something rigid and, so to to speak, and, so speak, coagulated, coagulated, something rigid in the wonted nlobility of the face. What we of the in the wonted mobility face. shall will be an ingrailled be an or a see will a shall see ingrained twitching twitching or fixed may be It may be objected that every fixed grimace. every objected that grimace* It habitual expression of the face, even habitual expression of the face, even when

graceful and beautiful, us t11is this same same im.. imbeautiful, gives gives us graceful and pression of of something an pression something stereotyped? stereotyped? Here an important distinction must must be be drawn. drawn. When important distinction we speak of expressive beauty ex-. or even even ex. speak of expressive beauty or pressive ugliness, ugliness, pressive

that a when we say a face face say that possesses expression, that possesses expression, we mean expression expression that may which we conjecture be stable, but which to be be stable, but may be conjecture to It maintains, mobile. It maintains, in mobile. in the the midst midst of of its its fixity, fixity, certain indecision a certain indecision in in which are are obscurely obscurely all portrayed all possible shades of the state state of of shades the of possible portrayed it expresses, just as mind it the sunny expresses, just as the promise sunny promise of a warm day of manifests itself in the haze manifests haze of itself in the of day

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FORMS

25

aspring a spring morning. But aa comic comic expression morning. But expression of ane face is the face is one that of the that promises promises nothing nothing more than It it gives. than it a unique is a It is and pergives. unique and permanent grimace. One would say that would say that the the grimace. person's whole moral life has crystallised into moral has life into person's crystallised this This this particular cast of This is of features. features. is the the particular cast reason why a face is all the more comic, the reason why a face is all the comic, the more nearly it us the idea of it suggests to idea of same to us the some nearly suggests simple mechanical action in which its personaction in which its simple mechanical personality for ever ever be be absorbed. absorbed. Same Some faces faces ality would for seem to engaged in weeping, others to be be always always engaged in weeping, others in in laughing or whistling, in etereterothers, again, laughing or again, in whistling, others, nally and these these nally blowing blowing an imaginary trumpet, and imaginary trumpet, are the most comic are the comic faces of all. Here again faces of all is again is exemplified the law according to which the the to law the exemplified according natural the the cause, more natural the explanation the of the cause, the explanation of the effect. Automatism, inmore comic is is the ineffect. Automatism, elastzcz'ty, habit that has been contracted and elasticity, habit that has been contracted maintained, are are clearly clearly the the causes causes why why aa face face maintained, us laugh. laugh. But But this this effect effect gains gains in in ininmakes us tensity when we are are able able to to connect connect these these tensity same deep-seated cause, characteristics with some characteristics with deep-seated cause, certain fundamental fundamental absentmindedness, aosentm-indedness, as as a certain a though the the soul soul had had allowed allowed itself itself to to be fascifascithough nated and hypnotised hypnotised by by the the materiality materiality of of aa nated

simple action. action. simple

26 26

LAUGHTER

CHAP.

Weshall understand the comic element element the comic We shall now now understand in Howeverregularwe mayimagine in caqcatu:t:e. However regular we may caricature. imagine aa face to be, however hannonious i ts lines and lines and face to be, however harmonious its supple its movements, their adjustment is never their is never adjustment supple its movements, altogether perfect: there will always be dis.. there will disalways be altogether perfect: coverable the signs bias, of some impending coverable the impending bias, signs of the vague suggestion of a possible grimace, in the vague suggestion of possible grimace, in short, which distortion towards towards which favourite distortion some favourite short, some nature be particularly particularly inclined. The to be inclined. seems to nature seems art in detecting caricaturist consists consists in art of of the the caricaturist detecting this, at times, imperceptible tendency, in this, at times, imperceptible tendency, and in rendering to all all eyes it visible visible to it. eyes by magnifying it. rendering it by magnifying He makes makes his his models would models grimace, as they grimace, as they would do themsel ves if they went to the end of their do themselves if they to the end of their tether. Beneath the skin-deep harmony of tether. Beneath the of skin-deep harmony recalcitrance form, the deep-seated divines tl1e he divines form, he deep-seated recalcitrance of matter. He realises of matter. realises disproportions dedisproportions and dein nature formations which must roust have existed formations which in existed nature as hut which have not suc.. as mere inclinations, but which have sucnot inclinations, ceeded in held in in coming a head, to a in check check head, being coming to being held by His touch force. His art, which has has a a touch art, which by a higher higher force. of the diabolical, of raises up the demon who had raises the had diabolical, up been overthrown by by the Certainly, it the angel. it is is angel Certainly, art that an art an that exaggerates, the definition definition exaggerates, and yet yet the would be very far from complete very far complete were exaggera-exaggeration alone alone alleged tion to be its aim and object, to its for alleged object, far

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FORMS

27

there more lifelike caricatures that that are are more exist caricatures lifelike there exist than caricatures in which the exagthan portraits, portraits, caricatures in which the exaggeration is scarcely noticeable, whilst, inversely, geration is scarcely noticeable, whilst, inversely, it is quite to excess to exaggerate it is quite possible excess possible to exaggerate to areal caricature. For without a real without obtaining caricature. For obtaining exaggeration be comic, not appear to be it must must not as comic, it exaggeration ta appear as an aim, but rather as a means that the artist an aim, but rather as a that the artist is is in order to make manifest to our eyes the using in order to our the manifest to using eyes distortions which 11e he sees in embryo. distortions which sees in is embryo. IItt is this of distortion this process distortion that of moment and that is and is of process of interest. And that is precisely why we shall that is precisely why interest. shall look in those it even for it look for even in of the those elements elements of the face face that the curve of movement, that are in the are incapable of curve of movement, in incapable of aa nose nase or For, the shape or the of all an ear. ear. in aur our eyes, For, in shape of eyes, the outline af a movement. The form is is always the outline of a movement. always caricaturist caricaturist who alters the size of a nase, but alters the size af nose, but respects its ground plan, for it, for respects its lengthening it, ground plan, lengthening instance, which it it was in the the very in which direction in instance, in very direction being lengthened by nature, is really making is really making being lengthened by nature, the nase indulge in a grin. Henceforth we a in the nose grin. indulge shal1 upon the having as having the original shall always look upon always look original as determined to lengthen itself and start grinning. start grinning. determined to lengthen itself that Nature herself In this sense, one might say that herself In this one sense, might say a caricaturist. often caricaturist. of a the successes with the successes of often meets meets with that slit that 111 the movement through In the through which she has slit mouth, bulged out that chin and bulged that chin curtailed that mouth, curtailed

28

LAUGHTER

CHAP.

cheek, to have have succeeded would appear she would cheek, she appear to in the intended grimace, thus outin completing completing the intended grimace, thus outwitting the restraining supervision of a more witting the restraining supervision of a reasonable In the face face we that case, In that force. reasonable force. case, the laugh so to speak, its own caricature. caricature. at is, is, so to speak, its laugh at Ta whatever be the doctrine to sum up, To surn up, whatever be the doctrine to which our reason has our imagination which our reason assents, assents, Gur imagination has aa very very clear-cut philosophy of in every of its its own: own in clear-cut philosophy every human form is the effort effort of a soul of a soul which is it sees sees the form it shaping a soul soul which is is infinitely matter, a supple infinitely supple shaping matter, and perpetually in motion, stlbject to no law of in of to and perpetually motion, subject gravitation, for it is not the earth that attracts gravitation, for it is not the earth that attracts it.-' This a portion of it This soul soul imparts its winged of its imparts apartion winged lightness to the body it it animates: imthe body the im~ animates: the lightness to materiality which thus passes inta matter is which thus is into matter materiality passes what is Matter, called gracefulness. is called Matter, however, however, gracefulness. is It to itself is obstinate It draws obstinate and resists. resists. the draws to itself the ever-alert activity of this higher principle, ever-alert activity of this higher principle, would fain fain convert it to convert it its own inertia to its inertia and it to cause revert to cause it to revert to mere automatism. It automatism. It fain immobilise would fain immobilise the the intelligently varied intelligently varied of the movements of body in stupidly contracted the body in stupidly contracted in grooves, stereotype in permanent the permanent grimaces grooves, stereotype grimaces ~he fleeting the face, of the short in short face, in expressions of fleeting expressions imprint the whole person an attitude such an attitude as as imprint on the person such it appear immersed and to make it absorbed in and absorbed in appear :

MOVEMENTS

Ii

29

the of same some mechanical the materiality mechanical occupation materiality of occupation instead renewing its vitality by instead of of ceaselessly its ceaselessly renewing vitality by keeping ideal. Where in touch touch with with a a living keeping in living ideal. matter thus succeeds in dul~ing the thus matter succeeds in dulling the outward outward life life of in petrifying its movements and in the soul, of the its movements and soul, petrifying thwarting its gracefulness, its it achieves, at the the achieves, at thwarting gracefulness, it expense the body, of the an effect that is is comic. effect that comic. expense of body, an If, then, at tllis point we wish to define at this the wish to define the If, then, point comic by comparing it with its contrary, it its with by comparing contrary, we should it with to contrast should have to contrast it with gracefulness gracefulness even It than with with beauty. even more than It partakes partakes beauty. rather than of the unsightly, the unsprightly rather of of the than the of unsprightly unsightly, of rather than of ugl-iness. of rzg~idness rather than of rigidness ugliness.

·IV IV will now We will

pass from from the the comic comic element element pass in forms forms to to that that in in gestures gestures and and movements. mOVeme11,ts. in Let us at anee state the law which seems to to at law which us the once state Let govem all all the the phenomena phenomena of of this this kind. kind. It It may may govern indeed be be deduced deduced without wit110ut any any difficulty difficulty from indeed the considerations considerations stated stated above. above. the

The attitudes, att1:tudes, gestures gestures and movements of 0/ the the body are are laughable laughable in z"n exact e::cact proportion proportzron human body as that that body oody reminds remz·nds us us of 0/ a mere machine. machz·ne. as There is is no no need need to to follow follow this this law la w through through There

3o 3°

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the which immediate applications, its immediate of its the details details of applications, which are Ta verify it To verify it directly, it are innumerable. innumerable. directly, it would to study the work sufficient to would be be sufficient study closely closely the of comic artists, eliminating entirely the element the element of comic artists, eliminating entirely of portion of that portion the of the and omitting of caricature, caricature, and omitting that comic not inherent the drawing inherent in in the is not comic which which is drawing itself. Für, obviously, the comic element in a a element in itself. For, obviously, the drawing is a borrowed one, for which the borrowed a for which the often is often one, drawing text all the stock-in..trade. II mean all the stock-in-trade. text supplies supplies that understudy in his own understudy in artist may that the the artist may be his the shape of a satirist, or even a playwright, or a a of even the shape satirist, playwright, and far less at the drawings far less at the that then then we laugh and that laugh drawings than at the satire themselves at the satire or or comic comic incident incident themselves than they But if whole if we devote devote our our whole represent. they represent. attention with the firm resolve with the drawing firm attention to to the resolve the drawing to think of nothing else, probably find shall probably to think of nothing find else, we shall that in proportion that it it is is generally comic in to the the proportion to generally clearness, as weIl as the subtleness, with which as the as well with which clearness, subtleness, it us to jointed puppet puppet. it enables a man as as a a jointed enables us to see see a The suggestion a clear be a clear one, for inside inside one, for suggestion must be the perceive, as the person as person we must distinctly distinctly perceive, though through a glass, a set-up mechanism. a set-up though through glass, But the the suggestion roust also be must a subtle also be a subtle one, one, suggestion for the for the general appearance of the person, of the whose appearance general person, every has been made rigid rigid as a machine, as a machine, every limb has to give must continue us the impression continue to us the of a give impression of

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living being. The more more exactly these two two exactly these living being. that of a person and that of a machine, images, that a of and that a of machine, person images, fit is the each other, into each the more more striking fit iota other, the striking is the comic and the the more consummate comic effect, art consummate the the art effect, and of The originality of a comic the draughtsman. of the of a comic draughtsman. originality artist thus expressed is thus in the the special artist is of kind of expressed in special kind life he imparts to a mere puppet. ~~ a life he imparts to mere puppet We will, however, leave on on one one side side the the will, however, leave immediate of the immediate application the principle, at and at application of principle, and this this point insist only on the the more remote remote conconpoint insist only on sequences. The illusion of a machine working of a illusion machine working sequences. in is aa thing inside of of the in the the inside the person is that ooIy person thing that only crops up amid a host of amusing effects; but for a host of effects but for crops up amusing the most part part it that is is a it is a fleeting the is fleeting glimpse, glimpse, that immediately lost in the laughter it provokes. in the it lost immediately provokes. laughter Ta render it permanent, analysis and reflection it permanent, To render reflection analysis roust be be called play. into play. must called into In aa public public speaker, speaker, for for instance, instance, we find In find that gesture gesture vies vies with with speech. speech. Jealous ]ealous of of the the that latter, gesture gesture closely closely dogs clogs the the speaker's latter, speaker's to act act as as interpreter. interpreter. thought, demanding demanding also also to thought, and good good; but hut then then it it must pledge pledge itself itself WeIl and Well thought through through all all the the phases phases of of its its to follow follow thought to development. An idea idea is is something something that that development. the from and grows, buds, blossoms and. ripens the -ripens grows, buds, blossoms beginning to to the the end of of aa speech. speech. It I t never never beginning j.*

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halts, repeats itself. It It must must be be changing never repeats itself. halts, never changing every moment, for to cease to change be would be to to cease for moment, every change would to cease to live. Then let gesture display to cease to live. let gesture display aa like fundait accept the Let it like animation animation!I Let accept the fundamental which the complete which is is the law of mental law of life, life, complete negation of repetition! But I that that a a I find find of repetition negation certain movement of head or arm, a movement or arm, a of certain the same, seems to return always seems to at regular return at the same, regular always intervals. If notice it it and it in it succeeds If I I notice succeeds in intervals. diverting if I I wait wait for it to for it to occur occur attention, if my attention, diverting my and it, then involunthen it occurs involunoccurs when II expect and it expect it, tarily I Why? have I Iaugh. Because II now have Why? Because tarily laugh. before me aa machine works automatically. that works machine that before automatically. This is no langer life, is automatism it is automatism This is no longer life, it It established life and imitating it. It beestablished in in life beimitating it. langs to comic. the comic. to the longs This is reason why which is also the reason also the at which why gestures, gestures, at become Iaughable we never never dreamt of of Iaughing, laughing, laughable when imitated by another The imitated by another individual. individual. most elaborate been offered elaborate explanations have been offered explanations have for this extremely simple fact. A little reflecfor this little reflecextremely simple fact mental state tion, will show that that our our mental state tion, however, however, will is ever cha11ging, and that is faith~ that if if aur our gestures changing, gestures faithfully movements, if these inner inner movements, if they fully followed these they were as fully alive as we, they would never as we, they would never fully alive repeat would keep so would imitation themselves, and so repeat themselves, keep imitation !

MOVEMENTS

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33 33

at We begin, to become imitable imitable at bay. then, ~o begin, then, bay. only \vhen we cease II mean cease to to be be ourselves. ourselves. only when our gestures can only be imitated in their can imitated in be their our gestures only mechanical therefore exactly and therefore mechanical uniformity, uniformity, and exactly in what is alien to our living Ta To in what is alien to our living personality. personality. imitate one is to bring out the element of is the one out to element of imitate any any bring automatism has allowed to creep into his his allowed to automatism he has creep into person. And as this is the very essence of the as this is the very essence of the person. Iudicrous, it is no wonder that it is imitation gives that imitation ludicrous, gives rise to laughter. rise to laughter. Still, if the the imitation imitation of of gestures is intrinintrinStill, if gestures is sically it will will become even even more more so so laughable, it sically laughable, it busies when it though busies itself itself in in deflecting them, deflecting them, though without altering their form, towards same without their some form, towards altering mecha:nical occupation, wood, mechanical such as as sawing occupation, such sawing wood, striking on an anvil, or tugging away or at an an anvil, striking tugging away at imaginary bell-rope. . Not that that vulgarity vulgarity is is the the imaginary bell-rope. essence of of the the comic, comic,-although certa1.nly it it is is essence although certainly to some same extent extent an an ingredient, ingredient, - but but rather rather that that to the incriminated incriminated gesture gesture seems seems more frankly frankly the mechanical when it it can can be connected connected with with aa simple operation, operation, as as though though it it were were intentionally intentionally simple mechanical. To suggest suggest this this mechanical mechanical interintermechanical. pretation ought to be of the favourite of to be one the favourite pretation ought devices of of parody. parody. reached this this We have reached devices result through through deduction, deduction, but but II imagine imagine result D

34 34

LAUGHTER

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clowns clowns have of the the an intuition had an intuition of have long long had fact. fact. This the little little This seems solution of of the seems to the solution to me the propounded by Pascal in one passage riddle Pascal in riddle propounded one by passage of his Thoughts: "Two faces that are alike, that are of his faces alike, Thoughts: although neither of them excites laughter of neither excites laughter by by although itself, make us laugh when together, on account account us laugh itself, together, on of their likeness." It just as It might of their as weIl well be be likeness," might just said: a public of a said: "The no "The gestures public speaker, speaker, no gestures of one one of excite is laughable of which which is itself, excite laughable by by itself, laughter by their repetition." The truth truth is is laughter by their repetition." that living life should never repeat life should that a never a really repeat really living itself. Wherever there repetition or is repetition there is itself. or complete complete similarity, al\'iays suspect same mechanism similarity, we always suspect some at work behind behind the Analyse at work the living. imthe imliving. Analyse the that are pression you faces that are toD too pression you get get from two faces much alike, you will that you will find and you find that are alike, and you are thinking of two copies cast in the same mould, mould, copies cast in the thinking of or two impressions of the same seal, or two or two of the or two seal, impressions reproductions the same negative, of the in a a reproductions of negative, - in ward, of same some manufacturing or other. other. word, of process or manufacturing process This deflection of life towards the mechanical of deflection life the mechanical is here is here the real cause the real of Iaughter. cause of laughter. will be more pronounced will And laughter still, pronounced still, laughter if we find if merely two characthe stage find on the characstage not merely in the as in ters, the example but several, ters, as Pascal, but several, example from Pascal,

MOVEMENTS

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nay, as great a number as as possible, the image possible, the nay, as great a image dance and of and go, one another, come and' of one dance and another, who come go, gesticulate together, simultaneously striking gesticulate together, simultaneously striking the same attitudes tossing their same attitudes and the and tossing arms their arms about manner. This time, we disin the the same manner. This time, about in distinctly Invisible of marionettes. think of Invisible threads marionettes. threads tinctly think us to be joining arms to arms, to seem to to us to be joining arms to arms, legs legs to legs, each museIe in one face to its felJow-muscle legs, each muscle in one face to its fellow-muscle in the absolute the other: other by of the in the reason of uniformabsolute uniformby reason ity which p,revails, the very litheness of the ity which prevails, the very litheness of the bodies to stiffen stiffen as bodies seems to as we gaze, the gaze, and the actors lifeless themselves seem into lifeless actors themselves seem transformed transformed into automata. Such, be the at least, to be the automata. Such, at least, appears appears to artifice underlying this somewhat obvious form artifice underlying this obvious form of II daresay the perlormers have of amusement. the performers have daresay never hut what they is merely never read read Pascal, Pascal, but merely they do is to realise to contained to the the full full the the suggestions to realise contained suggestions in theas is Pascal's words. words. If, is undoubtedly in Pascal's If, as undoubtedly the· the second case, instance in the second instance is caused caused in case, laughter laughter is it by the the hallucination mechanical effect, a mechanical of a hallucination of effect, it by in more must already been so, have been so, though though in already have subtle in the first. first. in subtle fashion, the fashion, Continuing path, we dimly this path, perdimly perContinuing along along this and far-reaching ceive the increasingly important andfar..reaching ceive theincreasinglyimportant stated. consequences just stated. law we have just of the the law consequences of We faintly catch still more fugitive glimpses fugitive glimpses faintly catch still :

36

LAUGHTER

CHAP.. CHAP,

of mechanical mechanical effects, effects, glimpses gIimpses suggested suggested of

by by

actions, no no longer longer merely merely by by actions, his gestures. We instinctively feel that the his gestures. instinctively feel that the usual devices devices of of comedy, comedy, the the periodical periadical repetirepetiusual tion of of aa word ward or or aa scene, scene, the the systematic systematic inintion version of of the the parts, parts, the the geometrical geometrical developdevelopversion ment of a farcical misunderstanding and many and ment of a farcical misunderstanding many other stage stage contrivances contrivances must must derive derive their their other comic force force from fram the the same source, saurce, - the the art art of of comic the playwright probably consisting in setting the playwright probably consisting in setting before us us an an obvious obvious clockwork clockwork arrangement before arrangement of while carefully preserving an of human events, events, while carefully preserving an outward probability and and thereby thereby of probability outward aspect aspect of retaining something of the suppleness of the of life. life. suppleness of retaining something But But we must not forestall forestall results must not will 'be be results which which will duly in the the course of our course of disclosed in our analysis. duly disclosed analysis. man's complex complex man's

v Before let us us halt halt a a moment Before going further, let going further, and glance at the around. As we hinted outset hinted at the outset glance around. it wQyld Re i
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EXPANSIVE FORCE OF COMIC 37 37

is the process that the of deduction is that deduction ought from time time process of ought from to to stop time to to time and study certain culminating stop and study cert~in culminating effects, that these and that each appear these effects effects each as effects, and appear as models resembling round which models round which new effects effects resembling them take in a circle. These their places take their in a circle. These latter latter places are not deductions deductions from are not from the the fonnula, but are are formula, but comic through their relationship with those comic through their relationship with those that To quote are. that are. no Pascal again, see no quote Pascal again, II see to defining the process objection, at this this stage, objection, at stage, to defining the process by which that the curve curve which that geometrician studied by the geometrician studied under of rotelette the name of under the roulette or or cycloid-the the curve curve cycloid traced a point in the circumference of in the a traced by circumference of a point by wheel the carriage a is advancing in a wheel when th"e carriage is advancing in straight line: this point turns like the wheeI, straight line: this point turns like the wheel, though it the carriage. Or else it advances advances like else like the carriage. though might think think of of an immense avenue such as such as we might are to be the forest Fontainebleau, seen in in the forest of of Fontainebleau, be seen are to trosses at intervals to indicate the crosscrosswith at to indicate the with crosses intervals at each each of of these these we shall shall walk walk round round the the ways: at ways cross, explore explore for for aa while while the the paths paths that that open open cross, out before before us, us, and and then then return return to to our our original original out one of just reached of course. Now, have reached we have course. Now, just these these mental crossways. crossways. -:om:!/;!;·~.,1?!ff~(!'tz"cal Something mechanical encrusted on on the the living livi1zg wiTTrepresent w!tr represent aa cross cross encrusted at~dl1"I'~we~'müst" halt, a: central image from a central at*1v!^^ image from which the the imagination imagination branches branches off off in in different different which :

LAUGHTER

38

CHAP.

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

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EXPANSIVE FORCE OF COMIC 39 39

is fails to cement this this union: fails to a case union a case in in point point is our Suppose, head and top our head hat. top hat. however, Suppose, ho\vever, same eccentric individual some eccentric individual dresses dresses himself in the himself in the fashion attention is immeof former fashion of former times times our our attention is immedrawn to the clothes themselves; diately to the clothes we themselves; we diately absolutely them fram from the the individual, absolutely distinguish individual, distinguish them we say that the latte~ .z·s_disguz·s1:ng himselJ, - as that the as say \tfte\isdisguising himself, though every article of clothing were not aa article of were not though every clothing disguise the laughable of fashion fashion disguise 1- and the aspect of laughable aspect comes out of the shadow into the light. out of the shadow into the light. H ere we are are beginning Here to catch a faint catch a faint beginning to glimpse of the the highly intricate difficulties difficulties raised raised glimpse of highly intricate by this problem of the the comic. comic. One of of the the problem of by tllis reasons that fiust have given rise to many that must reasons have given rise to many erroneous unsatisfactory theories theories of or unsatisfactory erroneous or of laughter laughter is that many many things are comie de J·ure without is that are comic jure without things being comic de facto, the the continuity de facto, of custom being continuity of having deadened within the comic quality. deadened within them the comic quality. having sudden dissolution dissolution of of continuity continuity is is needed, needed, aa A sudden break with with fashion, far this this quality quality to to revive. revive. break fashion, for Hence the the impression impression that that this this dissolution dissolution of of continuity is is the the parent parent of of the the comic, comic, whereas whereas continuity all it it does does is is to to bring bring it it to to our notice. notice. Hence, Hence, all again, the the explanation explanation of of laughter laughter by by surprise, surprz·se, : again, would contrast, etc., definitions equally' which definitions equally contrast, etc., apply to to aa host host of of cases cases in in which we have no no apply :

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inclination to laugh. of truth of inclination whatever whatever to laugh. The truth the from being the matter is far so simple. matter is far from simple. being so But to return to aur idea of which, But to return to our idea of disguise, disguise, which, shown, has been entrusted with as as we have have just just shown, has been entrusted with the It of arousing It mandate oi the special special mandate arousing laughter. laughter. will to investigate the uses uses out of of place will not be out not be place to investigate the it this power. it makes of of this power. Why da we laugh at a a head hair which do of hair which head of laugh at Why has to blond? is has changed blond? What is changed from dark to there comic about a rubicund nose ? And why a rubicund nose ? there comic about why does at a negro? The question at a one laugh does one question laugh negro? would appear to be an embarrassing one, for to be it for it one, appear embarrassing has been asked has been asked by successive psychologists such by successive psychologists such as Hecker, Kraepelin Kraepelin and Lipps, Lipps, and all have as Hecker, and all have given different replies. yet I rather faney different I And rather replies. given yet fancy the correct correct answer answer was suggested suggested to to me one one day day the in in the the street ordinary cabby, cabby, who applied applied street by by an ordinary the expression expression"" unwashed unwashed"" to to the the negro negro fare fare he the was driving. driving. Unwashed Unwashed! Does not not this this mean that that aa black black face, face, in in our our imagination, imagination, is is one one daubed over over with with ink ink or or soot soat?? If If so, so, then then aa red red nose nose can can only onl y be be one one which which has has received received aa coating of of vermilion. vermilion. And so so we see see that that the the coating notion nation of of disguise disguise has has passed passed on on something something of of its in which which there there is is its comic quality quality to to instances instances in actually no 00 disguise, disguise, though though there there might might be. be. actually !

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EXPANSIVE FORCE OF COMIC 4411

In his of examples, In the former set the former set of examples, although although his usual dress was distinct usual dress distinct from from the the individual, individual, it in our our mind it appeared to form form ane mind to one '\vith with h·im, him, appeared in because to the sight. because we had become become accustonled accustomed to the sight In although In the the latter, or red the black black or red colour colour latter, although the is is indeed inherent in in the indeed inherent the skin, look upon skin, we look upon it it as as artificiaIly laid on, it surprises us. because it on, because artificially laid surprises us*. But here here we meet a fresh meet with with a of diffi· fresh crop difficrop of culties Such aa in the the theory of the culties in the comic. comic. theory af " proposition as the the following: usual dress dress proposition as following "My My usual " farms part of my body" is absurd in the of forms part my body is absurd in the eyes eyes looks upon it as of it of reason. reason. Yet imagination looks as upon imagination true. "A red red nase nose is is a a painted true. nose," "A painted nase," negro is is a a white white man in in disguise," are also also disguise," are negro absurd to the the reason reason which which rationalises; rationalises ; hut but absurd to they are truths to to pure pure imagination. are gospel imagination. So gospel truths they is not there is the imagination which is not is a a logic of the there imagination which logic of is the logic of reaSOD,one which at times is even at times the logic of reason, one opposed to the Iatter, with which, however, with the to which, however, latter, opposed philosophy must reckon, reckon, not not only only in in the the study study philosophy of the the comic, comic, but hut in in every every other other investigation investigation of of of the like the same kind. It is something like the logic is It kind. the logic something of dreams, dreams, though though of of dreams dreams that that have not been of left to to the the whim of of individual individual fancy, fancy, being being the the left dreams dreamt dreamt by by the the whole whole of of society. society. In In dreams a order to reconstruct this hidden logic, a special hidden this order to reconstruct special logic, :

42 42 kind of of kind

ernst of of crust

LA UGHT ER LAUGHTER

CHAP.

by which which the the outer outer by carefully stratified judgn1ents and and firmly firmly carefully stratified judgments effort is is needed, needed, effort

established ideas ideas will will be be established

behold in in the the depths depths of of behold

we

lifted, and and we shall shall

lifted,

Iike aa sheet of of subterranean subterranean water, water, the the flow :flow of of an an ununsheet broken stream stream of of images images which which pass pass from from one one broken into another. This interpenetration of images This interpenetration of images into another. Gur our

mind, mind,

like

does not not come corne about about by chance. It It obeys obeys laws, laws, does by chance. or rather rather habits, habits, which which hold hold the the same relation relation or

to imagination imagination that that logic to thought. thought. does to to logic does Let us then follow this logic of the imaginathis Let us then follow imaginalogic of the A man in in disguise is comic. comic. A man we regard regard as as disdisdisguise is , guised comic. So, also comic. is also So, by any by analogy, analogy, any guised is disguise is to comic, not only that to become not that is seen seen comic, only disguise of hut that of society also, and even the of a man, of a that even the but also, man, society disguise nature. of nature. disguise of Let us start You laugh with nature. at a us start with a nature. laugh at dQg that is half-clipped, at a bed of artificially at a of that is bed half-clipped, dog artificially coloured at a a wood in in which which the trees coloured flowers, the trees flowers, at are are plastered with election over with election addresses, etc. addresses, etc. plastered over Look for and you will see that you the reason, for the will that see reason, you you are of a masquerade. Here, are once a once more thinking of masquerade. Here, thinking however, the comic element is very faint it element is is it is however, the very faint; too farfrom far from its toD source. If you wish to strengthen its source. If you wish to strengthen it, you must go back to the SQurce itself to the source itself and it, you go

tion in the special case in hand. tion in the special case in hand.

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EXPANSIVE FORCE OF COMIC 43 43

contrast the derived a masquerderived image, that of of a contrast the image, that masquerone, which, be it rememade, the original with the it be rememwhich, ade, with one, original bered, ,vas that of ring with with was that of a a mechanical mechanical tampe bered, tampering " life. In" a nature that is mechanically tampered a In nature that life. is mechanically tampered " with possess aa thoroughly comic theme, we possess with " v.re on theme, on thoroughly comic which be able to play many will be which fancy so many able to ever so fancy will play ever variations with the certainty of successfully variations with the certainty of successfully proprovoking the heartiest hilarity. YOll may call to the heartiest You call to voking may hilarity. mind that passage in sur hs /es that amusing in Tartarz·n Tartarin sur amusing passage

Alpes, in in which which Bompard makes TartarinTartarin Alpes^ Bompard makes and therefore the reader to same also the therefore also exreader to some slight slight extent-accept the idea idea of a Switzerland Switzerland choke-full tent of a choke-full accept the machinery like the basement of like the of the of machinery the Opera, and basement of Opera^ and run by a company which maintains a senes run by a company which maintains a series of of and artificial crevasses. The waterfalls, glaciers and artificial crevasses. waterfalls, glaciers same theme reappears, in reappears, though transposed in though transposed quite Novel Notes Notes of the another key, the Novel of the in the key, in quite another English humorist, J erome K. J eronle. An Jerome. English humorist, Jerome elderly Lady BountifuI, who does not want her not her does elderly Lady Bountiful, deeds up too of her too much of of charity take up to take deeds of charity to hail of time, provides hornes within easy hail of her time, provides homes within easy mansion who have atheists who' of atheists the conversion for the mansion for conversion of so to to speak, been specially for her, manufactured for been her, so speak, specially manufactured and for folk who have been honest folk of honest a number of for a made into that she may so that into drunkards drunkards so may cure them of etc. There are phrases are comic phrases their failing, of their failing, etc.

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in a distant is audible, distant like a theme is this theme In which which this audible, like echo, an ingenuousness, whether with an echo, coupled ingenuousness, whether coupled \vith sincere t. acts as as accompanimen or affected, sincere or affected, which acts accompaniment. Take, as an instance, the remark made by the remark Take, as an instance, by aa lady whom Cassini, the astronomer, had invited invited Cassini, the astronomer, had lady to the moon. of the moon. Arriving too an eclipse see an to see eclipse oE Arriving tao " late, she said, "M. de Cassini, I know, will M. de I Cassini, know, will late, she said, have to begin it over again, to it all all over to the goodness have the begin again, to goodness please take again the exclamation of exclamation of me." Or, Or, take again the please rne." one characters on in a a on arriving of Gondinet's Gondinet's characters one of arriving in town and learz:ing that there is an extinct that and is extinct there town learning volcano in the the neighbourhood, had aa volcano in neighbourhood, "They "They had( " volcano, let it it go out! volcano, and they they have let go out " Let us us go to society. As we are both in in Let are both go on to society. and of it, cannot help treating it as a living we cannot and of it a as it, help treating living being. Any image, then, suggestive of the of the then, Any image, being. suggestive notion of of aa society society disguising disguising itself, itself, or or of of aa social social notion masquerade, so to speak, will be laughable. masquerade, so to speak, will be laughable. Now, such such aa notion nation is is formed formed when we perceive perceive Now, anything inert inert or or stereotyped, stereotyped, or or simply simply readyreadyanything made, on the the surface surface of of living living society. society" There There made, we have have rigidity rigidity over over again, again, clashing clashing with with the the inner inner suppleness suppleness of of life. life. The ceremonial ceremonial side side of of social social life life must, must, therefore, therefore, always always include include aa latent latent comic element, element, which is is only only waiting waiting for for an an opportunity opportunity to to burst burst into into full full view. view" It It !

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might that ceremonies be said said that are to ceremonies are the social to the social might be body what clothing is to the individual body: is the to individual body clothing body they their seriousness to the fact that seriousness to the fact that they they owe their they are in our are identified, our minds, with the the serious serious identified, in minds, with object with which which custom custom associates associates them, and them, and object with when we isolate isolate them in imagination, them in imagination, they they forthwith lose their seriousness. Für forthwith lose their seriousness. For any any ceremony, then, to become comic, it is enough to it is comic, ceremony, then, enough that our attention that Qur attention be be fixed ceremonial fixed on on the the ceremonial element in it, that we neglect its matter, as element in it, and that matter, as neglect its say, and think only of its form. philosophers its and think of form. philosophers say, only Every one knows how easily the comic spirit Every easily the comic spirit exercises its ingenuity on a exercises its of a actions of social actions ingenuity on social stereotyped nature, from an ordinary prizestereotyped nature, ordinary prizedistribution the solemn a court of to the solemn sitting of a court of distribution to sitting of justice. Any Any form or is a ready-made or formula formula is ready-made justice. frame the comic element may be be into which the element may frame into fitted. fitted. Here, again, again, the the comic comic will will be be emphasised emphasised Here, by bringing it it nearer nearer to to its its source. the From the source. by bringing must idea of travesty, a derived one, nlust go we idea of travesty, a derived one, go back to to the the original original idea, idea, that that of of aa mechanism back Already, the the stiff stiff and superposed upon upon life. life. Already, superposed starched formality formality of of any any ceremonial ceremonial suggests suggests starched soon as as to us an image of this kind. Für, as as kind. this to us an image of For, forget the the serious serious object object of of a solemnity solemnity or or aa we forget :

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ceremony, those those taking taking part part in in it it give give us us the the ceremony, impression of of puppets puppets in in motion. motion. Their Their impression mobility seems to adopt as a model the ilnmobility seems to adopt as a model the imIt becomes becomes automatism. automatism. mobility of a formula. It mobility of a formula. But complete complete automatism automatism is is only only reached reached in in But the official, official, for for instance, instance, who performs performs his l1is duty duty the like a mere machine, or again in the unlike a mere machine, or again in the unconsciousness that that marks an an administrative administrative consciousness regulation working working with with inexorable inexorable fatality, fatality, regulation and itself up für a law of nature. and setting setting itself up for a law of nature. Quite reading the the newspaper, chance, when reading Quite by newspaper, by chance, II came across of the comic of this a specimen of the of this across a comic specimen type. Twenty years aga, a large steamer was ago, a type. Twenty years large steamer wrecked off the coast at Dieppe. wrecked off the coast at Dieppe. With conconthe passengers were siderable some of of siderable difficulty the difficulty passengers rescued A few custom-house in aboat. a boat. rescued in officustom-house officers, their had courageously rushed to to their cers, who bad courageously rushed " assistance, began by asking them "if they if assistance, began by asking they had anything W to declare." declare." Wee find find something anything to something similar, the idea is a more subtle one, a the is idea subtle similar, though one, though in the in the remark of of an an M.P. when questioning the questioning tl1e Horne on the morrow of a terrible Home Secretary a the of terrible Secretary murder which took a railway took place in a place in railway carriage: carriage " The assassin, "The his victim, after despatching his victim, assassin, after despatching must have got out the wrong side of the train, got out the wrong side of the train) :

u thereby the Company's rules," thereby infringing infringing the Company's rules.

EXPANSIVE FORCE OF COMIC 47 47 A mechanical mechanical element element introduced introduced into into nature nature and of society, such, an automatie and an automatic regulation of regulation society, such, then, the two are the two types of laughable effects at at then, are types of laughable effects which It us, in have arrived. which we have It remains remains for arrived. for us, in conclusion, to combine combine them and see what what the and see the conclusion, to result will be. be. result will The result result of of the the combination will evidently combination will evidently be of affairs usurping a human regulation be a of affairs the regulation usurping the place laws of of the the laws of nature. call to to mind mind nature. We may place of may calI the the answer Sganarelle Geronte when the the Sganarelle gave gave Geronte latter remarked that the heart was on the Ieft that latter the heart was on the left side "" Yes, liver on side and the the liver on the it was the right: Yes, it right so but we have all that; that now, so formerly, have altered altered all now, formerly, hut we practise practise medicine in quite a new way." medicine in quite a way." also recall the consultation between also We may recall consultation the between may M. de Pourceaugnac's two two doctors: ""The The doctors: de Pourceaugnac's arguments have used used are erudite and so erudite are so you have arguments you elegant that it is impossible for the patient not not it that is for the impossible patient elegant to be be hypochondriacally hypochondriacally melancholic melancholie; or, or, even even to so if he he were were not, not, he he must roust surely if surely become so have because of oi the the elegance elegance of of the the things things you you because said and and the the accuracy accuracy of of your your reasoning." reasoning." We said might multiply multiply examples, examples, for for all all we need do da might would be be to to call eall up up Moliere's Moliere's doctors, doctors, one after after would comic the other. However far, moreover, the other. moreover, far, fancy may seem to go, reality at times times underunderseem to go, reality at fancy may

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takes to improve upon it. IItt was to it was suggested takes to suggested to improve upon aa contemporary philosopher, an out-and-out an out..and-out contemporary philosopher, arguer, that his arguments, though irreproacharguer, that his arguments, though irreproachahle in their able in their deductions, deductions, had experience experience against against them. He put an end to the discussion by to the discussion an end them. by put merely remarking, "Experience is in the in the is merely remarking, "Experience wrang." this idea idea of of regulating truth is, is, this regulating wrong." The truth life as a matter of business routine is more life as a matter of business routine is might be be imagined; widespread is it is than might imagined; it widespread than natural just have just its way, natural in in its way, although although we have obtained by process of rean artificial artificial of re.. it obtained it process by an construction. One might say that it gives us it construction. might say that gives us the pedantry, which, at of pedantry, the very which, at quintessence of very quintessence bottom, is nothing else pretending to to else than than art art pretending is nothing bottom, outdo nature. outdo nature. Ta up, then, To sum up, the same and the one and then, we have one effect, ever subtIer it assumes ever subtler forms as it forms as effect, which assumes passes from of an artificial idea of from the the idea mechanisaartificial mechanzsa.. passes i'ion body, if if such tion of of the the human body, an expression such an expression is permissible, to substitution what.. is permissible, that of of any to that substitution whatany soever the natural. A less for the soever of of the the artificial artificial for natural. less and less less rigorous that more and and more rigorous logic, logic, that resembles transfers the the logic resembles the of dreamland, the dreamland, transfers logic of same relationship into higher and higher into relationship higher higher spheres, between increasingly immaterial terms, between immaterial terms, spheres, increasingly till in in the till the end we find find a mere administrative administrative

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enactment the same enactment occupying same relation relation to a to a occupying the natural garment, moral law that or morallaw natural or that a a ready-made ready-made garment, for does to to the for instance, the living instance, does living body. body. We have right to the end of have now gone the first first of of gone right to the end of the the Let three directions directions we had the three to follow. had to follow. Let us us turn the second turn .ta .to the second and and see it will see where where it will lead lead us. us. Our starting-point is again "something starting-point is again "something mechanical Where encrusted upan mechanical encrusted the living." upon the living." did case? It came the comic comefrom come from in did the in this ? It this case came from body became rigid, the fact fact that that the the living from the became living body rigid, it ta Iike a machine. machine. Accordingly, it seemed like a to us seemed us Accordingly, that the Iiving body ought to be the perfection that the living body ought to be the perfection of the ever-alert aa of suppleness, ever-alert activity of suppleness, the activity of principle always work. But this this activity at work. principle always at activity would really really belong belang to the soul rather than than to to the soul rather to would the hody. It would be the very flame of life, It would be the flame of the body. life, very kindled within within us us by by aa higher higher principle principle and kindled perceived through through the the body, body, as as though though through through perceived only gracefulness gracefulness and a glass. glass. When we see see only a suppleness in the Iiving body, it is is because because in the living body, it suppleness it the the elements elements of of weight, weight, of of disregard in in it we disregard resistance, and, and, in in aa word, ward, of of matter matter; we forget forget resistance, of its its materiality and think only of its vitality, its materiality and think only vitality, a vitality vitality which which we regard regard as as derived derived from a 2. 2.

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the very principle principle of intellectual and moralIife. moral life. of intellectual the very Let however, that our attention is us suppose, Let us suppose, however, that our attention is drawn side of of the the body; material side this material drawn to to this that, body that, so far from sharing in the lightness in the so far from sharing lightness and subtlety of the principle with which it is subtlety of the principle with which it is animated, the body than is no more in in our our eyes animated, the body is eyes than aa heavy heavy and cumbersome vesture, a kind of and vesture, a kind of irksome ballast which a which holds holds down to to earth earth a irksome ballast soul to rise Then the will aloft rise aloft. the body soul eager body \vill eager to become to the soul what, as just seen, as we have just soul what, to the become seen, the garment was to the body itself-inert inert to the itself the garment body matter The matter dumped upon living dumped down upon energy. living energy. impression will be be produced produced as as the comic will of the impression of soon as we have a clear apprehension of this clear apprehension of this soon as putting tlle one on the And we shall the the other. shall other. putting experience it most strongly when we are are shown experience it strongly the needs of body: soul tantalised the needs the body the soul tantalised by of the by the the one hand, the moral personality with its on with its on the one hand, the moral personality intelligently varied energy, the other, and, on the other, energy, and, intelligently varied the monotonous body, perpetuaIly the stupidly stupidly body, perpetually obstructing with its machine-like its machine-like obstructing everything everything with obstinacy. The more paltry and uniformly more obstinacy. paltry uniformly repeated these claims of the body, these of claims the the more repeated body, the will be the striking result. But that the result. that is is only a striking will only a of matter of degree, these and the of these the generallaw degree, and general law of phenomena may be formulated as folIows: An)' formulated as follows phenomena maybe Any ;

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EXPANSIVE FORCE OF COMIC SI 51

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

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makes The ridiculous. somewhat ridiculous. makes bashfulness bashfulness somewhat bashful man rather the impression of a a rather gives bashful impression of gives the person embarrassed by his body, looking round person embarrassed by his body, looking for in which to which to cloak-room in for same some convenient convenient cloak-roonl deposit it. deposit it. This just why poet is so carethe tragic is so careThis is is just why the tragic poet to avoid anything calculated to attract ful to attract ful to avoid anything calculated attention to the material side his heroes. heroes. the material side of of his attention to manithe body No sooner does anxietyabout sooner does body manianxiety about the fest the intrusion intrusion of of a a comic element than tl1e comic element fest itself itself than is to be feared. On this account, the hero this in is to hero in the be feared. account, aa tragedy hirneat or not eat or drink drink or or warm himdoes not tragedy does self. He does more not even self. does not even sit sit down any any more than can be helped. Ta sit down in the in than can be helped. the To sit middl'e spe~ch would that you a fine of a fine speech that middle of would imply you imply remembered you had a body. Napoleon, a who had you Napoleon, body. was aa psychologist he wished be so, to be wished to so, psychologist when he bad the transition that the had noticed noticed that from tragedy transition fram tragedy to is effected simply by sitting to comedy is effected down. comedy simply by sitting down. In the In the Journal Journal inedit z·ned'it of of Baron Baron GourgaudGourgaud

when speaking an interview of an interview with with the the Queen Queen speaking of of Prussia of Prussia after after the the battle battle of of Jena lena - he he exexhimself in presses himself the follawing terms: "Ske in the "She presses following terms: received me in in tragic received fashion like like Chimene: Chim&ne: tragic fashion Justice J Sire, ]ustice I Magdeburg! she Justice! Sire, Justice! Magdeburg! Thus she continued in in a way continued most embarrassing to me. to me. way embarrassing

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EXPANSIVE FORCE OF COMIC 53 53

Finally, Ire· to make her her change her style, Finally, to change her style, I requested to take her to a seat. This take aseat. This is is the the best best quested her method for scene, for as for cutting short a a tragic cutting short tragic scene, for as soon are seated it all becomes as you soon as are seated it all becomes comedy." you comedy." Let us a wider scope us now give a wider to this this give scope to image precedence of the body of the the image of body taking taking precedence of the soul. Weshall obt~in something more We shall obtain something more soul. generalthe the manner seeking to outdo outdo the the general seeking 10

matter, letter a'imz·,zg the letter matter, the aiming Is it not Is it not perchance this perchance this trying to suggest to us to to us suggest trying

at at

OUSti1Z,g the ousting the sjJ'irz·t. spirit.

idea that comedy idea that is comedy is when holding up a holding up a to ridicule? It makes the lawyer, profession to ridicule? It the profession lawyer, the and the doctor speak the magistrate the doctor as magistrate speak as though health and jnstice were of little were of little though health justice the main point being that we should moment, the should moment, point being that have lawyers, magistrates and doctors, have and doctors, and lawyers, magistrates that alloutward pertaining to to these these all outward formalities formalities pertaining that shauld be scrupulously respected. professions should be scrupulously respected. professions the means substituted for thethe· find the substituted for And so so we find the manner for for the the matter; matter; no uo longer langer is is end, the end, it the profession that is made for the public, for the public, it the profession that is Conbtit rather th~ public for the profession. Canfor the the rather but profession. public siant attention attention to to form form and the the mechanical stant application of of rules rules here here bring bring about a kind application of professional professional automatism analogous analogous to to that that of imposed ',"upon ' upon the the soul soul by by the the habits habits of of the the imposed

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

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EXPANSIVE FORCE OF COMIC 5S 55

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Here we have have the first illustration the first illustration of a law of a law which with increasing distinctness will appear with which will distinctness appear increasing as When aa musician with our as we proceed our task. task. musician proceed with strikes a note on an instrument, other a note strikes on an instrument, other notes notes start of themselves, not so loud as the first, of start up loud so as not the themselves, first, up yet connected with it definite relaconnected with it by certain certain definite relayet by tions, coalesce with it and with it and determine its determine its tions, which coalesce These are what are called in physics quality. in are what are called quality. physics the It of the the overtones overtones of It the fundamental fundamental note. note. would seem that that comic comic faney, its most even in in its most fancy, even far-fetched inventions, obeys a similar far-fetched inventions, obeys a similar law. law. For instance, consider this comic note: appearconsider this comic note instance, appearance to triumph over reality. Lf ance seeking to If our over our triumph seeking reality. analysis correct, this note must must have is correct, this note as its its have as analysis is overtones the body body tantalizing the mind, the overtones the the the mind, tantalizing body taking precedence of the mind. No of the mind. body taking precedence sooner, then, does the comic poet poet strike does the strike sooner, then, the first note than he will add the second to the first note than he will add the second on to it, involuntarily illvoluntarily and an'd instinctively. instinctively. In In other other it, :

he will duplicate what words, words, fr^iC#rfV**'f/r* ,,~~",,":';!.f{L,~'!!fI..'!~!l:'~ ~h;a~ ^.f'l*'.'. '"'" ''>'

i~.... ridiculous ritficulous professional(y with sometht:ng that is rt,cliculous that is with ridiculous something professionally

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pnystcatty. f Brid'oison the the judge judge comes stammerstammer.. '*Wfi.en Brid'oison ing on on to to the the stage, stage, is is he he not not actually actually preparing preparing ing

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us, by by this this very very stammering, stammering, to to understand understand the phenomenon of of intellectual intellectual ossification ossification we are are phenomenon us,

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about witness? What bond of secret of secret witness? about to to relationship can there be between the physical relationship can there be between the physical defect and the It It is is difficult difficult moral infirmity? defect and the moral infirmity? to say; yet we feel that the relationship is that the feel to say; yet relationship is there, words. it in in words. cannot express there, though express it though we cannot Perhaps judging that this this judging situation required the situation required that Perhaps the machine should also appear before us as us as a a machine should also appear before talking machine. However it may be, be, no it may talking machine. other perfectly have have could more perfectly overtone could other overtone completed the fundamental fundamental note. note. completed the When Moliere us the the two introduces to to us Moliere introduces ridiculous in Bahis and Macroton, ridiculous doctors, doctors, Bahis Macroton, in L'Amour he makes ane of them speak one of L? Amour medecz·"J't, medecin, he speak very slowly, as though scanning his words very slowly, as though scanning his syllable whilst the the other other stutters. stutters. syllable, whilst syllable by by syllable, We find the same contrast contrast between the two find the between the lawyers Monsieur de Pourceaugnac. In de Pourceaugnac. in Monsieur In the the lawyers in rhythrn of speech is generally to be fauod the is of to be found the speech generally rhythm physical peculiarity that is that is destined destined to to complete complete physical peculiarity the ridicule. When the element of of professional the element the professional ridicule. author has failed to suggest adefeet of this author has failed to suggest a defect of this kind, that the it is is seldom tI1e tlie case the actor case that actor does does kind, it not not instinctively invent one. one. instinctively invent

Consequently, natural relationship, relationship, is a a natural there is Consequently, there which we equally naturally recognise, between equally naturally recognise, between the two images been comparing with images we have been comparing with

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EXPANSIVE FORCE OF COMIC 57 57

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

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

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vaguer one of a thing in general. Weshall vaguer one of a thing in general. We shall have which of Iaughable series of fresh series have a a fresh laughable images images which will taking aa blurred blurred impression, will be be obtained obtained by impression, by taking so to speak, of the outlines of the former and of outlines and will will the former so to speak, of the bring us to this new law: We laugk law time every time laugh every bring us to this aa person person gives gl:ves its zts the the impressio1z impression of of being being a thz·ng. thing. We laugh at Sancho Panza tumbled into aa tumbled into laugh at bed-quilt and tossed into into the the air air Iike a football. like a football. bed-quilt and tossed We laugh Baron Munchausen turned at BarOll turned into into laugh at aa cannon-ball cannon-baIl and travelling space. travelling through through space. But certain tricks of circus clowns might of circus clowns tricks afford But certain might afford aa still of the the same still more more precise exemplification of precise exemplification law.. True, should have to to eliminate the eliminate the law. True, we should jokes, mere in his his the clown in mere interpolations interpolations by by the jokes, main theme, and keep in only the theme in mind the theme, keep only itself, that is to say, the divers attitudes, capers the to divers is that attitudes, itself, say, capers and rnovements the strictly movements which form the strictly " "" clownish" element in the the clown's clownish element in clown's art. art On two occasions have II been been ahle to observe occasions only able to observe only have unadulterated this in its this style the comic in its unadulterated of the style of state, received the in both both II received the same imimstate, and in The first time, the clowns came and pression. first the clowns time, pression. went, jumped up up again fell and jumped in a a went, collided, collided, fell again in uniformly accelerated rhythm, intent uniformly accelerated rhythm, visibly visibly intent upon And it crescendo. it was more upon effecting effecting a crescendo. to the and more to jumping up up again, the rebound, the jumping the rebound^ again, :

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that public was was attracted. attention of that the the attention of the the public attracted. Gradually, one lost lost sight the fact fact that of the that they Gradually, one sight of they \\rere blood like of flesh flesh and were men of and blood like ourselves; ourselves; one bundles of to think of bundles of all think of all sorts, one began sorts, began to falling and knocking against each other. Then other. each falling knocking against the vision assumed the vision assumed aa more definite definite aspect. aspect. The forms grew rounder, the bodies rolled rolled forms grew rounder, the bodies together pick themselves seemed to to pick themselves up together and seemed up like Then at the image like balls. at last last appeared balls. the appeared image , to,vards of this this scene towards which ,the whole of scene had had the whole doubtless been unconsciously evolving,-large doubtless been unconsciously evolving, large rubber one another in every balls hurled rubber balls hurled against in another one every against The second though even direction. direction. second scene, even scene, though coarser than the coarser than the first, instructive* less instructive. first, was no less There came on the two men, with the stage two each with men, each stage an In In bald as as a billiard billiard ball. an enormous head, ball. head, bald their which sticks which hands they carried large their hands large sticks they carried each, in turn, brought down on to the other's to the other's each, in turn, brought cranium. Here, a certain certain gradation cranium. Here, again, gradation was again, a observable. After bodies bodies the After each each blow, observable. blow, the seemed to heavier and more unyielding, to grow unyielding, grow heavier of overpowered by an increasing overpowered by degree of increasing degree in each rigidity. Then came the return blow, blow, in the return rigidity. case than the last, heavier and more resounding last, case heavier resounding than interval. langer interval. The coming, tao, after a a longer coming, too, after skul1s forth a formidable ring a formidable forth skulls gave throughout ring throughout gave

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the house. At last the two last the each two bodies, the silent silent house. bodies, each quite rigid and as straight as an arrow, sIowly quite rigid and as straight as an arrow, slowly bent over to\vards each other, the sticks came each other, the sticks bent over towards crashing down for the last time on to the two crashing down for the last time on to the two heads mallets fal1ing of ellormous as of enormous mallets a thud thud as with a heads with falling upon oaken beams, and the pair lay prone upon the oaken beams, pair prone upon lay upon the ground. At that instant appeared in all that instant appeared in all its its the ground. vividness the suggestion that the two artists that artists two the vividness the suggestion driven iota the imagination of had had gradually gradually driven into the imagination of the ""We We are are about to become about to the spectators: spectators: .•. we have solid wooden now become solid ... we have " dummies. dummies. " of dirn, instinct may kind of enable A kind dim, vague vague instinct may enable mind to get an inkling here even an uncultured to get an inkling here even an uncultured of the subtIer psychological science. of psychological subtler results results of science. of the We know that that it possible to it is is possible to call call up hallucinaup hallucina-tory a hypnotised in a visions in hypnotised subject subject by simple by simple tory visions If be told that a bird is perched suggestion. If he be told that a is perched bird suggestion. on his hand, will see on his see the he will the bird it bird and watch watch it hand, he fly The idea idea suggested, is far far however, is fly away. away. suggested, however, from from being with like like docility. always accepted accepted with being always docility. the mesmeriser only succeeds Not infrequently, the infrequently, only succeeds in getting an idea into his subject's in idea into his head by subject's head getting by slow degrees through a carefully graduated degrees through carefully graduated series of series He will with objects of hints. hints. will then then start start with objects really perceived by the subject, and will en.. the will enreally perceived by subject,

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

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

:

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

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1

15 not something something of of the the same kind kind found in in Is not the following fol1owing sally of Figaro's Figaro's (though (though here here an the sally of attempt perhaps made to to suggest the image is perhaps image suggest the attempt is of than that that of thing): "" Quel of a a thing) rather than animal rather of an an animal Quel homme estOMce? C'est un beau, gros, court, Cest est-ce? beau, gros, court, jeune vieil1ard, gris pommele, ruse, rase, blase, rase, blase, jeune vieillard, gris pommele, ruse, qui et grande tout a et furette, et geint furette, et qui guette gronde et geint tout guette et 2 la fais." 2 lafois." N OW, between these these coarse coarse scenes scenes and these between these Now, subtle there is a countless a is room for subtle suggestions there for countless suggestions :

11 Further, Further,

he an honest honest wight he owes owes to to many many an wight Item Item - the the sum two two thousand thousand pounds, one farthing, pounds, one farthing, For having of honour on his his simple honour simple word of having on Sans intermission for an an entire intermission for entire year year Ootbed Qothed him, him, conveyed conveyed hirn, him, warmed hirn, him, him, shod bim, gloved him, gloved hirn, Fed him and shaved shaved hirn, his thirst thirst and borne borne quenched his him, quenched hirn. him. " What sort of man is J2 "What here ? - He is a handsame, sort of is here? is a handsome, stout, stout, short, short, youthful old gentleman, artful knave, clean shaved, youthful old knave, clean gentleman, ironOMgrey, shaved, iron-grey, an artful used up,' clean 'used all up,' who spies spies and pries pries and growls growls and groans groans al1 *

in the in the same breath." breath."

EXPANSIVE FORCE OF COMIC 63 63 number of of anlusillg for all all those those that that effects, for amusing effects,

Ii

can can be obtained by be obtained about persons as by talking talking about persons as one We will do about one would da about mere mere things. will things. only select one or two instances from the plays select or two instances from the plays only of are legion. in which which they of Labiche, are Labiche, in they legion. JJust ust as as M. Perrichon Perrichon is is getting into the the getting into railway carriage, he makes certain of not certain of not railway carriage, he forgetting any of his parcels: of his "Four, five, five, forgetting any parcels: "Four, six, wife seven, Iny daughter eight, wife and six, my seven, my my daughter eight, and myself In nine." In another a fond another play, fond father father myself nine." play, a is of his daughter's learning in of is boasting his daughter's learning in the the boasting following terms: "She will tell you, without terms: will tell without following you, faltering, all the kings of France that all the of that have France have faltering, kings " occurred." phrase, "that have occurred," that have occurred." This phrase, occurred," though not exactly transforming the kings not the into exactly transforming though kings inta them, all to events all the likens them, the same, mere things, events same, to things, likens of nature. of an impersonal impersonal nature. As regards regards this this latter latter example, example, note note that that it it is is unnecessary to to complete complete the the identification identification of of unnecessary the person person with with the the thing thing to to ensure ensure aa comic the effect. It It is is sufficient far us us to to start start in in this this sufficient for effect confuse direction by feigning, far instance, to confuse to for direction by feigning, instance, the person person with with the the function function he he exercises. exercises. II the will only only quote quote aa sentence sentence spoken spoken by by aa village village will " The mayor in one of About's novels: "The prefect, novels prefect, mayor in one of has always always shown us us the the same kindness, kindness, who has :

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though has been since several times times since he has been changed changed several though he 18 47 ... " 1847..." All these the are constructed constructed on the witticisms are All these witticisms same model. We might up any number make same model. might up any of them, when when once are in in possession of the the once we are of them, possession of recipeo But or the of the the story-teller art of the art But the story-teller or the recipe,, p,laywright does not merely consist in concoctplaywright does not merely consist in concoct. ing jokes. The difficulty a in giving to a lies in difficulty lies giving to ing jokes. joke its power of it of suggestion, in Inaking i.e. in its power suggestion, i.e. making it joke acceptable. And we only it either do accept either only do accept it acceptable. because it seems to be the natural product the be a of a to natural seems it because product of particular state of mind or because it keepor because it is is in in keepstate of particular ing For of the case. the circumstances circumstances of the case. with the ing with instance, we are aware that M. Perrichon are that is Perrichon is instance, greatly excited on the occasion of his first railthe railoccasion of his first excited greatly " " way journey. The expression" to occur" is one occur is expression to way journey. that have cropped up aa good times that must have cropped up good Inany many times in the Iessons repeated by the girl before her in the the lessons repeated by girl before her father; us think it makes us think of of such father it a repetition. such arepetition. Lastly, of the admiration of the governmental Lastly, admiration governmental machine at a pinch, might, pinch, be be extended the point point of extended to to the of might, at making us believe that DO change takes place in, us believe that no takes making change place in, his name, and that the prefect when he changes the prefect his and that name, changes the the function function gets carried on independently of gets carried independently of the the functionary. functionary. We have now reached a point point very very far far from ;

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EXPANSIVE FORCE OF COMIC 65 65

the Many cause of of laughter. the original comic original cause laughter. Many aa comic form, by itself, that cannot cannot be be explained can form, that explained by itself, can indeed be understood indeed only from its understood fram its resemblance resemblance only be to another, which only makes us to another, which only us laugh laugh by by reason of its its relationship reason of a third, with a and so so third, and relationship with on indefinitely, so that psychological analysis, so that indefinitely, psychological analysis, go however luminous luminous and and searching, will searching, will go it the thread along which astray unless unless it holds holds the thread along which astray the the comic impression has travelled travelled from from one one impression has end of Where does the series series to of the to the the other. other. does this this progressive from ? What come from? progressive continuity continuity come can force, the strange can be be the the driving the driving force, impulse strange impulse which causes thus from causes the the comic comic to to glide from thus glide image to image, farther and and farther farther away from image to image, farther away from the starting-point, until it is broken up the starting-point, until it is broken up and and lost in infinitely remote analogies? But what lost in remote ? But what infinitely analogies is that that force divides and and subdivides is force which which divides subdivides the the branches of of aa tree tree into into smaller smalIer boughs boughs and and its its branches roots into radieIes ? inexorable law dooms ? An law inexorable roots into radicles ev(!ry living energy, during the brief brief interval interval ev6ty living energy, during the allotted to to it it in in time, time, to to cover cover the the widest widest posposallotted space. Now, No\v, comic comic fancy fancy is is sible extent extent in in space. sible that has indeed aa living living energy, energy, aa strange strange plant plant that indeed flourished on on the the stony stony portions portions of of the the social social flourished it soil, until until such such time time as as culture culture should should allow allow it soil, of art to vie with the most refined products of art. refined to vie with the most products

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

CHAPTER 11 II THE COMIC ELEMENT IN SITUATIONS AND THE

COMIC ELEMENT IN WORDS

I

WE have studied the comic studied the comic element element in in forms, in attitudes, and in movements generin forms, attitudes, and in generlet us look far it in actions and in ally ; let us look now it for in and in actions ally; situations. We encounter, kind of situations. of this kind encounter, indeed, indeed, this comic readily readily enough in everyday life. It is in It is life. enough everyday not here, however, that best lends not that it it best itself to lends itself to here, however, analysis. Assuming that the stage is both analysis. Assuming that the stage is both a magnified magnified and aa simplified view of of life, life, we a simplified view shall find find that that comedy comedy is is capable capable of of furnishing furnishing shall us with with more information information than than real real life life on this this us particular part part of of our our subject. subject. Perhaps Perhaps we particular ought even to carry simplification still farfarought even to carry simplification still ther, and, and t going going back back to to our our earliest earliest recollecrecollecther, try to to discover, discover, in in the the games games that that amused tions, try tions, us as as children, children, the the first first faint faint traces traces of of the the us 67 67

68 68

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combinations us laugh as grown-up that make us combinations that grown-up laugh as persons. We are too -apt to .speak too of aur are to our "apt persons. -speak of feelings of pleasure and of pain as though fuII of pain as though full feelings of pleasure grown at birth, as though each one as at one of of them had had birth, though each grown not of its own. Above Above all, not a a history too are toD all, we are history of its own. apt childish element, the childish so to to speak, to ignore element, so apt to speak, ignore the latent in most af aur joyful emotions. And latent in most of our joyful emotions. yet, how many many of present pleasures, pleasures, were were our present of our yet, we to to examine would shrink shrink inta into examine them closely, closely, would nothing than memories of of past more than ones!! past ones nothing more What would there be left of many of be left there of our would many of our emotions, were we to to reduce to the reduce them to the exact exact emotions, were quantum of pure contain by pure feeling feeling they quantum of they contain by subtracting from them all that merely all that is is merely subtracting from possible that, that, reminiscence? it seems seems possible reminiscence? Indeed, Indeed, it after a certain after ~ certain age, to age, we become impervious impervious to all novel farms joy, and the sweetest all fresh of joy, or novel forms of fresh or and the sweetest pleasures of the middle-aged man are perhaps of the are perhaps pleasures middle-aged nothing a revival revival of of the than a the sensations sensations nothing more than of balmy zephyr of childhood, a balmy in fainter wafted in fainter childhood, a zephyr wafted and fainter that is a past fainter breaths breaths by is ever ever by a past that receding. In any case, whatever reply we give In receding. any case, reply give to this to this broad broad question, one thing is certain: is certain: question, thing there can .be .be no break there break in between in continuity continuity between the child's in games and that the child's delight in of the that of delight games grown-up person. Now, N OW, comedy is agame, a game, a a grown-up person. comedy is

ii 11

THE COMIC IN SITUA TIONS 69 SITUATIONS 69

game And since, that imitates imitates life. life. in the the since, in game that games of the child when working its dolls and of the child its dolls and working games puppets, manYQf the movements are of the movements are produced many puppets, produced by by strings, ought we not to find those same not to find those same strings, strings, ought strings, some\vhat somewhat frayed as the the wear, reappearing frayed by by \vear, reappearing as threads that knot knot together threads that the situations in a situations in a together the comedy? start with with the the games us, then, then, start comedy? Let US, games and follow the imperceptible of a child, follow of a the imperceptible process child, process by as he grows he makes makes his his which, as himself, he grows himself, by which, puppets with life, and life, and puppets grow, grow, inspires inspires them with finally to an an ambiguous state in in brings them to finally brings ambiguous state which, without ceasing to be puppets, they without to be which, puppets, they ceasing have become human beings. have yet thus yet beings. We thus obtain type. And upon upon a comedy characters of of a obtain characters comedy type. them we can test the truth of the la\v of which test the truth of the law of which all preceding analyses an inkling, all Dur a our preceding analyses gave gave an inkling, a law with which \vhich we ,viII all will define define all in accordance accordance with law in broadly comic comic situations in general. general. Any A1ty ararsituations in broadly rang-ement 0/ acts eve1zts Z·s comte which is which and events comic rangement of acts glves t?Z a a single sz·ngle combination^ combz·nalz:on, the the illust:on illusion 0/ US) in of gives US, a 11ft the distinct imjression 0/ mechanzcal mechanical the distinct and impression of life arrangement. arrangement* I. i.

As children The Jack-in-the-box. ]ack-·Z:1z-the-box.-As children we The

have all all played played with with the the little little man who springs springs have him out of his box. YOll squeeze hirn flat, he You flat, he out of his box. squeeze

70 7°

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jumps up Push hirn lower, and he Push him he lower, and jumps up agaln. again. shoots higher. Crush shoots up still Crush hirn him down up still higher. beneath the lid, and often he will send beneath the lid, and often he will send everyeverything It hard to to tell or not is hard It is tell whether not whether or thing flying. flying. the kind of is very of but the the toy itself is the kind ancient, hut toy itself very ancient, amusement time. It it affords is a affords belangs It is a to all all time. amusement it belongs to struggle bet\veen two stubborn elements, ane of two stubborn elements, one of struggle between which, being sirnply mechanical, ends which, being simply mechanical, generally generally ends by which treats treats it to the it as as a in to a the other, other, which by giving giving in playing with with aa mouse, mouse, which which plaything. A cat cat playing plaything. fram to time a spring, she releases time she from time time to releases like like aspring, only pull it with astrake of her it up short to pull a stroke of her only to up short with paw, indulges kind of in the the same kind of amusement. amusement paw, indulges in We will now pass on to the theatre, beginwill to the theatre, beginpass ning udy show. a Punch alld with a and J sooner show. No sooner ning with Judy policeman put put in on the does in an appearance does the the policeman the appearance on stage he receives receives a than, naturally stage than, naturally enough, enough, he blow blow which which

fells He springs fells hirn. his feet, him. to his feet, springs to a second blow lays hirn flat. Arepetition second blow him flat. of A lays repetition of the the offence offence is is followed a repetition of of the the followed by by arepetition punishment. Up the constable constable flops punishment. Up and down the flops and hops hops with with the uniform rhythm rhythm of of the bend.. the uniform the bending whilst the a spring, whilst release of of aspring, the spectators ing and release spectators laugh louder and louder. louden laugh louder let us think that is rather N OW, let a spring that think of of aspring is rather Now, of a Inoral moral type, of type, an idea idea that that is is first first expressed, expressed,

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THE COMIC IN SITUATIONS 7711

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

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to aa window windo"\v suddenly the and the flies open, to saysuddenly flies open, and say

head as of the head of the philosopher appears, as philosopher again again appears, it had burst open the lid of a box. though though it had burst open the lid of a box. The same the Malade Malade occurs in in the same by-play by-play accurs Imaginaire. Through the mouth of Monsieur of Monsieur Through the Imaginaire. Purgon pours medical profession the outraged outraged medical profession pours Purgon the out its vials of wrath upan Argan, threatening out its vials of wrath upon Argan, threatening hirn disease that that flesh is heir to. flesh is heir to. him with with every every disease And every time Argan rises from from his his seat, as seat, as Argan rises every time the latter though latter disappears silence Purgon, to silence Purgon, the disappears though to for amoment, being, as it were, tl1rust back as it thrust back for a moment, being, were, into by aa as though into the the wings; then, as impelled by wings then, though impelled rebounds on to spring, to the he rebounds a the stage with a spring, he stage with his lips. The self-same exclamafresh curse on fresh curse on his lips. self -same exclama" " tion: "Monsieur !" recurs tion Monsieur Purgon recurs at at regular Purgon regular beats, and, it were, as it the tempo this of this were, marks the and, as beats, tempo of ;

:

!

little little scene. scene.

Let us the image us scrutinise scrutinise more closely of closely the image of the which is released, and bent the spring is bent, which and bent bent, released, spring again. Let us disentangle us its central central element, element, again. disentangle its and we shal1 usual processes shall hit hit upon of the the usual upon one of processes of repetitz·o1Z. of classic classic comedy, comedy, repetition. is it it there Why is there is is so~ething comic in the the something comic in of a a word on the repetition the stage? No theory repetition of stage ? theory of the of the ludicrous ludicrous seems to a satisfactory to offer offer a satisfactory to this this very answer to simple question. can Nor can very simple question.

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THE COMIC IN SITUATIONS 73 73

an be found, so lang answer be as we look an answer look for for the the found, so long as explanation of an an amusing or phrase word or in explanation of phrase in amusing ward the phrase or the phrase or ward from all all it word itself, it sugitself, apart apart from suggests to us. N owhere will the usual method to us. the usual method Nowhere will gests prove to be so With the to be so inadequate as here. here. the prove inadequate as exception, however, of a few of a few special instances exception, however, special instances to which we shall recur Iater, the repetition shall recur later, the repetition of to which of aa word ward is never laughable in itself. It makes is never It makes in itselflaughable us only because it us laugh it symbolises a because special laugh only symbolises a special play of moral elements, this play itself being of moral itself this elements, play play being the symbol of an altogether material diversion. an the symbol of altogether material diversion, It is the of the It is the diversion diversion of with the the cat cat with the mouse, mouse, the the child back the diversion of of the the diversion back the child pushing pushing JJack-in-the-box, ack-in-the-box, time time, to bottom time after the bottom after time, to the of his his box - but refined and spiritualised of but in in a a refined spiritualised form, to the realm of of feelings transferred to the realm form, transferred feelings and ideas. Let us us then the law which we then state ideas. state the think defines the main comic wardof wordthink defines the varieties of comic varieties repetition the stage: In aa comz·c comic repet1:tion on the of repetition of repetition on stage In W01'ds generally find find two terms : a repressed words we generally two terms: repressed feeling which goes off 11:ke a Spri1Zg, anti an idea ziiea and like off spring^ goes feeling :

that zn repressz·ng ttie feeling anew. that del'Z:ghts feeling anew. delights in repressing tlu his wife's of his When Dorine wife's Dorine is is t.eIling Orgon of telling Orgon

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

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few few moments, us the the distinct sensation distinct sensation affords us moments, affords of being released. released. This a spring being of aspring This spring Dorine spring Dorine delights in pushing back, each time she resumes delights in pushing back, each time she resumes her And when Elmire's illness. her account account of illness. of Elmire's Scapin Geronte that has that his his son son has old Gerante informs old Scapin infonns been taken the famaus on the famous galley, been taken prisaner prisoner on galley, and that a ransom must be paid ,vithout be paid without delay, he that a ransom delay, he is with the avarice of Geronte exactly the avarice of is playing with Geronte exactly playing as with the the infatuation infatuation of of Organ. as Donne does witll Dorine does Orgon. The old is Da no SQoner man's avance avarice is sooner repressed old man's repressed than it is is it springs again automatically, and it than up up it springs again automatically, this to indicate that Moliere Moliere tries automatism that tries to indicate by this automatism by the mechanical repetition of a sentence expressa of sentence the mechanical repetition expressing money that that would have at the the money to have to ing regret regret at " be forthcoming: "What the deuce did he What the want be deuce did forthcoming " in that ~galley The same criticism in that is appli? " criticism is appligalley ? cable Valere points points out in which Valere the scene to to the out to cable to scene in Harpagon the wrang he would be doing in in the be doing Harpagon wrong marrying his daughter to a man she to his she did not a did not marrying daughter " " love. "No love. No dowry the interrupts the dowry wanted I" interrupts miserly BeBemiserly Harpagon every few moments. Harpagon every hind this which recurs automatithis exclamation, automatirecurs exclamation, cally we faintly discern a complete cally complete repeatingfaintly discern repeatingby a fixed idea. machine set set going a fixed idea. going by At times times this is less this mechanism is to less easy easy to detect, and here we ellcounter a fresh difficulty a here encounter fresh detect, difficulty :

1

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THE COMIC IN SITUATIONS 7S 75

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

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between Alceste Alceste and and Oronte, Oronte, it it is is between between between Alceste and and himself. himself. The The one one Alceste Alceste would would Alceste and the the other other stops staps his his and mouth just as he is the point of telling on the is of mouth just as he point telling everything. Each" I don't say that ! U reveals reveals "I don't that!" Each say everything. a growing growing effort to repress repress something something that that a effort to strives and struggles to get out. And so the to so the strives and struggles get out tone in in which which the the phrase phrase is is uttered uttered gets gets more tone and more more violent, violent, Alceste Alceste becoming becoming more and and more angry not with with Gronte, he thinks thinksas he more Oronte, as angry - not but with himself. The tension of the spring tension is of the but with himself. spring is COl1tinually being renewed renewed and reinforced, reinforced, until until continually being it with aa bang. bang. Here, Here, as elseas elseoff with it at at last last goes goes off where, identical mechanism the same identical have the where, we have of . of repetition. repetition. For a resolution never never hence. to make aresolution hence-. For aa man to forth forth to what he does does not not think, to say even think, even say what though he "openly defy the whole human though he "openly defy the whole race/' a is a it is is not not necessarily race," is necessarily laughable; laughable; it phase its highest of life at its life at and best. best For phase of highest and another another man, or selfishness or man, through through amiability, amiability, selfishness disdain, to prefer to :flatter people, is only another to to flatter is another disdain, prefer people, only phase of life; there is nothing in it to of life is in there it to make us us phase nothing laugh. You may even combine these these two two men laugh. YOll may even into one, into and arrange that the individual waver one, arrange that the individual waver fain blurt blurt out out the the truth, truth, fain

;

between offensive offensive frankness frankness and delusive delusive politepolite-

THE COMIC IN SITUATIONS 77 77

n

ness, this duel duel between between two two opposing ness, this opposing feelings feelings will rather it will not not even even then then be be comic, rather it will will comic, appear the essence if these essence of of seriousness seriousness if these two two appear the through their very distinctness complete feelings feelings through their very distinctness complete each each other, and make side by make up other, develop side, and develop side by side, up between mental condition, between them aa composite mental condition, composite adopting, in short, a modus ViVC1Zdi \vhich merely in a vivendi which short, adopting, merely us the complex impression of life. But gives But imimgives us the complex impression of life. agine these two feelings as i1zelastzc and unvarythese as inelastic and agine feelings unvarying elements in a really living man, make hirn in a elements him man, ing really living oscillate to the oscillate from one one to above all, the other; other above all, arrange arrange that this oscillation becomes entirely that this oscillation becomes entirely mechanimechanical cal by the well-known well-known fornl form of of some by adopting adopting the then habitual, simple, childish contrivance: contrivance: then habitual, simple, childish you will have so will get far found so far the image in found in get the you image we have all samething mcchanzcal1,n all laughable objects, laughable objects, something mechanical in someth~ing l~iving,. in fact, comic. fact, something ; in something living something comic. have dwelt dwelt on on this this first first image, image, the the We have Jack-in-the-box, sufficiently sufficiently to to show how comic comic Jack-in-the-box, fancy gradually converts a material a mechanism material fancy gradually converts into aa moral moral one. one. Now we will will consider consider one ane into or two two other other games, games, confining confining ourselves ourselves to to their their or striking aspects. aspects. most striking ;

The Dancing-jack. Dancing-:J·ack. The

are innumerThere are able comedies comedies in in which which one one of of the the characters characters able 2. 2.

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thinks freely, and thinks he and acting he is is speaking speaking and acting freely, and consequently, all the the essentials retains all of Iife, essentials of life, consequently, retains whereas, a certain from a certain standpoint, viewed from he whereas, viewed standpoint, he appears as a mere toy in the hands of another, in a the as mere hands of another, appears toy The transition who is hirn. with him. is playing with is transition is playing easily the dancing-jack from the which aa made, from easily made, dancing-jack which child works with astring, to Geronte child works with a string, to Geronte and and Argante manipulated by Scapin. Listen to Listen to Argante manipulated by Scapin. " Scapin The machZ·1ze machine is himself "The is all all there," there," Scapin himself: " and "Providence has brought them into has Providence and again: them into again brought my net," etc. Instinctively, and because one my net," etc. Instinctively, and because one would a cheat cheat than would rather than be in rather be be a be cheated, cheated, in imagination all events, at all the spectator sides events, the imagination at spectator sides with the knaves; and for the rest rest of the time, time, for the with the knaves of the like has persuaded persuaded his his playmate playmate to like a child child who has to lend his doll, he takes takes hold lend hirn him his hold of the strings of the doll, he strings marionette come and himself and himself and makes the the marionette and on go the stage as he pleases. But this latter the as he this latter go pleases. stage condition is is not not indispensable indispensable; we can can remain remain condition outside the the pale pale of of what what is is taking taking place place if outside if onIy only retain the the distinct distinct impression impression of of aa mechanmechan.. we retain ical ical arrangement. arrangement. This This is is what happens happens whenwhen-ever ever one one of of the the characters characters vacillates vacillates between between two contrary contrary opinions, opinions, each each in in turn turn appealing appealing to to him, hirn, as as when Panurge Panurge asks asks Tom, Tom, Dick and Harry whether whether or or not not he he ought ought to to get get married. married. Harry :

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THE COMIC IN SITUATIONS 79 79

Note that, in such such a a case, a comic Note comic author author is is that, in case, a ways careful to personify the t\VO opposing al to two careful the always personify opposing decisions. Far, if there there no spectator, is no there is decisions. For, if spectator, there must at all events be actors to hold must at all events be actors to hold the the strings. strings. All All that that is is serious life comes comes from from our in life our serious in freedorn. we have matured, the freedom. The feelings have matured, the feelings passions we have brooded over, the actions have brooded over, the actions passions we have have weighed, weighed, decided and carried carried decided upon upon and through, in short, us and all that that comes from us and comes from short, all through, in is the things is Qur these are that give are the our very own, these very OWD, things that give life its ofttimes dramatic and generally life its ofttimes dramatic and generally grave grave aspect. is requisite requisite to to transform transform What, then, then, is aspect What, Merely to fancy all this into all this into a a comedy? that Merely to comedy? fancy that our our seeming a the strings freedom conceals of a conceals the seeming freedorn strings of and that we are, as the poet says, dancing-jack, that are, as the poet says, dancing-jack, • • . humble humble marionettes marionettes 1 The wires Fate. which are are pulled wires of of which by Fate.t pulled by .

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So there there is even a a serious, or even a real, a is not not areal, serious, or that fancy cannat render comic dramatic scene render that dramatic scene fancy cannot is by image. Nor N or is this image. forth this simply calling by simply calling forth lies open. wider field there field lies a wider which a a game for for which there agame open. . • • d'humbles marioanettes cPhumbles marionnettes la Ndcessite*. Dont Necessite. aux mains de la mains de est aux le fil est Dont le:fil .

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SULLY-PRUDHOMME.

80 So

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3. The Snow-ball. - The farther proceed The Snow-ball. farther we proceed 3. in this investigation into the methods of comedy, in this investigation into the methods of comedy, the more clearly we see the part part played the more clearly see the played by by childhood's These refer, These memories memories refer, childhood's memories. memories. perhaps, less than to to the to any less to the special game any special perhaps, game than mechanical of which that that game a is a device cf mechanical device game is particular instance. The same general device, particular instance. general device, may be with in widely moreover, met with in be different moreover, may widely different just as games, the same operatic as the air is is found found operatic air games, just in many different variations. in many different arrangements and variations. arrangements and What is and is retained in of importance here of is in is here and retained importance the mind, what what passes passes by by imperceptible the mind, imperceptible stages stages of a child to those of a man, is from a child a is of to from the those of the games man, games the mental diagram, the skeleton outline of the mental diagram, the skeleton outline of the you the abstract if the combination, abstract or, if combination, Of, like, the you like, formula these games formula of which these are particular of which games are particular illustrations. Take, rolling for instance, the rolling illustrations. Take, for instance, the it moves snow-ball, which increases in size as in it as increases size snow-ball, which along. We might j ust as think of of toy as weIl well think toy along. might just soldiers behind one another. Push behind another. soldiers standing standing the it tumbles the first first and it tumbles down on the the second, second, this knacks down the and the state latter knocks this Iatter the third, the state third, of worse until untiI they of things to worse all things goes goes from bad to they all Iie prone on the Or again, take aa house house the fioor. floor. lie prone again, take of cards of that has been been built built up with infinite cards that infinite up with care: the the first care: touch seems uncertain first you uncertain you

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THE COMIC IN SITU ATIONS 81 SITUATIONS 81

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

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

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THE COMIC IN SITUATIONS 83 83

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

balL ball. It is the It is the characteristic of a a mechanical characteristic of mechanical comcombination revers,ible. A child is bination to to be be generally child is reversible. generally delighted a game of of he sees the ball ball in in agame sees the delighted when he ninepins knocking do\vn everything in its way ninepins knocking down everything in its way and spreading laughs in all all directions; directions he havoc in he laughs spreading havoc louder than ever louder than ever when its when the to its ball returns returns to the ball starting-point after twists and after and turns and twists and turns starting-point waverings of every kind. In other "lords, of In other words, waverings every kind. the mechanism just just described the is laughable described is laughable even rectilinear, it is much more more so bewhen rectilinear, it is on beso on coming circular and when every effort the the coming circular every effort player makes, by a fatal interaction of cause cause of a fatal interaction player makes, by merely results results in in bringing bringing it it back and effect, and effect, merely to the the same spot. Now, aa considerable considerable number to Now, spot. of light light comedies comedies revolve revolve round round this this idea. idea. An of Italian straw straw hat hat has has been been eaten eaten up up by byaa horse. horse.11 Italian There is is only only one one other other hat hat like like it it in in the the whole There of Paris; Paris; it it must be be secured secured regardless regardless of of cost. cost. of ;

1 1

Italic (Labiche). Un chateau chapeau de de faille pai/te cT d'Italie (Labiche).

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This which always away at the This hat, hat, which slips away at the always slips moment its keeps seems inevitable, its capture inevitable, keeps capture seems the principal character on the run, and through the principal character on the run, and through hirn to say, on to all the him all so to others who hang, the others hang, so say, on to his a magnet his coat a sucsuccoat tails, like a tails, like which, by magnet which, by a cessive in its draws along cessive senes of attractions, its series of attractions, draws along in train the grains of iron filings that hang on to iron train the grains of filings that hang on to each And when at at last, all sarts each other. sorts of of after all other. last, after difficulties, the goal it is found in sight, seems in difficulties, the goal seems sight, it is found that the hat so ardently sought is precisely the that the hat so ardently sought is precisely the one The same voyage eaten. been eaten. one that that has has been of voyage of discovery wellin another another equally is depicted depicted in equally welldiscovery is 1 kno\vn The curtain curtain rises rises of Labiche. Labiche. known comedy comedy of on an old bachelor and an old maid, acquaintold maid, acquainton an old bachelor ances standing, at the at the moment of of ances of of lang long standing, enjoying Eac11 them, of them, their daily rubber. Each of daily rubber. enjoying their unknown to to the has applied the other, to the the same other, has applied to Through innumerable matrimonial matrimonial agency. innumerable agency. Through difficulties, one mishap heels one the heels difficulties, mishap following following on the of they hurry right of another, side by another, they side, right hurry along, along, side by side, through the play, to the interview which brings brings through the play, to the interview and simply, into each other's them back, purely into each other's back, purely simply, presence. have the same circular circular effect, We have the effect, presence. the tlle starting. . point, in return to in a more to the the same return starting-point, 2 recent A henpecked husband imagines recent play.2 henpecked play. imagines 1

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La Cagnotte. Cagnotte*

, Les Les surprises divorce. surprises du äivorce.

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THE COMIC IN SITUATIONS 85 85

he he has has escaped divorce from from the the clutches of clutches of escaped by by divorce He marries his wife and his his mother-in..law. his wife mother-in-law. marries again, lo and and behold, the double double comcomwhen, 10 behold, the again, when, bination and divorce brings back bination of of marriage divorce marriage and brings back to to hirn him his his former former wife wife in in the the aggravated form aggravated fonn of of a a second second mother-in..law! mother-in-law When we think think how intense intense and and how common is of the comic, we underis this this type of the undercomic, type stand it has fascinated the imagination stand why it has the fascinated of why imagination of certain certain philosophers.. To cover a good cover a deal philosophers. Ta good deal only to carne back un\vittingly of of ground to ground only to come back unwittingly to the is to make a great effort for aa the starting-point, is to a effort for starting-point, great So we might result is nil. that is nil. result that to be tempted tempted to might be define the comic in in this latter fashion. define the this latter fashion. And such, indeed, seems to be the idea of H erbert to seems the be idea of Herbert such, indeed, Spencer: hirn, laughter is the the to him, Spencer: according according to laughter is indication which suddenly of an effort effort which enindication of suddenly en.. counters a void. Kant had already said counters a void. already said " something of the kind: "Laughter is the the the of kind Laughter is something result of of an an expectation expectation which, which, of of aa sudden, sudden, result ends in in nothing." nothing." No doubt doubt these these definitions definitions ends would apply apply to to the the last last few examples examples given, given, would the formula formula needs needs the although, even even then, then, the although, addition of of sundry sundry limitations, limitations, for fcr we often often addition make an ineffectual ineffectual effort effort which is is in in no 00 way way provocative of of laughter. laughter. While, While, however, however, the the provocative !

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last last few a great few examples are illustrations of a illustrations of examples are great cause in a small effect, we quoted a cause resulting in small we effect, quoted resulting others, be which might others, immediately before, which immediately before, might be defined as a great effect springing a as defined inversely effect inversely great springing from The truth truth is, this second from aa small small cause. cause. this second is, definition has scarcely than the definition has scarcely more validity validity than the first. Lack of proportion between cause first. of proportion between cause and and effect, whether appearing in ane ar in the other, in one in the whether or effect, other, appearing never the What is source of is never the direct of laughter. direct source laughter. we da at is is something that this lack lack of do Iaugh of laugh at something that this may in certain cases disclose, namely, proportion in certain cases disclose, namely, proportion may aa particular particular mechanical mechanical arrangement it arrangement which it reveals us, as back of as through a glass, of to us, at the the back reveals to through a glass, at the series of effects and causes. Disregard the series of effects causes. Disregard this and you let go the only this arrangement, let clue the you arrangement, only elue go you through capable of guiding of the labyrinth capable of guiding you through the labyrinth of the Any hypothesis you otherwise the comic. comic. Any otherwise would hypothesis you select, while possibly applicable to aa few carecareselect, while possibly applicable to ful1y chosen cases, is Iiable at any moment to is chosen liable at to cases, any fully be met and overthrown by the be first unsuitable overthrown by the first unsuitable instance that comes along. instance that along. But why is it we laugh is it at this this mechanical why laugh at arrangement? It is is doubtless that the the doubtless strange arrangement ? It strange that of a person history a group or of of a should samesomeperson or history of group should times times appear like agame a game worked by or appear like by strings, strings, or or gearings,or springs; hut from what source does but source does gearings, springs ;

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THE COMIC IN SITUATIONS 87 87

the the special character of of tI1is this strangeness arise ? special character strangeness anse? What is To this it that that makes is it it laughable?? makes it this laughable question, have already question, which we have propounded already propounded in our ans\ver in various various farms, must al\vays be forms, our answer roust always be the mechanism which we same. The rigid the same. which rigid occasionally detect, as as a a foreign in the the detect, occasionally foreign body, body, in living of human affairs is of affairs is of peculiar continuity of living continuity peculiar interest a kind of absentmindedto us as as being interest to a of kind absentmindedbeing ness Were events the part ness on the of life. unevents unlife. part of ceasingly mindful of of their their own course, there course, there ceasingly mindful Da conjunctures would be no coincidences, and coincidences, no conjunctures and no circular everything would evolve circular series; evolve would series; everything and progress And were all men were all progress continuously. continuously. always to life, were ,ve attentive to we constantly life, were always attentive constantly keeping in touch with others as weIl as with in touch with as well as with others keeping nothing within within us us would ourselves, would ever ever appear ourselves, nothing appear as due to as to the the working working of or springs. of strings or strings springs. The comic is is that that side of aa person person which side of his likeness likeness to to aa thing, thing, that that aspect aspect of of reveals his reveals events which, which, through through its its peculiar peculiar human events the impression impression of of pure pure inelasticity, conveys conveys the inelasticity, mechanism, of automatism, of movement of of mechanism, automatism, without life. life. Consequently Consequently it it expresses expresses an without individual or or collective collective imperfection imperfeetion which individual This calls for an immediate corrective. This corcorcorrective. calls for an gesture that that singles singles rective is is laughter, laughter, aa social social gesture rective

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out and and represses represses aa special special kind kind of of absentabsentout mindedness in in men and and in in events. events. mindedness But this this in in turn turn tempts tempts us us to to make further further But investigations. So So far, far, we have have spent spent our our time time investigations. in rediscovering, rediscovering, in in the the diversions diversions of of the the growngrownin up man, man, those those mechanical mechanical combinations combinations which which up am used hirn as a child. Gur methods, in fact, in Our amused him as a child. methods, fact, have been been entirely entirely empirical. empirieal. Let Let us us now have attempt to to frame frame aa full full and and methodical methodical theory, theory, attempt by seeking, as it were, at the fountain-head, by seeking, as it were, at the fountain-head, the changeless of the the and simple the simple archetypes archetypes of changeless and manifold and transient practices practices of of the the comic and transient manifold stage. Comedy, \ve said, events so so combines events said, combines Comedy, we stage. as to introduce mechanism inta the Guter farms as to introduce into the outer forms Let of in what essential of life. us now ascertain essential life. Let us ascertain in characteristics from without, viewed from characteristics life, without, life, when viewed seems We with mere mechanism. seems to to contrast contrast with shall have, then, to turn to the opposite turn shall only to the to opposite only have, then, in order to discover the abstract characteristics, the in to discover abstract order characteristics, formula, this time a general time a one, formula, this complete one, general and complete for for every of comedy. real and and possible possible method of every real comedy. to us as evolution in Life itself as Life presents us in to evolution itself presents time and complexity Regarded in in space. space. Regarded in complexity in time, is the of a a being it is evolution of the continuous continuous evolution time, it being ever ever growing it never never goes older; it goes backwards growing older; and never Considered in in space, it never repeats itself. space, it repeats itself.

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THE COMIC IN SITUATIONS 89 89

exhibits certain coexisting exhibits certain elements so so closely coexisting elements closely interdependent, so exclusively made far one so made for one interdependent, exclusively that not one of them could, at another, the another, that not one of them could, at the same belang to t\VO different organisms: same time, time, belong to two different organisms closed system each each living is a· a 'closed of pheliving being being is system of phenomena, of interfering with other with of other nomena, incapable incapable interfering systems. A continual of aspect, continual change the aspect, the systems. change of of the order of phenomena, the irreversibility of the of the order irreversibility phenomena, of a perfectly perfect individuality of a self-contained perfect individuality perfectly self-contained senes: the outward series: such, characoutward charac.. are the such, then, then, are teristics whether real or apparent is of little teristics whether or is of little real apparent moment -which which distinguish from the the living the distinguish the living from merely us take the countertake the mechanical. Let Let us countermerely mechanicaL part of each of these: we shall obtain three shall obtain three part of each of these: processes which which might n1ight be be called called rejetz:t'Z:on, processes repetition, inversion, 'i,zteiference series. inversion^ and reciprocal reciprocal interference of of series. Now, it also the the it is to see that these are also is easy these are see that Now, easy to that no others methods of comedy, and that others of light light comedy, and are possible. are possible. them, could discover As aa matter matter of of fact, discover them, fact, we could as varying importance, the in the as ingredients of varying importance, in ingredients of composition of all the scenes we have just been been all of the scenes just composition a fortiori, in the children's considering, and, a the children's in and, considering, fortiori, games, the mechanism of of which they reproduce. games, the they reproduce. The requisite analysis would, however, delay requisite analysis would, however, delay to us too lang, and it to study it is is more profitable us too and profitable study long, :

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them in in their their purity fresh examples. examples. by taking taking fresh purity by Nothing could be easier, for it their pure for it is be could is in in their easier, pure Nothing state that they are faund, both in classic comedy state that they are found, both in classic comedy and and in in contemporary plays. contemporary plays. I. Repett:tion. - Our present present problem problem no no I. Repetition. longer deals, like the preceding one, with the like a longer deals, preceding one, with a ward byan individual, sentence repeated a sentence word or an or a individual, repeated by hut with aa situation, that is, but rather a combinarather with combinasituation, that is, a tion of circumstances, which recurs tion of circumstances, several recurs several form and thus contrasts times its original times in in its thus contrasts original with Everyday stream of of life. with the the changing life. changing stream Everyday experience type of us with with this this type of the the experience supplies supplies us comic, though only in a rudimentary state. in a comic, though only rudimentary state. Thus, you meet a friend in the a in meet friend the street street whom Thus, you you not seen for an age; seen for have not there is is nothing you have age there nothing comic in If, in the the situation. situation. If, however, however, you you meet hirn the same day, and then a third and him again the then a third day, again " aa fourth the "coinci. fourth time, at the coinci-. time, you you may may laugh laugh at dence." N OW, picture picture to yourself aseries to yourself dence." Now, a series of of imaginary events which affords a tolerably fair affords a tolerably fair imaginary events illusion and within this illusion of of life, within this ever-moving and life, ever-moving senes one and the same scene reproseries imagine the scene reproimagine either by the same characters duced either or by characters or by the by ones again different you will have a coincidifferent ones: will a coinciagain you dence, a far more extraordinary far one. dence, though though extraordinary one. ;

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THE COMIC IN SITUATIONS 9911

Such produced on the repetitions the stage. on the Such are are the repetitions produced stage. They are the more laughable in proportion in the more are as proportion as laughable They the repeated is more is more more complex the scene scene repeated and more complex and t\VO conditians which naturally introduced introduced two conditions which naturally seem exclusive, and which the playwhich and the seem mutually mutually exclusive, playwriter must be be clever to reconcile. clever enough writer must reconcile. enough to Contemporary light comedy employs this Contemporary light comedy employs this method shape and form. One of the in every of and method in form. the every shape best..known examples in bringing a consists in best-known examples cansists bringing a group most of characters, into the the most act after after act, characters, act act, inta group of varied stlrroundings, so as to reproduce, under varied surroundings, so as to reproduce, under ever the same fresh circumstances, one and and the ever fresh same circumstances, one series or less of incidents incidents or series of or accidents accidents more or less symmetrically identical symmetrically identical. In In several of Moliere's Moliere's plays several of find one one plays we find and the the same arrangement of events events repeated repeated arrangement af right through the comedy from beginning to the comedy beginning to right through end. Thus, the Ecole des Femmes does nothing des does nothing end. Thus, the Ecole more than and repeat a single inthan reproduce and repeat a single in.. reproduce cident in three first tempo, tells three tempi: cident in tempo^ Horace teIls tempi: first plan he Arnolphe to deceive has devised deceive he has of the the plan devised to Arnolphe of turns out to be Arnolphe Agnes's guardian, turns out be who to Arnolphe Agnes's guardian, he himself; Amolphe thinks he has thinks himself second second tempo, tempo> Arnolphe concheckmated the move; third tempo, move third checkmated the Agnes eontempo> Agnes of all trives benefit of the benefit that Horace gets trives that gets all the is Arnolphe's measures. There is Arnolphe's precautionary precautionary measures. ;

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the in the the &ole Ecole the same same symmetrical repetition in symmetrical repetition des Maris, in L'Etourdi, and all in and above above all in in VEtourdi, de$ Marts, George Dandin, where the same effect in three effect in three George Dandin, where the tempz· is again met with: first tempo,! George with: first tempo^ George tempi is again Dandin that his his wife wife is is unfaithful; Dandin discovers discovers that unfaithful; second he summons his fatherand he his fatherand second tempo, tempo, mother-in-Ia\v to his assistance; third tempo, it mother-in-law to his assistance third tempo, it is himself, after all, who has to after Dandin has to is George Dandin himself, all, George apologise. apologise. the same scene with scene is is reproduced At times times the reproduced with groups of different characters. Then it not characters. it not groups of different infrequently happens that the first group conthat the first coninfrequently happens group sists the second second of masters and the of servants. sists of of masters servants. The latter repeat in another key latter repeat in another key a scene scene already played by the former, though the the former, though the already played by rendering Apart less refined. is naturally refined. A part of of naturally less rendering is the Depz·t amoureux amoureu",~ is is constructed the D'epit constructed on this this plan, as is also Amphitryon. In an amusing as In is also Amphitryon. plan, amusing Iittle of Benedix, Ez"gens'i'nn, of Der little comedy the Benedix, comedy Eigensinn, the order reprois inverted the masters order is inverted : we haye have the masters reproducing their a scene in which their of stubbornness stubbornness in scene of ducing a servants the example. servants have have set set the example. But, irrespective of the the characters characters But, quite quite irrespective of who serve pegs far the arrangement serve as as pegs for the of arrangement of symmetrical situations, there seems to be a symmetrical situations, there seems to be a between wide gulf classic comedy and the classic the gulf comedy ;

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THE COMIC IN SITUATIONS 93 93

theatre Both a Both aim at introducing of to-day. aim at theatre of to-day. introducing a certain mathematical order certain mathematical order into into events, while events, while none their aspect of likeli-less maintaining none the the less their of likelimaintaining aspect hood, that is to say, of life. But the means is to that of But life. the means hood, say, they employ are different. The majority of are different. they employ majority of light of our comedies of our day to mesmerise seek to mesmerise light comedies day seek directly For, the mind of of the the spectator. howFor, ho\vdirectly the spectator. ever the caincidence, it becomes ever extraorclinary becomes coincidence, it extraordinary the acceptable from the very fact that it is accepted the very fact that it is accepted ; acceptable and we da do accept if we have have been been gradually it, if accept it, gradually prepared far its Such is often for its r~ception. is often the the prepared reception. procedure authors. adopted by procedure adopted by contemporary contemporary authors. In Moliere's plays, plays, on the contrary, In Moliere's it is is the the on the contrary, it the persons persons on the stage, of the moods of on the not of of the the stage, not audience, that make make repetition repetition seem natural. natural. audience, that Each of the characters represents a of the characters represents a certain certain fqrce applied in a certain direction, and it is is in a certain force applied direction, and it because these these forces, forces, constant constant in in direction, direction, because combine together together in in the the same way, way, necessarily combine necessarily that the the same situation situation is is reproduced. repraduced. Thus that interpreted, the the comedy comedy of of situation situation is is akin akin to to interpreted, the comedy comedy of of character. character. It It deserves deserves to to be the called classic, classic, if if classic classic art art is is indeed indeed that that which called ;

does not not claim claim to to derive derive from from the the effect effect more does than than

it has has put put into into the the cause. cause.

it

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94 94

CHAP.

- This has SO This second second method method has so much analogy the first first that that we will will merely with the merely analogy with define without insisting on illustrations. illustrations. it define it without insisting on Pieture certain characters in a Picture to to yourself yourself certain characters in a certain the situation if you reverse situation certain situation: situation if you reverse the and the rates, obtain a a comic comic scene. scene. and invert invert the roles, you you obtain The double rescue scene in Voyage de M. in scene Le de double rescue Voyage 11 Perri&hon belongs belongs to to this There this class. class. is no There is no Perrickon necessity, however, for both the identical scenes necessity, however, for both the identical scenes to be played We may us. before us. be shown to be may be played before only one, provided tl1e other is really in aur the other is only one, provided really in our minds. prisoner at at the the prisoner at the the minds. Thus, Thus, we laugh laugh at bar lecturing magistrate; at at a the magistrate; a child child prebar prelecturing the suming to teach its parents; in a its at word, at parents; in a ward, suming to teach everything that comes under the heading of that under the heading of everything "topsyturvydom." "topsyturvydom." infrequently comedy before us us aa Not infrequently sets before comedy sets character a trap in which he is the a in is the character who lays which trap lays first The plot plot af first to to be of the be caught. the villain villain who caught. is villany, or is the his own villany, of his the cheat victim of or the cheat the victim cheated, fornls the stock-in-trade of a good the of a forms stock-in-trade cheated, good many plays. We find this even in primitive find in this even primitive many plays. farce. Lawyer Pathelin teIls his client of his of a a Pathelin tells client farce. Lawyer trick trick to to outwit client outwit the the magistrate; the client magistrate; the employs the self-same trick to avoid paying trick the self-same to avoid paying employs 2. Inversz·on. 2. Inversion.

:

11 Labiche, Labiche,

Le 'Poyage Perrichon. Le Voyage de M. Perrichon.

n II

THE COMIC IN SITUATIONS 95 95

the the lawyer. a wife of a wife insists insists lawyer. A termagant termagant of upon her husband doing all the housework; her husband all the housework upon doing she down each she has has put each separate item on on a a put separate item ,'rota.' rota.' N ow let her fall into a copper, her Now let her fall into a copper, her husband ,viII will refuse refuse to to clrag her out, for "that "that out, for drag her " is In is not not down on his' his rota.' In modern rota.' " modern literaliterature with hundreds ture we meet with of variations hundreds of variations on on the theme of the robber robbed. In every of the the robber robbed. In every case root idea the root case the idea involves an inversion inversion of involves an of rotes, a situation and a situation which recoils on the head which recoils on the head roles, and of of its its author. author. % Her~ Here we apparently the confirmation confirmation of find the of apparently find aa law, same illustrations of which \ve have some illustrations which we of have law, already pointed out. out. comic scene When aa comic scene already pointed has been been reproduced reproduced aa number of of times, times, it has it reaches the stage of being a classical type or the of reaches stage being a classical type or model. It becomes amusing It becomes in itself, model. itself, quite quite amusing in apart from the causes which render it amusing. the it causes which from render apart amusing. comic Henceforth, new scenes, scenes, which which are are not not comic Henceforth, de jure, jure, may may become amusing amusing de de facto, facto, on de account of of their their partial partial resemblance resemblance to to this this account model. They They call ca!1 up up in in our our mind aa more or or model. less confused confused image image which which we know to to be less comical. They They range range themselves themselves in in aa category category comical. representing an an officially officially recognised recognised type type of of representing " the comic. comic. The scene scene of of the the " robber robber robbed" the ;

c

9966

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CHAP. CHAP,

belangs to It a host It casts casts over of host of over a to this this class. class. belongs other of the the comic element a reflection of comic element other scenes scenes arefleetion it In the end it renders end it comic any In the it contains. renders comic contains. any mishap that befalls one through one's own fault, one one's that befalls fault, through mishap no matter what what the may be, or mishap fault or the fault no matter be, mishap may nay, ward this mishap, to this a single an allusion allusion to mishap, a single word nay, an that recalls it, is sufficient. There would be is sufficient. There would be that recalls it, " nothing in the the saying, It serves serves you amusing in saying, " It you nothing amusing right, George Dandin," were it not for the it were not for the Dandin," right, George comic overtones that take up and re-echo that take up and re-echo it. it comic overtones 3. have dwelt at considerable dwelt at considerable length on 3. We have length on repetition inversion ; we now come to and inversion the to the repetition and reciprocal 'interlerence 1 01 series. This is aa series. is This of reciprocal interference comic precise formu]a comic effect, the precise formula of of which which is is effect, the very reason of difficult to to disentangle, of the the very difficult disentangle, by by reason extraordinary variety af farms in which it it extraordinary variety of forms in appears on the stage. Perhaps it might be the it be appears stage. Perhaps might defined A situation sz·tuation is z"nvarz·ably defined as as folIows: is invariably follows: A tomic slmultaneottsly to comic when it it oelongs to two belongs simultaneously altogether -indepe1tdent series 01 eVe1z,ts and is series events is altogether independent of capaole z·n two two entirely of being interpreted entirely capable ollJe'lng interpreted in at the same time. different at the same time. different meant:ngs meanings ;

*

" has word " interference ward here the interference " the meaning it has here to it meaning given given to it indicates where partial superposition where it indicates the and neuneuthe partial superposition and tralisation, each otber, of two two series series of of light-waves. tralisation, by other, of by each light-waves. 11 The

in Optics, in Optics,

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. And the situation is situation. the equivocal situation is equivocal indeed indeed one which permits of t\VO two different different permits of meanings at the same time, the one at the time, the one merely meanings merely is by the actors; plausible, which is put forward which forward the actors put plausible, by the a real ane, the other other areal is given which is the one, which given by by the public. We see the real meaning of the see the real meaning of the public. because care has been been taken situation, because care has taken to to situation, show us aspect of it, hut each of the us every of but each of the it, every aspect one of these aspects; hence actors actors knows only of one these aspects hence only the mistakes they make and the erroneous the mistakes they the erroneous judgments they pass both on what is both what is going judgments they pass going on around them them and what they are doing and on what are they doing themselves. We proceed proceed from this erroneous themselves. from this erroneous judgment to to the between the correct correct one, one, we waver between judgment the real, and it. the possible the real, it is is possible meaning meaning and the this inthis mental see-saw between two contrary mental see-saw contrary interpretations in the is at at first first apparent the apparent in terpretations which is enjoyment we derive from an equivocal situasituaderive equivocal enjoyment tion. It philosophers that certain certain philosophers It is is natural natural that tion. this menshould by this struck by should have have been been specially specially struck tal that same some of of them should tal instability, instability, and that as ludicrous as the very essence of the ludicrous regard of the essence regard the very of consisting coincidence of or coincidence in the collision or the collision consisting in other. two judgments judgments that that contradict contradict each other. is far Their however, is far from meeting Their definition, definition, however, meeting ;

;

98

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CHAP.

every it does, it definesand even even when it defines does, it case, and every case, not principle of but only the ludicrous, of the the principle one not the ludicrous, but only one of its more or less distant consequences. InInof its more or less distant consequences. deed, it is easy to see that the stage-made see that to it the is easy deed, stage-made misunderstanding is hut a particular is nothing a but particular nothing misunderstanding instance phenomenon,more general far more of a a far instance of general phenomenon, the reciprocaI interference of independent interference of the reciprocal series, independent series, and moreover, it is not laughable in itself, it is not in and that, itself, that, moreover, laughable but anIy as a s1:gn of such an interference. of a but as interference. sign only of fact, each of of the matter of the characters characters As aa matter fact, each in every stage-made misunderstanding has his his in every stage-made misunderstanding has setting which an appropriate in an series of of events events which appropriate series setting in he far as as far as he he is he correctly is concerned, concerned, interprets as correctly interprets and which give the key-note to his words and and which give the key-note to his words and actions. Each of peculiar to the senes of the series peculiar to the the actions. several characters deve]op but several characters develop independentIy, independently, hut at under such a certain at a certain moment they meet under such they meet conditions that the the actions actions and conditions that and words words that that belong to just as to one one might as weIl well belang to belong might just belong to another. Hence anse another. arise the the misunderstandings misunderstandings and the equivocal nature But the equivocal nature of of the situation. the situation. this is not this Iatter latter is not Iaughable in itself, it is is so so itself, it laughable in only it reveals because it the coincidence the reveals the coincidence of of the only because two independent The proof proof of of this this series. independent series. lies be conlies in in the the fact fact that that the author must be conthe author tinually our his ingenuity to recal1 recall aur tinually taxing taxing his ingenuity to

nn

THE COMIC IN SITUATIONS 99 99

attention to the attention to the double double fact fact of of independence independence and coincidence. coincidence. This This he he generally succeeds generally succeeds in in doing the vain vain by constantly doing by constantly rene,ving renewing the threat of dissolving partnership bet\veen threat of dissolving partnership between the the two coinciding series. Every moment the series. the coinciding Every whole thing threatens to break down, hut threatens to break but down, thing manages to get patched up again; to it is is this this get patched up again; it manages that excites laughter, far more than diversion diversion that excites laughter, far than the two conthe oscillation oscillation of of the the mind between two between contradictory ideas. It makes us laugh because ideas. It us makes because tradictory laugh it interference of to us it reveals us the reveals to the reciprocal of interference reciprocal two independent series, the real source of the independent series, the real source of the comic effect. effect. the stage-made misunderstanding is so the is And so stage-made misunderstanding nothing more than than one particular instance, one particular instance, nothing of one means perhaps the most artificialof artificial one perhaps the illustrating the reciprocal reciprocal interference of series, interference of series, illustrating the hut it it is is not not the the only only one. one. Instead Instead of of two but contemporary series, you might might take take one one series senes series, you contemporary of events belonging to the past and another another and of events belonging to the past belonging to to the the present: present: if if the the two series senes belonging happen to to coincide coincide in in our Dur imagination, imagination, there there happen will be be no resulting resulting cross-purposes, cross-purposes, and yet yet will the same comic comic effect effect will will continue continue to to take the place. Think Think of of Bonivard, Bonivard, captive captive in in the the place. Castle of of Chillon: ChilIon: one one series senes of of facts. facts. Now N ow Castle

100 roc

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CHAP.

picture to Tartarin, tr~velling in to yourself yourself Tartarin, travelling in. Switzerland, and imprisoned: second arrested and Switzerland, arrested imprisoned: second series, independent of the former. Now let let series, independent of the former. Tartarin be manacled to Bonivard's Bonivard's chain, manacled to Tartarin be chain, thus the t\VO stories seem for a moment stories a two for thus making seem the making to you "viII very amusing will get a very and you to coincide, coincide, and get a amusing scene, one of the amusing that most Daudet's scene, one of the amusing that Daudet's imagination pictured. 11 N umerous incidents Numerous incidents has pictured. imagination has of the mock-heroic would if analysed, of the mock-heroic style, style, if analysed, would reveal transposition elements. The transposition reveal the the same elements. from to the the modern-always a ancient to modern from the the ancient always a laughable its inspiration draws its from the the one inspiration from laughable one-draws same idea. idea. Labiche has made use of this in use of this method in Labiche has every begins form. Sometimes he begins shape and form. every shape by building up then the series series separately, up the by building separately, and then delights in making them interfere with interfere with one delights in making another: he takes takes an independent another: he independent group group - a wedding-party, throws them for instance instance - and throws wedding-party, for into into altogether into unconnected surroundings, altogether unconnected surroundings, inta which certain their becertain coincidences of their allow of becoincidences allow ing time being. being. Sometimes he foisted for for the the time ing foisted keeps right characters right the same set set of of characters keeps one and the through the play, but contrives that certain the of contrives that certain of through play, these to concealthese characters to characters have something conceal something picture

11 Tarlann /es Alpes, Tartarin $Ur sur lesAlpes,

by Daudet. by Daudet.

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THE COMIC IN SITUATIONS

101 101

have understanding on in fact, a secret have in secret understanding on the the fact, a point in short, playa smaller comed)r within in a smaller within short, point play comedy the the principal one: at at one one moment, one of of the the moment, one principal one: two comedies is on the point of upsetting is on comedies the point of upsetting the the other; the next, everything comes right and the comes and next, everything other; right the between the hvo senes the coincidence coincidence between the two series is is he introduces into restored. Sometimes, even, restored. Sometimes, even, he introduces into the the actual series a a purely actual senes immaterial senes of series of purely immaterial events, past, for an inconvenient inconvenient past, for instance, that events, an instance, that some one has has an an interest in concealing, but interest in concealing, hut which is is continually cropping up in the present, continually cropping up in the present, and on each occasion brought occasion is is successful1y successfully brought inta with situations with which into line it seemed line with seemed situations with which it destined havoc. But in to play in every case we destined to every case play havoc. series, and also their find also find the their the two independent independent series, partial coincidence. coincidence. partial We will not carry this analysis will not further this any further analysis carry any of the methods of of light of the light camedy. comedy. Whether we find of series, find reciprocaI interference of inversion, series, inversion, reciprocal interference or repetition, we see is or repetition, that the the objective see that objective is always the same-to obtain what we have to obtain same always the set called a mechanzsation of life. Y Oll take take a set of You life. mechanisation called it is, or as it of it as of actions relations and repeat actions and relations is, er repeat it to turn transfer it it bodily it upside turn it or transfer down, or bodily to upside down, set with which it partially coincides another it another set with partially consist in - all processes that consist all these these being being processes that

LAUGHTER

102

CHAP. CHAP.

looking upon life a repeating as a life as mechanism, repeating mechanism, looking upon with and interchangeable with reversible action and reversible action interchangeable parts. Actual is comedy just far as as it so far life is it Actual life parts. comedy just so produces, in a natural fashion, actions of the of natural a actions in the fashion, produces, same consequently, just so far as as it same kind; so far it kind consequently, just forgets were it it always on for were the alert, itself, for alert, forgets itself, always on the it would be ever-changing continuity, it irrewould be ever-changing continuity, irreversible progress, undivided undivided unity. And so versible progress, so unity. the may be be defined in events events may the ludicrous defined as ludicrous in as absent-rnindedness in things, just as the ludiabsent-mindedness in things, just as the ludierous results an individual crous in in an individual character character always always results from from seme some fundamental fundamental absent-mindedness absent-mindedness in in the have already as we have the person, intimated and and already intimated person, as shall prove later on. This absent-mindedness shall prove later on. absent-mindedness in however, is exceptional. Its results is in events, Its results events, however, exceptional are it is is incurable, so that are slight. that rate it incurable, so any rate slight At any it Therefore it is at it. is useless to laugh it. the idea useless to idea Therefore the laugh at would one would never never have occurred occurred to to any of any one of exaggerating of converting absent-mindedness, of converting exaggerating absent-mindedness, it into it and creating an art for into a system, art an for it, if and it, if system, creating Iaughter not always a pleasure, were not. laughter were pleasure, and manalways a kind did not pounce upon the slightest did not excuse the pounce upon slightest excuse for indulging This is is the for in it. it. the real real explanation explanation indulging in of light of holds the relation the same relation light comedy, comedy, which holds to actual actual life to a jointed dancing-doll as does life as a to does jointed dancing-doll to aa man walking, as it it is, artificial is, an artificial walking, -being, being, as ;

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103 103

exaggeration in things. of a a natural natural rigidity exaggeration of rigidity in things. The thread binds it it to that binds thread that to actual actual life is a life is a very very fragile one. It is scarcely more than agame It one. is than a fragile scarcely game which, like all all games, on aa pre\~iously which, like games, depends depends on previously accepted in character convention. Comedy character accepted convention. Comedy in strikes roots into With that strikes far far deeper into life. life. that deeper roots kind of comedy kind of shall deal deal more particularly' comedy we shall particularly in the final of aur But final portion in the But portion of our investigation. investigation. we must first a certain type of the first analyse a of certain the analyse type comic, in many that of of light similar to to that comic, in respects similar many respects light comedy: the comic comic in in words. words. comedy the :

11 II

There There may artificial in in making be something making may be something artificial a special category for the comic in words, for the comic in since words, since special category most of that we have have the varieties of the of the varieties of the comic that examined so were produced produced through through the so far far were the medium of language. We roust make a disa disof language. must tinction, however, between the comic expressed the comic between tinction, however, expressed and the by language. The the comic created created by language. former could, if necessary, be translated translated from could, if necessary, cost one language iota another, though the cost at the into another, though at language of its significance of its of losing the greater significance portion of greater portion losing the when introduced different in a fresh fresh society into a introduced into society different all in associaassociamanners, in literature, literature, and above all in manners, in

1°4 104

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tion But it is is generally impossible But it tion of of ideas. to ideas. generally impossible to It being to translate It owes its its entire latter. entire being to translate the the latter. the the choice the sentence sentence or or to to the of tl1e the structure choice of of structure of the words. I t does not set forth, by means of the words. It does not set forth, by of language, special cases of absent..mindedness cases of absent-mindedness language, special in It It lays on lapses events. stress on In man cr in events. or in lays stress lapses of itself. In this case, In itself. this in language of attention attention in case, language it is language itself that becomes comic. that becomes comic. it is language itself Comic however, are not a matter of Comic sayings, sayings, however, are not a matter of spontaneous them, if we laugh at laugh at them, spontaneous generation; generation; if we are their author. to laugh at their author. are equallyentitled laugh at equally entitled to This latter condition, however, is not indisThis latter condition, however, is not indispensable, since the saying or expression has aa the or has since expression saying pensable, comic This proved by its own. of its This is is proved the comic virtue virtue of by the fact the majority it very difficult, find it in the fact that that we find very difficult, in majority of these cases, to say whom we are to are laughing of these cases, at, say laughing at, at times have a dirn, vague feeling although we a times at dim, vague feeling although that in the is some one in the background. that there there is background. person implicated not Moreover, the person is not Moreover, the implicated is always the speaker. Here it seems as though it as seems always the speaker. though we should distinction should draw an important distinction important between (spirituel) between the the com,,:c. and the comic. the wz·tty witty (spirituel} and A word ward is be comic when it to be is said said to it makes us us laugh at the person who utters it, and witty the at utters it, person laugh witty us laugh at when it either at a third party it makes us either third laugh party at ourselves. or at in most cases ourselves. But in cases we can can

THE COMIC IN WORDS

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JOS 105

hardly our minds minds whether whether the the ,vord is word is up our hardly make up All that \ve can say is that it comic comic or or witty. All that can we is that it witty. say is is laughable. laughable. Before Before proceeding, it might be weIl well to to might be proceeding, it examine more closely \vhat is meant by wit what is meant wit closely by (espn·t). A witty saying makes us at least A at us makes least (esprit\ witty saying smile; no investigation into smile; consequently, consequently, Da investigation into laughter would be complete did it get be it not not did to laughter complete get to the of the the bottom of the nature wit and nature of of wit and throw throw light IItt is the underlying is to to be be feared, idea. feared, light on the underlying idea. however, that this extremely subtle essence that this extremely subtle essence is is however, one that when exposed to the light. that evaporates the to evaporates exposed light Let us make aa distinction us first first distinction between between the two two meanings meanings of ward "" wit wit "" (esprit), the the of the the word (esprit), the broader one the' more more restricted. In broader In the the one and the restricted. broader it ....!~~ld seem broader meaning meaning of ward, it of the word, ^wquld that what is is called wit is that is a a certain called wit dramatic certain dramatic Q'pmvS' ." of thinking. Il1stead of treating his ideas ideas way of thinking. Instead of treating his aS"h{er~ symbols, the the wit wit sees sees them, them, he he hears hears as mere symbols, and, above above all, all, makes them converse converse them and, with one one another another like like persons. persons. He puts puts them with the stage, stage, and himself, himself, to to some extent, extent, into into on the the bargain. bargain. A witty witty nation nation is, is, of of necessity, necessity, a the nation enamoured enamoured of of the the theatre. theatre. In In every every nation a there is something of a poet just as in in wit of wit there is something just as poet '.:t,~",~":'l'.

way

"~I '

.

every good good reader reader there there every

is the the making making of of an

is

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CHAP. CHAP.

actar. is made purposely, This comparison acton This comparison is purposely, because aa proportion proportion might easily be established be because established might easily between the terms. In In order to read four terms. read weIl between the four order to well the intellectual side of the actor's we need need only intellectual the the side of actor's only art; hut in to act weIl one be an act well must be in order but order to an one must art; actor just the soul and body. In just in all all one's actor in one's soul the body. In same way, poetic creation calls for same degree same way, poetic creation calls for some degree of whilst the wit does not of self-forgetfulness, self-forgetfulness, whilst the wit does not usually err in this respect. We always a always get get a usually err in this respect. glimpse the latter he says latter behind behind what of the what he and says and glimpse of does. He is not wholly engrossed in the is not in the does. wholly engrossed business, because because he he only brings his his intelligence business, only brings intelligence inta into play. play. So any poet may reveal himself as a a wit himself as wit may reveal any poet when he pleases. Ta this there be Da To da do this will be he pleases. there will no need hirn to to acquire it seems need for for him acquire anything; anything; it rather he would have as though to give rather as have to up though he give up something. He would sirnply have to let his to have let his something. simply ideas with one hold converse converse with "for ideas hold one another another "for 1 nothing, joy of I" 1 He for the the mere joy of the the thing thing!" nothing, for would only have to to unfasten unfasten the double bond the double only have which keeps his ideas in touch with his his in with his feelings ideas touch keeps feelings In and his his soul soul in In short, in touch with life. touch with life. short, he would turn wit by by simply resolving to turn into a wit to into a simply resolving " 11 "Pour plaisir," is Victor le plaisir," is a quotation from Victor Pour rien, rien, pour pour le quotation from

Hugo's HanDn .Delorme. Dekrme* Hugo's Marion

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THE COMIC IN WORDS

be no Da longer poet in a poet in be longer a

r07 107

feeling, but anly in feeling, but only in

intelligence. intelligence. But wit consists, most part, part, in But if if wit for the the most in consists, far seeing things sttb speCte theatri, it is evidently seeing things sub specie theatri^ it is evidently capable of being directed to to one one capable of specially directed being specially variety dramatic namely, dramatic art, of art, variety of namely, comedy. comedy. Here we have have aa more more restricted restricted meaning of meaning of the term, and, moreover, the only one that the term, and, moreover, the only one that interests us from the point interests us the theory from the of vie\v view of of the point of theory What is here cal1ed wz:t ,is aa gift of of laughter. is wit is called laughter. gift Jiere

for in a a few for dashing off comic ;;e;e~ few strakesscenes in strokes dashing 9fr~~~·i~" däShi~g them off, h~wever, 50 subtly, delicately dashing them off, however, so subtly, delicately and rapidly, begin that all all is is over as soon as we begin over as soon as rapidly, that to notice them. to notice them. Who are the actors these seenes With in these scenes ? are the actors in ? whom has the wit to deal? First of all, with has the wit to deal ? First of all, with his his witticism witticism his interlocutors interlocutors themselves, themselves, when his is retort to with a direct to one of them. them. Often with is a one of direct retort an person whom he he supposes have to have an absent absent person supposes to Still spaken and to whom he is Still to is replying. replying. spoken oftener, the ordinary in the with the the whole whole world, world, - in oftener, with ordinary meaning of the term, which he takes to task, takes to task, of the term, meaning a current twisting or makinto a paradox, current idea idea into paradox, or twisting a ing use of a hackneyed phrase, or parodying or a use of parodying hackneyed phrase, ing If or proverb. If compare we some quotation or compare proverb. quotation these with one another, in miniature miniature with these scenes scenes in another, we

108 io8

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CHAT.

find find they almost always of a variations of a are almost always variations they are comic which we are with which comic theme well actheme with are weIl acquainted, that of the "robber robbed." Y Oll You quainted, that of the "robber robbed." take metaphor, aa phrase, phrase, an an argument, take up up aa metaphor, argument, and man who is, might the and turn it against the or might turn it is, or against be, its to say what that he is is made to so that its author, author, so be, say what he did not mean to say and lets himself to he did not be say and lets himself be caught, to some extent, in the toils of 1an.. in some of lantoils to the extent, caught, " " guage. the "robber of the the theme of But the robber robbed robbed " guage. But is not the p05sible one. Wehave one. is not the only We have gone only possible gone Qver many varieties of the comic, and there is of the varieties and there is over many comic, not that is being is incapable not one of them that of being one of incapable of volatilised witticism. a witticism. into a volatilised into Every witty remark, to an lends itself itself to then, lends Every witty remark, then, analysis, chemical formula, whose chemical so to to say, formula, so analysis, whose say, we are position to It to state. in a a position are now in state. It runs as follows: runs as follows: Take the remark, first first enlarge it the remark, a regular into a enlarge it into regular scene, then find out the category of the out the then find to comic to scene, category of the comic which the belangs: by bythis the scene scene evidently this means evidently belongs: YOll the witty reduce the its simplest to its you reduce witty remark to simplest elements a ful! full explanation obtain a elements and obtain of it. it explanation of Let us this method to a classic ex.. us apply this a classic to exapply " " ample. Your ehest chest hurts hurts me" me (J'az· ample. "Your (fat mal a vatre joz·trine), wrote votre poitrine\ wrote Mme. de to her her de Sevigne Sevigne to ailing daughter clearly a witty saying. If If ailing daughter clearly a witty saying. is our theory is correct, we need anly lay stress stress need correct, theory only lay

a

n

THE COMIC IN WORDS

109 109

upon and the saying, and magnify it, and upon the saying, enlarge enlarge and magnify it, we shall expand into shall see see it it expand a comic into a comic scene. scene. N OW, we find this very find this in Now, scene, ready made, in ready made, very scene, the Amour medzc-ln of Moliere. The sham of the mtdicin Moliere. sham summoned to doctor, Clitandre, who has been has who been to summoned doctor, Clitandre, attend attend Sganarelle's contents himself himself Sganarelle's daughter, daughter, contents pulse, wherewherewith with feeling feeling Sganarelle's Sganarelle's own pulse, upon, relying on the sympathy there must be on the must there be upon, relying sympathy between father unhesitatingly between father and and daughter, he unhesitatingly daughter, he " " Here concludes: concludes: "Your Your daughter ill ! " is very Here daughter is very iII we have have the transition from the witty to the transition from the witty to the the comical. Ta our analysis, then, all comical. our To complete complete analysis, then, all we have have to what there is to to discover is to da do is discover what there is comical the idea in the of giving a diagnosis of the comical in idea of the giving a diagnosis of the father or the mother. child the father child after after sounding or the mother. sounding WeIl, we know that one essential form of that one of cornic essential comic Well, fancy a living to ourselves ourselves a lies in in picturing picturing to living fancy lies person as jointed dancing-doll, of jointed a kind kind of as a dancing-doll, and person that of inducing us with the the object that frequently, object of inducing us frequently, with to shown two are shawn form this this mental mental picture, to form picture, we are or more persons persons speaking as though or more though acting as speaking and acting attached to one another by invisible strings. another invisible to one attached strings. by Is not this when we here suggested idea here this the the idea Is not suggested are so to to speak, the symto materialise, are led led to materialise, so symspeak, the father pathy we postulate as existing between father as existing postulate pathy !

and daughter? daughter ?

no

110

LA U li-H.'l".t;R i,AU(jrHTJb;R

CHAP.

We now see it is is that that writers writers on on wit see how it wit have to commentthemselves to confined themselves commenthave perforce perforce confined ing on the extraordinary complexity of the the ing on the extraordinary complexity of things denoted by the term without ever sucthe term without ever denoted sucby things in defining There are ways ceeding it in are many defining it. ceeding many ways of being witty, witty, almost many as as many almost as as there of being are of there are of being the reverse. Ho\v can we detect what How can reverse. detect what being the they have in common with one another, unless with in one have another, unless they we first the general determine the first determine begeneral relationship relationship between the witty and the comic? Onee, however, tween the witty and the comic ? Once, however, this up, everything plain is cleared cleared up, this relationship is plain relationship is everything is sailing. We then the same connection then find find the connection bebesailing. tween between the witty as exists tween the the comic exists between comic and the witty as aa regular regular scene and the fugitive suggestion scene the fugitive suggestion of· a of a possible one. Hence, however numerous the however the one. numerous Hence, possible forms the comic, will possess wit will forms assumed assumed by comic, wit by the possess an equal varieties. So of corresponding equal number of corresponding varieties. that in all its farms, is what should all that the in its is the comic, what should comic, forms, be defined task which is be is defined first, first, by (a task by discovering discovering (a already the clue difficult enough) that clue that quite difficult already quite enough) the leads the other. other. By to the leads from oue one form to that By that very operation wit will have been analysed, wit will been have very operation analysed, will then and will as nothing more than then appear than the as the appear nothing in a highly comic in highly volatile volatile state. Ta state. To follow follow the the opposite plan, however, and attempt directly to opposite plan, however, attempt directly to a formula evolve would be courting evolve a formula for for wit, be wit, courting

n n

THE COMIC IN WORDS

I II in

'certain What should failure. certain failure. should we think think of a of a chemist \vho, having jars of chemist who, so many ever so a of a having eV'er many jars certain substance in his laboratory, '\vould precertain substance in his laboratory, would prethat substance fer fer getting from the the atmosphere, substance from atmosphere, getting that in which merely infinitesimal traces of its in which infinitesimal of its vapour traces merely vapour are to be are to be found? found ? But this bet\veen the this comparison the \vitty and comparison between witty and the must the comic is also comic is also indicative of the line \ve the line we must indicative of take in studying take in in \vords. the comic the comic in words. On the studying the one hand, there is is DO no essential essential find there hand, indeed, indeed, we find difference between a \vord that is comic a that difference between word is comic and and ane witty; on the Iatter, that is is witty one that the other on the other hand, the hand, latter, although connected with a figure of speech, a inwith of connected speech, inalthough figure variably calls up dim or the image, or distinct, of distinct, of variably calls up the image, dirn aa comic This that that comic scene. scene. This amounts to saying amounts to saying the should correspond, point the comic in in speech should correspond, point speech by point, point, with with the in actions the comic comic in in actions and and in by situations, and is nothing more, if one may so if is one situations, nothing more, may so express oneself, than their projection on to the than on their the to oneself, express projection plane of us return to the return to the comic of words. words. So let let us comic plane in actions and in situations, consider the in actions in situations, consider the chief chief which it and apply methods by it is is obtained, obtained, apply by them to the building building the choice of words and the to the choice of up thus have every of sentences. shall thus We shall sentences. every up of as as well possible form of the comic in \vords as weIl as in words of the possible every of wit. wit variety of every variety ;

LAUGHTER

112 ii2

CHAP.. CHAP.

Inadvertently what we have have or da do what to say say or Inadvertently to ~o or doing, a result result of as a of no intention intention of of saying saying or doing, as inelasticity or momentum, is, as we are aware, are aware, inelasticity or momentum, is, as one of the main saurces of the comic. Thus, of sources the main comic. one of the Thus, absent-mindedness laughable, is essentially and absent-mindedness is essentially laughable, and so laugh at ready-made, at anything so we laugh anything rigid, rigid, ready-made, mechanical in gesture, attitude and facial even facial mechanical in gesture, attitude and even Da we :find this kind of rigidity in expression. find Do this of kind expression. rigidity in language No doubt we do, lanalso? since Iando, since language also? guage and stereoformulas and stereocontains ready-made ready-made formulas guage contains typed phrases. The man always expressed who typed phrases. always expressed himself would invariably terms wouId in such such terms be comic. comic. himself in invariably be . But phrase is to be is to in itself, But if if an an isolated isolated phrase be comic comic in itself, when once separated from the person who utters the person once separated utters it, it must be something more than ready-made, it be than it, something ready-made, it bear within it must bear within itself itself same some sign tells sign which teIls beyond the the possibility us, of doubt, it was that it us, beyond doubt, that possibility of uttered This can only happen uttered automatically. can automatically. only happen when the phrase embodies same the phrase evident ababsome evident palpable error surdity, a palpable either a a contradicerror or or a contradicsurdity, either Hence the tion in terms. tion in terms. the fol1owing following general general rule: A comic is invariably obtained comic meant:ng rule A is obtained meaning invariably when an absurd idea zaea is fitted jitted into into a well-esta6well-estab~ jhrase-form. lished lishedphrase-form. "" Ce sabre plus beau jour jour de ma vie," vie," sabre est est le le plus said Translate phrase said M. Prudhomme. the phrase Translate the I. i.

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THE COMIC IN WORDS

1I3 113

inta becomes purely purely or German and it becomes into English and it English or absurd, it is is comic comic enough in French. French. absurd, though though it enough in The reason plus beau jour de is that that "le "le plus reason is beau jour de ma " vie phrase-endings of those is one vie " is one of those ready-made ready-made phrase-endings ta which a Frenchman's ear is accustomed. a to which Frenchman's ear is accustomed. Ta To make it then, we need only clearly indiit comic, need indicomic, then, only clearly cate person who utters automatism of the automatism of the the person cate the utters it. it.. This when we introduce an This is is what we get introduce an get absurdity into the phrase. Here the absurdity into the the phrase. absurdity absurdity is by no means the the source is by of the it is source of the comic, is comic, it only a very simple and effective means of maka of and makeffective very simple only ing it it obvious. obvious. ing Wehave We have quoted one saying of M. quoted only only one saying of Prudhomme, the majority but the of those those attriattriPrudhomme, but majority of buted to belong to the same class. M. to him belong buted to the class. M. Prudhomme is ready-made phrases. phrases. is a a man of of ready-made And as phrases in as there in all all there are are ready-made ready-made phrases languages, always capable is always capable languages, M. Prudhomme is of being transposed, though seldom of being of of being transposed, though being translated. translated. At times phrase, under the commonplace times the commonplace phrase, cover which the not is not of which cover of the absurdity in, is slips in, absurdity slips " so readily noticeable. noticeable. "II don't like working don't like so readily working would between meals," said a lazy laut. There a lout said between meals," lazy be nothing nothing amusing there in the the saying saying did there amusing in realm in the realm not that salutary precept in not exist exist that salutary precept J

114 ii 4

LAUGHTER

CHAP. CHAP.

of hygiene: "One should between should not not eat eat between of hygiene:

meals." meals." Sometimes the effect a complicated is a effect is Sometimes tao too the complicated one. of one commonplace phrase-form, one one. Instead of Instead commonplace phrase-form, there are two or three which which are are two or three dovetailed are dovetailed there into for instance, the remark remark into each each other. other. Take, Take, far instance, the of one of the characters in a play by Labiche: in a play by Labiche of one of the characters " . "Only God has the right has the to kill kill His His fellowfellowright to On]y creature." It would that advantage would seem that is here creature." It here advantage is " taken familiar sayings: It is two separate of two is taken of separate familiar sayings "It " ,God of the lives of men," and, " I t of the lives of It God \vho who disposes men," and, disposes is to kill a man to kill his for a is criminal criminal for his fellow-creature." fellow-creature." But the are combined as to so as the two two sayings combined so to de. de-. sayings are ceive being the ear ear and leave the impression ceive the leave the of being impression of oue sentences that are ac.. of those one of those hackneyed sentences that are achackneyed cepted matter of a matter as a of course. course. Hence our attenour attencepted as tion until we are by the tion nods, are suddenly aroused by the nods, until suddenly aroused absurdity of the meaning. the absurdity of meaning. These examples to show how one suffice to one of of examples suffice the most important the the comic can can be of the be important types types of projected - in plane in a a simplified the plane projected simplified form - on the We will l1QW proceed to a form of of speech. will now a to speech. proceed which is is not not so so general. general. :

'

:

" 2. Dur attention 2. "We We laugh if our is diverted to diverted to attention is laugh if the physical physical in person when wl1en it moral it is is the the moral in a person

n

THE COl\iIC COMIC IN "VORDS WORDS

115 115

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

:

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LAUGHTER

116 u6

CHAP.

further slight tinge of the us go let us comic. But let the comic. go further slight tinge of still, and suppose that Dur attention attracted is attracted attention is still, and suppose that our to the material the metaphor of the side of material side to the by the metaphor by choice oi a relationship \\rhich is incompatible is which choice of a relationship incompatible with of ,vords composing the t\VO two of the words the gender with the composing gender the expression, '\ve get a laughwe the metaphorical laughget a metaphorical expression, able result. Such is the well-kno\vn able result. Such is the well-known saying, saying, also Tous les M. Prudhomme, les to l\f. attributed to also attributed Prudhomnie, U"Tous arts sont sceurs sceurs (feminine)." arts (masculine) (feminine)." (masculine) sant " "He running after aa joke/' joke," was after is al\vays He is always running said in Bouffiers' presence regarding very a very said in Boufflers' presence regarding a " conceited Rad replied, "He Had Boufflers He fellow. Boufflers replied, conceited fellow. won't that would have the have been been the won't catch catch it," it," that beginning of of a a witty witty saying, saying, though nothing though nothing beginning " " more than the beginning, far the word "catch for catch " the than the beginning, is is interpreted almost as as often as often as figuratively almost interpreted figuratively the word "run"; nor dnes does it it campel the word us more "run"; nor compel us strongly materialise the latter to to materialise the latter than the the image strongly than image of two runners, tbe one at the heels of of two the at heels the of the the runners, other. In rejoinder may appear that the the rejoinder other. In order order that may appear to be aa thoroughly witty one, we roust borrow to be must borrow one, thoroughly witty from the the language of sport so language of sport an expression expression so vivid and concrete vivid that we cannot refrain fram concrete that cannot refrain from race in witnessing the race This in good earnest. is This is witnessing the good earnest. " Boufflers does what Bouffiers back does when he retorts, 111 back retorts, "1'11

the jokeT the joke 1"

1

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THE COMIC IN WORDS

II? 117

We said that wit said that wit often often consists consists in in extending extending the the idea idea of of one's one's interlocutor interlocutor to to the the point of point of making him express the opposite of what what he he express the making hirn opposite of thinks and getting hirn, so to say, entrapt by thinks getting him, so to say, entrapt by his his own words. words. "Ve must now add We must add that that this this trap is almost always some metaphor or comis almost some or comtrap always metaphor parison of which the concrete of concrete aspect which is is tumed turned parison the aspect against him. VOll You may the dialogue against hirn. may remember the dialogue between her son in the between a mather mother and in and her son Bonsthe Faux Bons" ce My dear boy, gambling on 'Change hommes: kommes dear on My boy, gambling 'Change is very risky. is Y Oll win one day and lose You win one and lose the the very risky. day next. W eIl, the~, next""-""Well, will gamble then, II will only every gamble anly every other In the same play too we find other day." In the same play too find the the day." following edifying conversation bet\veen two between conversation following edifying " company-promoters this aa very very honourhonourIs this company-promoters : "18 ahle unfortunate able thing are doing? thing we are doing ? These unfortunate shareholders, you see, are taking money the money we are shareholders, you see, taking the out of of their their very very pockets. pockets. . . ." " WeIl, out out of of out ." - "Well, " da you you expect expect us us to to take take it it?? " what do An amusing amusing result result is is likewise likewise obtainable obtainable :

:

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whenever aa symbol or an an emblem is is expanded expanded whenever symbol or on its its concrete concrete side, side, and and aa pretence pretence is is made of of on retaining the the same symbolical symbolical value value for for this this retaining a In expansion as für the itself. In a very itself. as emblem for the very expansion Monte a to lively comedy are introduced to a introduced we are lively comedy

Carlo Carlo

official whose uniform uniform is is covered covered with with

official

IIS uS

LACGHTER LAUGHTER

CHAP. CHAP.

medals, he has onl}· received a single medals, although although he has only received a single " decoration. staked my You see, decoration. "You see, II staked my medal on aa number at roulette," he said, as the the number at roulette, he said, "and as number turned up, I ,vas entitled to thirty-six was I entitled to number turned up, thirty-six times stake." This reasoning This is very stake." times m}· very reasoning is my in the similar in offered by the that offered similar to to that by Giboyer Giboyer Effr01ztes. Criticism is made of a bride is of of a bride of Criticism Ejfraiit'es. fort)· summers \vho is is ,vearing orange-blossoms wearing orange-blossoms forty summers who " ,,·ith costume: "'\lhy, costume she was with her her v,"edding Why, she wedding " entitled let alone alone orange-blossoms to oranges, entitled to oranges, let orange-blossoms f " remarked Giboyer. Giboyen But never cease cease \vere should never to take take were we to But ,ve we should one laws we have the Iaws all the have stated, y" one one all one b stated, and try by try to prove them on \vhat "\ve have the what we called the have called to prove them plane of vVe better confine We had better of language. confine plane language. oursel\"es to to the the three three general general propositions propositions of of ourselves the preceding preceding section. section. We Wehave that the have sho'\vn shown that u series of of events" events~' may may become comic comic either either "series 1'

:

!

bj~ by

repetitzon, by by inversion -inversion or or by by reciprocal reciprocal 1:nteiference. Now we ,,"e shall shall see see that that this this is is interference. also "ith series series of of words. words. also the the case case with To take take series series of of events events and and repeat repeat them them in in another another key key or or another another environment, environment, or or to to repetition,

invert invert

them whilst whilst still still leaving Ieaving them aa certain certain or mix meaning, or up so thattheir respective them so that their meaning, up respective one meanings jostle one another, is invariably is another, meanings jostle invariably

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comic, as we have for it it is is getting have already comic, as said, for already said, getting be treated life to submit life to to be a machine. submit to as a treated as But machine. But thought thing. And language, is a a living too is thought too living thing* language, the translation of thought, just as the translation of thought, should should be as be just living. We may thus surmise that a phrase that a is thus surmise may phrase is living. though reversed, it likely become comic, to become if, though reversed, it comic, if, likely to still still makes sense, well or if if it it expresses sense, or expresses equally equally weIl two independent sets of ideas, or, finally, two quite quite independent sets of ideas, or, finally, if been obtained by transposing if it it has has been an idea idea obtained by transposing an into into same some key than its its o\vn. own. Such, other tllan Such, key other indeed, the three what of ,vhat are the laws of three fundamental fundamental laws indeed, are might be called the C01nz·c tra'Jziformatz:01z be called the comic transformation of might of sß1z,tences, as we shall sho"\v by a few examples. as a few shall show sentences^ examples. by Let it these three it first laws are are first be that these be said said that three laws far being of importance as far from being of equal as regards equal importance regards the theory of I,zversio1z is the theory is the of the Inversion the ludicrous. ludicrous. the least the three. IItt must be be easy least interesting of the three. easy interesting of that, of of application, it is is noticeable noticeable that, for it however, for application, ho\vever, no sooner hear a a sentence sooner do professional wits hear sentence professional ",,.its spaken than they experiment to see if if a a meanthan to see spoken they experiment ing by reversing by cannot be obtained obtained by it, by ing cannot reversing it, the in place putting, für of the the subject for instance, instance, the subject in place of putting, object, the object place of of the the subject. in place and the subject. object, and object in It unusual for It is is not not unusual to be employed for this this device device to employed for refuting an idea less hurnorous humorous in more or or less for refuting idea in of a comedy in a terms. terms. One of characters in of the the characters comedy of

120 120

L.L~UGHTER

LAUGHTER

CHAP.

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

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THE COMIC IN \VORDS WORDS

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taken the different taken of of the different meanings a \vord word may meanings a may have, when used figuratively instead used instead have, especiaIly especially figuratively So that in fact there is often of of literallye that in fact there is often only literally. only aa sIight difference between the play upon words slight difference between the play upon words on the the one poetic metaphor or an one hand, a poetic and a an hand, and metaphor or illuminating the other. other. Whereas Whereas comparison on the illuminating comparison an an illuminating a striking and a comparison and illuminating comparison striking image always seem to reveaI the close harmony to reveal the close image always harmony that between language that exists exists between and nature, renature, relanguage and garded two parallel parallel farms as two the play forms of of Iife, life, the garded as play think somehow of upon words makes us a of a upon words makes us think negligence on the part of Ianguage, which, for of for the negligence part language, which, the time being, being, seems the time its real real to have have forgotten seems to forgotten its function function and now claims to accommodate things claims to things to itself to to itself itself instead to instead of of accommodating itself accommodating And so the play words al,vays things. so the things. upon words play upon always betrays a momentary lapse of atte?ztz"on in in attention a betrays momentary lapse of language, that account it is is precisely account precisely on that language, and it that that it it is is amusing. amusing. Inverslon a11,d after and reciprocal Inversion interference^ after reciprocal inteiference, all, the mind of the are onlya certain playfulness all, are playfulness of only a certain whlch ends at playing upon words. The comic words. which ends at playing upon in in transposz,etion is much more far-reaching. far-reaching. transposition is

Indeed, is to to ordinary Indeed, transposition language transposition is ordinary language to comedy. what repetition is to comedy. repetition is We said repetition is the favourite is the that repetition said that

122 122

L.4.l;GHTER LAUGHTER

CHAP. CHAP.

method in so so It consists consists in of classic classic comedy'. method of comedy. It arranging events that a scene is reproduced a is scene that reproduced arranging events either fresh characters under under fresh same characters the same between the either bet\yeen circumstances bet\yeen fresh unfresh characters characters unor between circumstances or der the same circumstances. Thus '\ve have, rewe have, reder the same circumstances. peated by by lackeys less dignified in less language, a dignified language, lackeys in peated their masters. Now, scene masters. Now, scene alread}" by their played by already played imagine ideas expressed in suitable st)rle imagine ideas expressed in suitable style and thus in the setting of their natural enthus placed placed in the setting of their natural en\~ronment. If }"'OU think think of of some arrangement If you vironment. arrangement \vhereby they are transferred to fresh surround. are to surround-. transferred fresh they whereby ings, v.~hile maintainink their mutual relations, their mutual while relations, maintaining ings, other ,vords, if )rou can induce them to ort in if other can to in induce words, or, you express in an altogether themselves in different altogether different express themselves and to transpose themselves iota st)·Ie another style and to transpose themselves into another key, )~OU will have language itseIf playing will a itself you key, language playing a comedy itself made comic. comic. There language itself comedy -language ,viII be Da need, moreover, actually to set before will be no need, moreover, actually to set before us both expressions us both of the the same ideas, the ideas, the expressions of transposed natural one. the natural one. expression and the transposed expression are acquainted For \\"e we are with the the natural natural oneone acquainted with the one vv~hich the ,ve should have chosen which we should have chosen instineinstincit tively. So it will be enough if the effort of will be if the of effort tively. enough comic invention bears on the invention bears the other, the other, and on the other alone. alone. No sooner other is the second sooner is the second set set before before us than we spontaneously supply the the spontaneously supply

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\VORDS IN WORDS

12 3 123

first. Hence Hence the the following fol1owing general general rule: rule: A A comzc effect e.ffect is ls always always obtainable obta,i,zable by by transposing transposi1zg comic the natural ezpresszon of an z·dea -i'Zto another idea into another the natural expression of key. key. means of of transposition transposition are are so so many many The means and varied, language affords so rieh a con.. a conand varied, language affords so rich tinuity of of themes themes and and the the comic comic is is here here tinuity of passing passing through through so great aa number nllmber capable of so great capable of stages, from the most insipid buffoonery most of stages, from the insipid buffoonery up to the loftiest forms of humour and irony, of to and irony, forms the loftiest up that we shall to make out out that the attempt shall forego attempt to forego the aa eomplete list. Having stated the rule, stated list. the rule, we complete Having will there, verify its main and there, will simply, here and verify its simply, here applications. applications. In In the first place, the first place, we may may distinguish distinguish two keys of the the ends of the scale, at the the extreme extreme ends scale, the keys at solemn and the familiare The most obvious obvious solemn and the familiar. effects merely transposing the effects are obtained by are obtained by merely transposing the one us with thus provides which thus one into into the the other, other, which provides us currents of c~mic fancy. two opposite opposite currents of comic fancy. Transpose familiar and into the the solemn into the familiar Transpose the the of parody, result is is parody. effect of the result parody, parody. The effect thus extends to instances in which the in to instances thus defined, extends defined, if idea is one that, in familiar familiar terms idea expressed terms is that, if expressed in only to be pitched in deference deference to to custon1, custom, ought pitched ought to only in in Take as an example in another as another key. example the key. first.

124

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following description of the dawn, quoted by following description of the dawn, quoted by Jean Faul was beginning Richter: "The sky Jean Paul Richter: sky '\vas beginning to from black to like aa lobster to red, like lobster black from to change red, change being Note that the of Note that the expression boiled.'* expression of being boiled.'· old-world matters in terms of modern life in life terms of old-world matters produces the same effect, by reason of the of same reason the the effect, by produces halo which surrounds classical surrounds classical of poetry halo of poetry antiquity. antiquity* It the comic in in parody that has has It is is doubtless doubtless the parody that suggested to some philosophers, in partieuand in philosophers, and particusuggested to lar the idea idea of of defining lar to Alexander Bain, to 44.1exander the Bain, the defining the comic, in general, as a species of degradatlon. as a in of comic, species general, degradation. They describe the laughable as causing the describe as somelaughable They causing something to that was fonnerlydignified. to appear appear mean that thing formerly dignified. But if analysis is is correct, But if our our analysis is correct, degradation degradation is only one form of transposition, and transof form one and transonly transposition, position itself itse1f only only one one of of the the means means of of obtainobtainposition ing laughter. laughter. There is is aa host host of of others, others, and and ing the the source source of of laughter laughter must be be sought sought for for much further further back. back. Moreover, Moreover, without without going going so far, far, we see see that that while while the the transposition transposition from solemn to to trivial, trivial, from from better better to to worse, worse, is is comic, comic, the the inverse inverse transposition transposition may may be be even more so. so. It is met with It is with as as often often as as the the other, other, and, and) we apparently, may distinguish two main fanns two main forms apparently, may distinguish

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of according the physical phystcal as it it refers refers to to the of it, it, according as dz:mens·r:ons of an object or to its dimensions of an object or to its moral moral value. value* To speak though they they of smal1 small things as though speak of things as were in a a general were large to ezaggerate. is, in large is, general way, way, to exaggerate* Exaggeration is when prolonged, is always comic comic Exaggeration always prolonged, and when systematic; then, and especially indeed, especially systematic; then, indeed, it method of It as one it appears one method of transposition. It appears as transposition. excites so Iaughter that same writers so much excites laughter that some writers have to define been led led as have been to define the the comic comic as exaggeration, just as as others it others have have defined defined it exaggeration, just as degradation. As a matter of fact, exaggeraas degradation. a matter of fact, exaggeration, like degradation, like is only one of one form of one tion, degradation, is only one form kind very striking of the a very kind of it is is a the comic. comic. Still, Still, it striking It has given mock-heroic form. form. It has to the the mock-heroic birth to given birth poem, aa rather rather old.. fashioned device, I admit, old-fashioned device, ladmit, poem, though be found it are still to in traces of found in of it are still to be though traces persons inclined to exaggerate methodically. inclined to persons exaggerate methodically. It might often be said of braggadocio it of that it often be said It might braggadocio that is us its mock-heroic mock-heroic aspect is its aspect which makes us laugh. laugh. Far more artificial, but also realso far far more re.. artificial, but fined, upwards from below below is the the transposition fined, is transposition upwards when applied the moral of things, to the moral value value of things, not applied to in to their physical physical dimensions. To0 express to their dimensions. T express in reputable idea, to disreputable idea, reputable language language some disreputable

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ta~e low-class some low-class take same scandalous situation, some scandalous situation, some or disgraceful beha,"iour, and describe call1ng describe calling or disgraceful behaviour, and

them is utmost "" respectabi'lity," the utmost of the them in in terms terms of respectability? is generally· comic. The English ,,'ord is here is here English word generally comic.

purposeI)\" as the is the practice itself is practice itself employed, as purposely emplo)·ed, characteristically ~Iany of instances of English. characteristically English. Many instances it in Dickens and and Thackeray, found in It mal" be Thackeray, may be found and in Engllsh literature generally. Let Let and in English literature generally. us that the intensity in passing, that the of us rernark" remark, in passing, intensity of the here depend not here its length. on its the effect does not effect does depend on length. A v:ord sometimes sufficient, word }s it sufficient, provided js sometimes provided it

gives of an us a an entire a gIimpse entire system of glimpse of gives us system of transposition accepted in certain social circles in certain social circles transposition accepted and reveals, it 'U·ere, as it a moral moral organisation reveals, as were, a organisation of immorality. Take the the fol1owing remark of immorality. following remark by an an official official to to one of of his his subordinates subordinates made by in a novel nO'lel of of Gogol's, Gogol's, "y Gur peculations peculations in "Your are are too toD extensive extensive for far an official official of of your your rank." rank"

Summing up up the the foregoing, foregoing, then, then, there there are are Summing two two extreme extreme terms terms of oE comparison, comparison) the the very very large and the the very very small, smaIl, the the best best and and the the large between warst, behveen which transposition may be which worst, transposition may be effected effected in in one ane direction direction or or the the othen other.. Now, N OW, if if the the interval interval be be gradually graduaIly narrowed, narrowed, the the contrast contrast between between the the terms terms obtained obtained will will be be

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Iess the varieties less violent, of comic comic less and and the varieties of and less violent, and transposition more and and more more subtle. subtle. transposition more The most common of of these these contrasts is contrasts is perhaps that between the real and the ideal perhaps that between the real and the ideal,t between what is to be. Here is and and what between what ought be. Here ought to again take place place in in either either transposition may again transposition may take direction. Sometimes what ought direction. Sometimes we state state \vhat ought to be done, and pretend to believe that this to be this done, and pretend to believe that just what is being done; is is just is actually then we done; then actually being have irany. Sometimes, on the the contrary, Sometimes, on irony. contrary, we describe with scrupulous minuteness is describe with scrupulous minuteness what is being done, pretend to to believe that this this believe that done, and pretend being is just what ought be done; is often is just to be done such such is often ought to the thus defined, the method of of humour. humour. Humour, defined, Humour, thus is the counterpart of irony. Bot11 are forms is the counterpart of irony. of Both are forms of satire, hut irony is oratorical in its nature, \vhilst in whilst its is oratorical but nature, satire, irony humour partakes partakes of Irony is of the scientific. the scientific. Irony is emphasised to allow ourselves ourselves to we allo,v the higher emphasised the higher '\ve be uplifted uplifted by the idea of the good that ought that of the the idea good ought by to be: thus may grow so hot \vithin us so within us hot thus irony to be irony may grow that high-pressure of it that it kind of becomes aa kind high-pressure is On the other hand, eloquence. the other hand, humour is eloquence. the the deeper the more emphasised deeper we go go down emphasised the set into to set in order order to an evil evil that into an that actually is, in actually is, indown its in the the most cold-blooded cold-blooded inits details details in difference. Several ean Paul amongst Several authors, difference. authors, J Jean amongst ;

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them, in that humour delights noticed that have noticed them, have delights in concrete facts. definite facts. technical details, concrete terms, details, definite terms, technical If is correct, this is not an our anal)"sis If Dur analysis is correct, this is not accidental trait of its it is is its very accidental trait of humour, humour, it very essence. is a a moralist moralist disguised humourist is A humourist essence. ...4. disguised like an anatomist as an anatomist like a scientist, as a scientist, something something who practises disseetion ,vith with the the sole sole object dissection object practises of iilling us \vith disgust; so that humour, with in so that of filling us humour, in disgust the in '\\orhich sense in are here which we are here the restricted restricted sense regarding is really a transposition the \vord, word, is really a transposition regarding the from the moral to the scientific. from the moral to the scientific. Ey further curtailing the interval still further interval bebecurtailing the By still tween terms transposed, the terms tween the transposed, we may may now obtain more and more specialised types of obtain more of specialised types Thus, certain profescomic transpositions. comic transpositions. Thus, certain professions have have aa technical technical vocabulary: vocabulary: what what a a sions wealth of of laughable laughable results results have have been been obtained obtained wealth by transposing transposing the the ideas ideas of of everyday everyday life life into into by this professional professional jargon jargon! Equally Equally comic comic is is the the this extension of of business business phraseology phraseology to to the the social sociaI extension relations of of life, Iife, -for instance, the the phrase phrase of of relations for instance, one of of Labiche's Labiche's characters characters in in allusion allusion to to an an Invitation invitation he has has received, received, "Your "YQur kindness kindness of of the the third third ult," ult.," thus thus transposing tran.sposing the the comcommercial mercial formula, formula, "Your "Your favour favour of of the the third third instant" This instant" class of of the the comic, comic, moremore· class ;

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over, of its a special attain a over, may may attain special profundity profundity of its not merely profesown when it it discloses discloses not a profesmerely a but a fault in character. Recall sional sional practice, but a fault in character. Recall practice, to Fa-zt:c Bonshommes Bonshommes to mind the in the the scenes scenes in the Faux and the Fam'ille Benoiton, Benoz·to1t, \vhere the Famille where marriage is marriage is dealt business affair, and matters of as a a business with as and dealt with matters of affair, sentiment commercial set down in sentiment are are set in strictly strictly commercial language. language. Here, reach the at the point Here, however, however, we reach point at which peculiarities really express of language peculiarities of express language really peculiarities of character, a closer investigation of a closer character, peculiarities investigation of which we must hold hold over next chapter. of which to the over to the next chapter. Thus, might have as might have been and may been expected Thus, as expected and may be seen the comic in words seen from the foregoing, in be the words from the comic foregoing, on the comic follows is follows closely in situation on the situation and is comic in closely finally merged, along with the latter, in the in the finally merged, along with the latter, , comic Language attains iii character. comic in character. only attains Language only laughable results because because it product, a human product, it is is a laughable results modelIed as possible on the fonns forms as the as exactly modelled as possible exactly of some it contains We feel feel it contains same of the the human mind. mind. \Ve living element of our o\vn life; and if this life this life if living element of our own life if there of perfect, if there of Ianguage were complete complete and perfect, language were were if, in in it, in short, were nothing short, if, it, nothing stereotype stereotype in language were an absolutely unified organism unified organism absolutely language were incapable of being split up into independent into of independent incapable being split up as would organisms, the comic as it would evade the would evade organisms, it ;

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aa soul one harmonious harmonious whole, was one life "''aS whose life soul whose whole, unruffled a peacefullake. of a surface of calm surface as the the caIm unruffled as peaceful lake. There hO\'7ever, which has has not not same some no pool, is no There is pool, however, dead leaves floating on its surface, DO human its no on dead leaves floating surface, soul ""·hich there do not settle habits that that not there settle habits which soul upon upon make it itself itself by it rigid it rigid against by rnaking making it rigid rigid against against others, DO language, in short, so in subtle short, so subtle against others, no language, and so fuIIy of in each each of with Iife, alert in instinct "rith and instinct life, so fully alert its the ready-made to eliminate eliminate the as to its parts ready-made and parts as oppose the mechanical operations of inversion, inversion, oppose the mechanical operations of one \vould fain transposition, etc., which fain perwould pertransposition, etc., on same lifeless thing. The form it some it as as lifeless form upon thing. upon rigid, the ready-made, the mechanical, in the in conconthe mechanical, ready-made, rigid, trast '\\rith the supple, the ever-changing the with the trast supple, ever-changing and the living, absentmindedness in contrast with the living, absentmindedness in contrast with automatism in in contrast contrast attention, in in aa word, word, automatism attention, with free free activity, activity, such such are are the the defects defects that that with laughter singles out would fain correct. out and would fain correct laughter singles appealed to to this this idea idea to to give give us us light light at at We appealed the outset, outset, when \vhen starting starting upon upon the the analysis analysis of of the the the ludicrous. Iudicrous. We Wehave seen it it shining shining at at every every have seen decisive decisive turning 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 that will, will, we hope, hope, be be more investigation, instructive. instructive. We W e purpose, purpose, in in short, short, studying studying comic characters, characters, or or rather rather determining determining the the

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essential conditions of of comedy in character, essential conditions character, comedy in while to bring it about that it to about while endeavouring that this this endeavouring bring study may contribute to ci better understandstudy may contribute to a better understanding real nature art and the the real nature of of art the general of the general ing of relation between art art and life. relation between and life.

CHAPTER 111 III THE COMIC IN CHARACTER

I

WE have the comic along of its its followed the have foIlowed many of along many winding channeIs in discover in an endeavour to to discover channels winding how it a fonn, into a it percolates form, an attitude, attitude, or a percolates into gesture ; a situation, an action, or an expression. or a action, situation, expression. gesture The analysis of comic characters characters has now analysis of brought us us to to the our of Dur the most important important part part of brought task. It would also be the most diflicult, had would also the task. It difficult, we yielded yie1ded to temptation of the to the the temptation of defining defining the laughable by a few striking and consequently a striking consequently laughable by obvious proportion as obvious - examples; for then, as in proportion then, in examples for \ve we advanced towards towards the the Ioftiest loftiest manifestations manifestations of the of the comic, have found should have the facts found the facts comic, we should slipping between the over-wide meshes of the between the over-wide of the slipping definition definition intended to to retain retain them. them. But, as a a But, as of fact, matter of have followed the opposite followed the fact, we have opposite plan, by the subject plan, by throwing throwing light subject from light on the ;

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above. above. Convinced Convinced that has a that laughter a social social laughter has meaning comic expresses, that the the comic import, that meaning and import, expresses, above a special all else, of adaptability above all lack of else, a special lack adaptability to society, there to and that, in short, there is is that, in short, society, and nothing comic apart from man, we have comic from have man, nothing apart made man and character our main main character generally generally our Our chief difficulty, therefore, objective. has chief difficulty, therefore, has objective. lain how we come to Iaugh lain in in explaining at to explaining laugh at anything else than than character, what and by character, and anything else by what subtle subtle processes of fertilisation, or combination, or fertilisation, combination. processes of amalgamation the comic can warm its way into amalgamation the comic can worm its way into aa mere movement, or an impersonal situation, or movement, an impersonal situation, an independent This This is is what we have have independent phrase. phrase. We started with the the pure pure metal, meta!, done so far. far. done so started with and all have been been directed all our our endeavours directed endeavours have solely reconstructing the It It is is the the ore. the are. towards reconstructing solely towards metal itself Nothing metal to study. itself we are are now about about to study. Nothing could be be easier, easier, for for this this time time we have have aa simple simple could element to to deal deal with. with. Let Let us us examine examine it it element closelyand see how it it reacts reacts upon upon everything and see everything closely else. else. There are are moods, moods, we said, said, which move us> u~ There as soon soon as as we perceive perceive them, them, joys joys and sorrows sorrows as vices with which which we sympathise, sympathise, passions passions and vices with or which call call forth forth painful painful astonishment, astonishment, terror, terror, or

pity) in the beholder; beholder; in in short, short, sentiments sentiments that that

pity, in the

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are in sentimental overtones from are prolonged prolonged in sentimental overtones mind essentials the essentials this concerns concerns the All this mind. All to mind. mind to

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

small society within the that forms forms within is the larger society that larger is thus thus impelled, kind of of instinct, to instinct, to impelled, by by aa vague vague kind " devise some method devise method of or U breaking of discipline or discipline breaking as to to deal so as in," rigidity of that with the deal with the rigidity habits that of habits in/' so have been formed ve now formed elsewhere elsewhere and and ha have

m in THE COMIC IN CHARACTER 135 135

to undergo aa partial partial modification. Society, to undergo modification. Society, properly so caIled, proceeds in exactly the so same called, proceeds in exactly the same properly way. Each member roust be ever attentive to must be ever to attentive way. his model hirnself his social social surroundings; must model he must himself surroundings he on his his environment; in short, he must avoid environment; in short, he must avoid shutting himself up in his own peculiar character himself in his character up peculiar shutting as in his ivory tower. Therefore as a a philosopher in his tower. Therefore philosopher ivory society holds suspended over each individual each individual suspended over society holds member, if not the threat of correction, if not at all the threat all of correction, at member, events the prospect a snubbing, events the of a which, prospect of snubbing, which, although it is slight, is none the less dreaded. it is is less none dreaded. the although slight, Such must be be the the function function of of laughter. laughter. Always Always rather for the one against wham it for it rather humiliating whom the one humiliating against is truly aa kind kind is directed, is really and directed, laughter laughter is really and truly " of of social social "ragging." ragging." Hence the nature of of the the comic. comic. the equivocal equivocal nature It belangs neither art nor to art nor altoaltoIt belongs neither altogether altogether to in gether On the characters in to life. the one one hand, life. hand, characters gether to real were we life would never us laugh were real life never make us laugh the not of watehing their vagaries in the their of not capable capable vagaries in watching same way play fram a play from our at a look down at as we look way as seat in a box; they are only comic in our eyes in seat in a box; they are only eyes of before because they perform a kind of comedy before because comedy they perform USa But, the pleasure pleasure the other other hand, on the us. hand, the But, on an is caused the stage, caused by stage, is not by laughter, laughter, even on the it is is not unadulterated not a pleasure pleasure unadulterated enjoyment; enjoyment; it ;

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that exclusiveI~y esthetic disor altogether esthetic or is exclusively that is altogether dis.. interested. It a1\\~a}·s implies a secret or or a secret It interested. always implies unconscious intent, US, at of us, at of each one of each one if not not of unconscious intent, if all as a whole. In In laughter of society events of all ev'ents laughter society as a whole. we al,,~ay's find an unavowed intention to intention to an we always find humiliate, our correct Dur to correct and consequently humiliate, and consequently to neighbour, if not in his \viII, at least in his neighbour, if not in his will, at least in his deed. This reason aa comedy is far far more the reason is the deed. This is comedy is like The more a drama is. than a is. life than like real real Iife sublime profound the the more profound the the drama, sublime the drama, the analjTsis to which the poet has had to subject analysis to which the poet has had to subject the of daily in order order to to materials of life in the ra\v raw materials daily life obtain tragic element element in unadulterated in its its unadulterated obtain the the tragic fonn. the contrary, it is is only in its its lower lower form. On the contrary, it only in aspects, in light comedy and farce, that comedy that in farce, aspects, comedy light comedy is in striking contrast to reality: the higher it to the is in contrast higher it striking reality: rises, in in fact, it approximates life the more it to life; rises, the fact, approximates to are scenes in real life so closely bordering there there are scenes in real life so closely bordering on high-class high-class comedy that the the stage comedy that stage might might adopt them without changing a single ward. without a adopt single word. changing Hence it it follows that the of comic follows that the elements elements of comic character and in actual life will be character on the the stage in life will actual be stage the same. What are same. are these these elements? We elements? shall find shaII them. find no difficulty in deducing difficulty in deducing them. It has often It said that it is the tnJlz"ng often beep. been said that it is the trifling faults of of our fellow-men that faults that make us us laugh. laugh. ;

m THE COMIC IN CHARACTER 137 137

Evidently there is is a a considerable considerable amount amount of of Evidently there truth this opinion; truth in in this it cannot cannot be be regarded still, it opinion still, regarded as correct. First, as regards as altogether as correct. First, faults, altogether regards faults, it matter to dra\v the line between it is is na no easy easy matter to draw the line between the the trifling the serious; it is is not not serious; maybe trifling and the maybe it ;

because it makes us fault is a fault is trifling, that because a us laugh, trifling, that it laugh, hut that we because it but rather rather because it makes us us laugh that we laugh

regard far there is nothing disit as as trifling; regard it trifling; for there is nothing disarms us But like laughter. us like But we may fareven farlaughter. may go go even ther, maintain that that there at which are faults faults at there are which ther, and maintain we laugh, even though fully a\\'are that laugh, even though fully aware that they they are Harpagon's avarice, for instance. are serious, instance. for serious, Harpagon's avarice, And then, well confess confess - though then, we mayas may as weIl though somewhat reluctantly reluctantly - that that we laugh not laugh not only at the faults of our fellow-men, but also, at the faults of our but also, fellow-men, only at times, at their good qualities. laugh at times, at at their We laugh at good qualities. Alceste. The objection may be be urged urged that that it it Alceste. objection may is not the earnestness of Alceste that is ludiludiis not the earnestness of Alceste that is crous, but hut rather rather the the special special aspect aspect which crous, earnestness assumes in his his case case; and, and, in in short, short, assumes in earnestness that mars mars it it in in our Qur eyes. eyes. a certain certain eccentricity eccentricity that a this Agreed; hut it is none the less true that this less true that it the but is none Agreed eccentricity in in Alceste, Alceste, at at which we laugh, laugh, eccentricity makes his hzs earnestness ea'Y1ZBstness laughable^ laughable, and and that that is is the the makes main point. point. So we may may conclude conclude that that the the comic is is not not always always an an indication indication of of a faulty fault, comic ;

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in of the if the "orord, moral meaning the moral in the word, and if meaning of critics even though insist on on seeing critics insist fault, e\Ten though aa seeing aa fault, trifling one, in the ludicrous, they"' roust must point point trifling one, in the ludicrous, they out ,,·hat it is here that exactly distinguishes that out what it is here exactly distinguishes the from the serious. serious. the the trifl.ing from trifling The truth the comic character character may, truth is, is, the may, strictly speaking, be quite in accord in stern accord with with stern strictly speaking, be quite morality'. i\11 has to it has to do is is to to bring itself All it bring itself morality. into The character with society. into accord character of of accord ,vith society. Alceste a thoroughl}"' that of of a is that man. honest man. Alceste is thoroughly honest But then he is unsociable, and, on that very is that then he unsociable, and, on very account, ludicrous. A flexible vice may A ludicrous. flexible vice not account, may not be IItt is as a rigid ridicule as to ridicule so easy is be so virtue. easy to rigid virtue. rigidity that society eyes with suspicion. ConConrigidity that society eyes with suspicion. sequentl)', it is the rigidity of Alceste that it the is of Alceste that sequently, rigidity us laugh, laugh, though though here here rigidity rigidity stands for makes us stands for honesty. The man ,vho withdraws into into himhirnwho withdraws honesty. seH is is liable liable to to ridicule, ridicule, because because the the comic comie is is self largely made up up of of this this very v'ery withdrawal. withdrawaI. This This largely accounts for for the the comic comic being being so so frequently frequently accounts dependent on the the manners or or ideas, ideas, or, Of, to to put put dependent it it bluntly, bluntly, on the the prejudices, prejudices, of of aa society. society. It be acknowledged, ackno\\dedged, however, however, to to the the I t must be credit credit of of mankind, mankind, that that there there is is no essential essential difference difference between between the the social social ideal ideal and the the moral. moral. We may may therefore therefore admit, admit, as as aa general general

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rule, it is that make us that it faults of of others is the the faults others that us rule, that laugh, provided we add that they add that us they make us laugh, provided laugh reason of rather of their their unsoczability laugh by by reason unsociability rather than of their immorality. What, then, are of than their immorality. the What, then, are the faults of becoming ludicrous, and of faults capable and capable becoming ludicrous, in what circumstances in what circumstances da as do we regard them as regard them being toD to be too serious be laughed serious to at ? being laughed at? \Ve have given an implicit We have aIready an answer implicit answer already given to this question. to this we said, comic, ,ve said, appeals question. . The cornic, appeals the intel1igence pure and simple; laughter to to the is and simple; laughter is intelligence pure Depict same fault, incompatible with emotion. incompatible with emotion. Depict some fault, however trifling, in a way in such to arouse arouse as to such a way as trifling, pity; the sympathy, is done, it mischief is or pity the mischief done, it fear, or sympathy, fear, On the is impossible for us to is impossible the other other for us to laugh. laugh. hand, take a downright vice, even one that that a one even hand, take downright vice, is, generally of an odious odious nature, nature, is, speaking, of generally speaking, -you may make it if, by some it ludicrous ludicrous if, you may by same suitable it so that that it suitable contrivance, contrivance, you arrange so you arrange I~aves that the the Not that leaves our our emotions emotions unaffected. unaffected. vice then be be ludicrous, it may, vice must then but it ludicrous, but may, from that become so. It must not // arouse not arouse that time so. time forth, forth, become our feelings; that is the sole conditian really is sole that the condition our feelings ; really necessary, though assuredly not sufficient. it is is not sufficient. necessary, though assuredly it to But, will the set to the comic poet But, then, then, how will poet set moved? work to prevent aur being our feelings to prevent feelings being To0 The question is an embarrassing T one. an is embarrassing ane. question ;

CHAP LAUGHTER i 4o 14° clear we should to enter enter have to should have it up clear it up thoroughly', thoroughly, upon to of investigation, line of novel line rather nov'el investigation, to upon aa rather analyse the artificial sy'rnpathy \vbich we bring bring analyse the artificial sympathy which with us to the theatre, and determine upon the determine with us to the theatre, upon the circumstances in those in we accept and those which \ve in ,,,"hich circumstances in accept and which share imaginary to share refuse to we refuse which we joys and imaginary joy's sorrO\1ts. There is an art of lulling sensibility art an of sorrows. There is lulling sensibility to and providing it ,,"ith it as with dreams, and to sleep dreams, as providing sleep happens a mesmerised of a case of mesmerised person. in the the case person. happens in And there an art art of a wet is also also an wet of thro\Ying there is throwing a blanket upon sympathy at the very moment it at it the blanket upon sympathy very rnight result being that the the result the situation, situation, arise, the being that might arise, though is not not taken a serious serious one, taken seriously. one, is seriously. though a This \vould appear be governed governed by art would latter art This latter to be appear to by t\\.. o methods, '\vhich are applied more or Iess which are or two less more methods, applied unconsciously by the comic poet. The first the comic first unconsciously by poet. consists in in tsolating, within the the soul of the the soul of consists isolating, within character, the feeling attributed to hirn, and the character, feeling attributed to him, and it a making it a parasitic organism, so so to to speak, speak, making parasitic organism, endowed with \\Tith an an independent independent existence. existence. As aa endowed general rule, rule, an an intense intense feeling feeling successively successively general encroaches encroaches upon upon all all other other mental mental states, states, and colours colours them with with its its own peculiar peculiar hue; hue; if, if, then, we are are made to to witness witness this this gradual gradual imimthen, pregnation, we finally finally become impregnated impregnated pregnation, ourselves ourselves with with a corresponding corresponding emotion. emotion. To T0

CHAP

m THE COMIC IN CHARACTER 141 141

employ an emotion different image, emotion may be employ aa different image, an may be said be dramatic when all to be said to and cantagious dramatic and all contagious the heard along the hannonics harmonics in in it it are are heard with the the along with fundamental note. It is because the actor fundamental note. It is because the actor thus throughout his whole being being that thrills throughout thus thrills his whole that the the spectators themselves feel On the the thrill. thrill. feel the the spectators themselves contrary, in the the case that leaves us case of of emotion emotion that leaves us contrary, in indifferent, and that is about to become comic, that is about to indifferent, comic, there present a certain rigzaz·ty which is always there is a certain always present rigidity which prevents it with it from from establishing a connection connection with prevents establishing a the rest of the soul up its the rest of the its soul in has taken taken up in which which it it has be manifested, abode. abode. This rigidity manifested, when rigidity may may be the time comes, by puppet-like the time and comes, by puppet-like movements, movements, and _then it provoke laughter; that, .then it will will provoke before that, but, before laughter hut, it had already it had can alienated Dur our sympathy: already alienated sympathy: how can put ourselves in tune '\\~ith a soul which we put is ourselves in tune with a soul which is not In L'Avare in tune with itself? In Moliere's not in tune with itself? Moliere's LAvare we have have aa scene bordering upon upan drama. the It is is the scene bordering drama. It one in borrower and the the borrower the usurer, in which the usurer, who face have never seen each other, meet face to face face to have never seen each other, and Here father. son and father. find that that they and find are son they are if only we should be in in the of a a drama, should be the thick thick of drama, if only with greed and fatherly affection, conflicting affection, conflicting greed fatherly each in the of Hatpagon, soul of each other other in the soul Harpagon, had effected effected a more or less original or less original combination. But is not No sooner has the not the But such case. the case. such is ;

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14 i 42

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intervie\\f father forforthan the the father end than an end to an come to interview come gets everything. On meeting his san son again he again he meeting his gets everything. barel}~ alludes to the scene, serious though it it barely alludes to the scene, serious though " has been: "y OU, my son, vlhom I am good I whom has been You, my son, good enough to forgive )Tour recent escapade, etc." recent to escapade, etc." forgive your enough Greed thus passed passed elose close to to all all otherfeelings other feelings has thus Greed has ahselztm-intledly, ,vithout either touching or absentmindedly, without either touching them or being touched.. Although it taken up its it has has its taken touched. up Although being abode the soul master of soul and become master of the the in the abode in house, it remains remains a less it a stranger. the Iess none the house, none stranger. Far different ,,"ould be avarice cf a tragic We of a be avarice sort. different would tragic sorte should it attracting and absorbing, transfind it should find attracting absorbing, transforming of the divers and assimilating divers energies assimilating the energies of forming and the man feelings the man: dislikes and disaffections, likes feelings and affections, would all some. . likes, vices and virtues, and all somevices become likes, virtues, thing which avance would breathe breathe aa new avarice would into which thing into kind Such seems to to be of life. life. first essenkind of be the the first essential tial difference difference between high-class high-class comedyand comedy and drama. drama. There is more obvious is a a second, is far far more obvious second, which is and arises the first. When amental arises out out of of the first. a mental is depicted to state us with the object makstate is the object of of makdepicted to us it dramatic, ing or even merely merely of inducing of inducing dramatic, or ing it it seriously, it take it us to to take seriously, it gradually gradually crystallises crystallises actions which provide into acttOns provide the the real real measure measure of of :

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its grea.tness. its greatness.

Thus, the miser miser orders his orders his Thus, the

m in THE COMIC IN CHARACTER 143 143

whole with aa view to acquiring wealt~, life with view to whole life acquiring wealth, and pious hypocrite, pretending to and the the pious to hypocrite, though though pretending have heaven, steers most fixed upon his eyes have his steers most upon heaven, eyes fixed skilfully his course here belo,v. Most his course here below. Most cercerskilfully tainly, comedy does not shut out calculations of does not shut out calculations of tainly, comedy this take as need only this kind; as an an example kind; we need only take example the very machinations of Tartuffe. But the very machinations of Tartuffe. that But that is has in common with drama; has is what comedy in with drama; comedy and in distinct from it, to prevent to keep in order order to distinct from to it, keep prevent our a serious action seriously, in short, a serious our taking action in short, taking seriously, in order to prepare us for laughter, comedy in order to prepare us for laughter, comedy utilises the formula \",hieh may a method, of which be formula of utilises a method, the may be given our as folIows: instead of follows instead of c01zcentrati1zg concentrating our given as attention z·t rather attention 01Z to on actzons, directs it rather to actions, comedy comedy d'irects gestures. By gestures ,,~e here the atatthe mean we here gestures. By gestures titudes, the movements and even the language even the the movements titudes, language by which amental state expresses itself outitself outwhich a mental state expresses by wardly without profit, from no other other aim or or profit, any aim wardly without any cause Gesture, cause than than a a kind of inner inner itching. kind of Gesture, itching. thus profoundly different action. different from action. is profoundly thus def1ned defined,t is Action conat any is intentional intentional or, Action is rate, conor, at any rate, scious; gesture slips out unawares, it is autoautoit is scious; gesture slips out unawares, In the entire matie. is engaged; In action, entire person matic. action, the person is engaged; is in an isolated part of the person is of the in gesture, isolated person part gesture, or at expressed, at least least apart from, to, or apart from, expressed, unknown to, the personality. Lastly and of the the whole of the personality. Lastly :

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here in exact is in action is exact essential point is the the essential here is point - action proportion to the feeling that inspires it: the proportion to the feeling that inspires it: the one passes into so that into the the other, that we one gradually other, so gradually passes may all 0'\\" our sympath~y or our aversion to or our aversion to may allow our sympathy glide along the line line running running from feeling feeling glide along the to interested. become increasingly interested. and become to action action and increasingly ho\vev'er, there is About is something About gesture, something gesture, however, there explosive, which a ,vakes our sensibility awakes which sensibility when explosive, on lulled to of being to sleep on the the point and, by being Iulled sleep and, by point of thus rousing us up, prevents our taking matters thus rousing us up, prevents our taking matters seriously. Thus, as soon as as our our attention attention is is Thus, as seriously. fixed are in in fixed on on gesture action, we are gesture and not on action, the we merely of comedy. realm of take his the realm his comedy. Did \ve merely take actions into account, Tartuffe would belang Tartuffe would belong to actions into account, to when is only take his gestures drama: we it is drama: it take his only gestures into consideration considemtion that that we find find him hirn comic. comic. You Y ou into may remember how he comes on to to the the stage stage may with the the words words: ""Laurent, lock up my hairwith lock Laurent, up my hairshirt and and my my scourge." scourge." He knows knows Dorine Donne is is shirt to him, hirn, but hut doubtless doubtless he he would would say say listening to listening the the same same ifif she she were were not not there. there. He enters enters so so thoroughly into into the the role rate of of aa hypocrite hypocrite that that he he thoroughly plays it it almost almost sincerely. sincerely. In In this this way, way, and and plays this this way way only, only, can he become comic. comic. Were it it not not for for this this material material sincerity, sincerity, were it it not not for for the the language language and attitudes attitudes that that his his long-standing long-standing :

m THE COMIC IN CHARACTER 145 145

has transformed experience a hypocrite as a transformed into into experience as hypocrite has natural Tartuffe \vould be sim pI)· adious, natural gestures, Tartuffe would be gestures, simply odious, because we \ve should \vhat is meant should only because think of of what is meant only think and willed And so Vle see in his his conduct. willed in conduct so we see ":hy why action but onl)' accessory in drama, is essential action is essential in but drama, only accessory in In a comedy, we fee} any In a in comedy. feel other comedy. comedy, any other situation might equally weIl have been chosen situation might equally well have been chosen for the purpose purpose of of introducing for the the character; character; introducing the he would still still have have been he would been the the same man though though the No\\", we da the situation situation \vere were different. different. do Now, not get this impression in a drama. Here not get this impression in a drama. Here characters characters and situations are welded situations are welded together; together or rather, events and parcel form part with the or rather, events form the part parcel "'1th persons, so were the that were us a to tell a so that tell us the drama to persons, different even though the actors kept even actors different story, the kept story, though the names, we should be dealing the same names, should in be in reality reality dealing with persons. with other other persons. is good sum. . . t:tP) T~.... ~~~JE good or up, whether a character is Tp^ bad is granted he is is unis of of little bad little moment; moment; granted sociable, of becoming is capable sociable, he is comic. capable of becoming comic. is case is We now see the case of the seriousness of the seriousness see that that the of DO importance importance either: whether serious or serious of no either: trifling, it capable is still of making it is still laugh, making us laugh, capable of trifling, our to arouse provided that care be taken not to arouse aur that taken not care be provided emotions. : Unsociability in the performer and emotions. Unsociability in the performer in a word, insensibility word, in the the spectator such, in spectator - such, insensibility in ;

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are There is is a a conditions. essential conditions. the two two essential are the third, in the other hvo, \vhich so far it so far it third, implicit implicit in the other two, which has to bring out. our anal)"sis of our aim of the aim been the has been bring out. analysis to This third condition is automatism. vVe is We condition This third ha'v'e of this the outset outset of this out from the it out have pointed pointed it ,,,·ork, continuall)1 dra,ving attention to the work, continually drawing attention to the follo"ing point: ,vhat is laughable is essentialI)" what essentially laughable following point is In In a vice, even is clone what is done automatically'. is ,vhat vice, even automatically. in a virtue, the comic is that element by ,vhich in a virtue, the comic is that by which the unwittingly' betrays himself - the himself the the person person unwittingly betrays involuntary or the the unconscious unconscious remark. remark* involuntary gesture gesture or Absentmindedness is a1\va~ys comical. Indeed, Absentmindedness is Indeed, always comical. the the absentmindedness the higher absentmindedness the the the deeper deeper higher the comedy. Systematic absentmindedness, the absentmindedness, comedy. Systematic like of Don Quixote, is the the most comical that of comical like that Quixote, is thing imaginable: it is the comic itself, it the is itself, drawn thing imaginable as nearly as possible from its its very source. as nearly as possible very source. any other other comic comic character: character: however ho,vever Take any unconscious he may may be of of what he he says says or or unconscious does, he cannot cannot be be comical comical unless unless there there be be does, aspect of of his his person person of of which which he is is ununsome aspect one aware, aue side of his nature he over.. side of his nature which he overaware, looks looks; on that that account account alone alone does* does- he he make us us 1 Iaugh.t Profoundly Profoundly comic sayings sayings are are those those laugh. :

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1 When the the humourist humourist laughs Iaugbs at at himself, himself, he is is really really acting acting aa doable double part; part; the the self self who laughs laughs is is indeed indeed conscious, conscious, but hut not not the the 1

&elf *ho who is is laughed laughed at. at.

self

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I.fj 14;

artless in which ones in artless ones some 'vice which same vice re,'"eals reveals itself itseli in in all all its its nakedness: nakedness ho,v how could it thus could it thus expose expose itself itself as it it capable itself were were it of seeing as itself it is? is ? capable of seeing IItt is a comic character is not not uncommon for a for comic character to to condemn in terms a certain line of in general a certain terms line of general conduct conduct and immediately afterwards afford afford an an immediately aftenvards aur· example of it it himself: himself: for for instance, M. J instance, ~'l. Jourexample of dain's fl)Ting into a pasof philosophy dam's teacher teacher of into a pasphilosophy flying sion against anger; Vadius after in\Teighing sion after Vadius inveighing against anger; taking a poem from a from his his packet after heaping poem pocket after taking heaping ridicule on readers of poetry, etc. \\That ridicule readers of poetry, etc. is the What is the object of such contradictions except to help of such to us contradictions object help us except to to put the our finger on the of the obliviousness of the obliviousness put Qur finger on characters to their their 0'''"11 Inattention characters to own actions? Inattention actions? to self, and consequently to others, what we to is what to others, is self, consequently invariably matter at the the matter if we look find. And if look at invariably find. closely, that inattention here equivais here inattention is we see see that equivaclosely, \ve lent to what we have called unsociability. lent to have called unsociability. The chief cause cause of of rigidity rigidity is is the the neglect neglect to to look look chief around - and and more more especially especially within within oneself oneself: around can aa man fashion fashion his his personality personality after after that that how can of another another if if he does does not not first first study study others others as as of weIl as as himself? himself? Rigidity, Rigidity, automatism, automatism, absentabsentwell and unsociability unsociability are are all all inextricably inextricably mindedness and mindedness as entwined; and all serve as ingredients to the the all serve entwined ingredients to making up up of of the the comic comic in in character. character. making :

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In when one side, leave on ane we Ieav'e if \ve In aa ,vord, word, if side, \vhen dealing ,yith human personality', that portion dealing with human personality, that portion \vhich interests or appeals to our sensibility which interests Ollr appeals to sensibility or our all the rest is of becoming is capable of rest the our feeling, all capable becoming feeling, comic, and the comic "\' ' 1 11 be proportioned to will be comic the and comic, proportioned to the i ty'. \\r at the this idea idea at the Wee formulated formulated this the rigid rigidity* outset of this "\vork. \\:"e hav'e 'verified it in its in We it its have verified work. this outset of main have just it to to the the main results, results, and hav'e just applied applied it definition to of comedy'. definition of comedy. Now we must get get to closer quarters, and sho\v ho\v it enables us to show how it enables us to closer quarters, delimitate exact position delimitate the the exact position comedy occupies comedy occupies among all other arts. arts. other all the the among In it might be said In ane sense it that all all charcharone sense said that might acter provided ,ve mean by character we acter is is comic, character comic, provided by in our the ready-made readY-1nade element our personality, personality, that that the element in mechanical element element which resembles resembles aa piece piece of of mechanical clockwork wound up once for all and capable clockwork for all and capable up of of working working automatically. autornatically. It It is, is, if if you you will, will, that that which ~thich causes causes us us to to imitate imitate ourselves. ourselves. it is is also, also, for for that that very very reason, reason, that that which which And it enables others others to to imitate imitate us. us. Every Every comic comic enables character character is is aa type. type. Inversely, Inversely, every every resemresernblance blance to to aa type type has has something something comic comic in in it it. fhough we may may long lang have associated associated with with an an Though .ndividual .ndividual without without discovering discovering anything anything about about 1im. to to laugh laugh at, at, still, still, if if advantage advantage is is taken taken of of

m THE COMIC IN CHi\RACTER CHARACTER 149 149

In

some accidental accidental analog}1 to club him \\"ith dub hirn with the the analogy to name of a famaus of a famous hero of romance hero of romance or or drama, drama, he in aur our eyes will in he will border upon the ridiculous, ridiculous, eyes border upon the if a moment And yet if only far this hero of hero of only for amoment. yet this romance may not be a comic character at all. not a be comic character at all. may But then it is is comic then it comic to be like to be like hirn. him. It It is is comic to \vander out of one's o\"\'tn seIfe It is to wander out of one's own self. It is comic ta category. a ready-made to fall fall into into a ready-made category. And what is is most comic comic of of all all is is to to become become aa catecategory into \vhich oneself into which others others \viII will fall, as into into fall, as gory oneseIf it is to c117stallise into a aa ready-made frame; it is to ready-made frame crystallise into a stock stock character. character. Thus, to depict is to to sa)''', that is Thus, to characters, that depict characters, say, general types, is the object of high-cl ass comedy. is the object of general types, comedy. high-class This has often been been said. But it is as \vell to it is has often as well said. to repeat it, since there could be no no better better since there could be it, repeat definition we entitled entitled of con1edy. definition of only are ,ve comedy. Not onlyare to say that comedy gives us general types, to say that comedy gives us general types, but might add add that that it it is is the the 011,ly one of of all all the the we might only one arts that that aims aims at at the the general general; so so that that once once this this arts said objective has has been been attributed attributed to to it, it, we have ha\Te said objective all that that it it is is and and all all that that the the rest rest cannot cannot be. be. all prove that that such such is is really really the the essence essence of of To prove comedy, and that that it it is is in in this this respect respect opposed opposed comedy, of forms to tragedy, drama and the other ferms of art, art, the other to tragedy, should begin begin by by defining defining art art in in its its higher higher we should ;

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150 2 5o

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forms: coming down to to comic forms then, then, graduall:r gradually coming poetry', '\ve should find that this this Iatter is situated situated latter is poetry, we should find that on art and life, between art on the the border-line border-line behveen life, and that, by' the generality" of its subject-matter of its it that, by the generality subject-matter it contrasts \Ve of the the arts. rest of We cannot cannot arts. the rest with the contrasts \\·ith here vast a a subject of investigaso vast into so here plunge subject of investigaplunge into tion; but \\·e needs roust sketch its outtion but \ve needs must sketch its main outlines, lest ,ve overlook what, to our mind, to is overlook we our lest what, mind, is lines, essential the comic stage. on the essential on stage. :

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

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original. All this \vithin us, US, and this is All is around and within around and and original. yet it da perceive. whit of of it do we distinctly yet no whit distinctly perceive. Between nature and na}", between bet\veen and ourselves, Between nature ourselves, nay, and Dur o\vn consciousness a ourselves our own ourselves and consciousness a 'veiI is veil is interposed: a veil that is dense and opaque far a veil that is and dense for interposed opaque the the common herd, almost transparent, for herd, - thin, thin, almost transparent, for the artist and the poet. \\That fairy \vove that the artist and the poet. What fairy wove that veil Was it in malice in friendliness? veil ? ? it done done in malice or or in friendliness ? We had to to live, and life that ,,~e we life demands that live, and grasp needs. their relations in their relations to to our our own needs. grasp things things in Life is action. Life implies the acceptance Life is action. Life implies the acceptance the utz·litarz·a,z, side in order only of the utilitarian of order of things side of only things in to respond to to respond to them by reactions: appropriate reactions: by appropriate impressions must be all all other or else other impressions be dimmed or else reach vague and blurred. II look reach us us vague look and II and blurred. think I think II see, think II hear, listen and and II think hear, I see, II listen examine myself the think II am reading reading the myself and II think very depths of my heart. But ,vhat I see and I what see very depths of my heart. hear world is is purely purelyand and simplya hear of of the the outer outer world simply a as a light selection by my my senses serve as to serve selection made by senses to light to is what of myself to my know of conduct what II kno,v myself is my conduct; in my comes to the &urface, to the surface, what participates my participates in actions.. My senses and my consciousness, senses actions. consciousness, my My me no more than practical therefore, than a practical therefore, give give vision In the vision they simplification of reality. the they simplification of reality. differfumish and of things, the differ.. of and furnish me of of myself things, myself :

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CHAP.. CHAP.

ences that are useless to are obliterated, to man are are useless ences that obliterated, the that are him are are useful useful to to hirn are resemblances that the resemblances emphasised; for me in in are traced traced out out for emphasised; '\\·ays ways are advance along \vhich my· activity is to travel. to is travel. advance along which my activity These all mankind the way's which all are the These ,vays ways \vhich ways are has before me. been classi. classime. Things have been has trod trod before Things have fied \vith a view to the use I can derive fied with a view to the use I can derive from them. this classification perceive, is this classification II perceive, it is them. And it far more clearI)T than tl1e colour and the shape far more clearly than the colour and the shape of things. Doubtless is vastly Doubtless man is of things. superior vastly superior to the lo'\ver animals in this respect. It is in this animals It is not not to the lower respect very that the e)te of a wolf makes any likely that the eye of a wolf very Iikely any distinction bet\veen aa kid both kid and and aa lamb; distinction between lamb; both appear the wolf as the to the the same identical wolf as identical quarry, appear to quarry, alike to pounce upon, alike good to devour. to alike easy alike to devour. pounce upon, easy good e, for a distinction between W make our part, for Dur distinction between We, part, a goat tell one a sheep; but can and a can we tell one goat sheep hut goat and goat from another, one sheep from another? from another, another? The sheep 'indivzilualz·ty of things or of of beings us, individuality of things or escapes us, beings escapes unless materially to to perit is unless it is materially to aur our advantage to peradvantage Even when we do take note of of iitt ceive ceive it. it. take note as when we distinguish as another distinguish one man from another it is is not the - it the individuality itse]f that the itself that the eye individuality eye grasps, z·.e. an entirely original harmony of grasps, z>. entirely original harmony of forms and fonns colours, hut only or two features features colours, but only one or will make practical that will recognition easier. easier. practical recognition ;

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THE COMIC IN CHARACTER 153 153

In In short, do not not see see the the actual actual things short, we da things themselves; in most themselves in most cases cases we confine confine ourselves ourselves to to reading the labels labels affixed affixed to to them. them. This This reading the tendency, the result of need, has become result the of need, has become even even tendency, more pronounced underthe influence of speech; under the of influence pronounced speech; of proper for with the for words - with the exception of nouns exception proper nouns . - all all denate denote genera. which only word, "\\~hich genera, The ward, only takes function and note of of the the most takes note most ordinary function and ordinary commonplace aspect of the thing, intervenes of the intervenes commonplace aspect thing, between it it and ourselves, and ,,,"ould would conceaI its conceal its ourselves, and form from aur eyes, were that form not already our form eyes, were that form not already masked beneath that brough beneath the the necessities necessities that broughtt the Not only word into the ward into existence. external existence. only externaI but even objects, even aur our own mental mental states, are states, are objects, but screened us in inmost, their personal in their their screened from us their inmost, personal in the original life they possess. \Vhen aspect, in the life aspect, original they possess. When hatred, when we \ve are are gay or we feel feel love love or or hatred, gay or sad, is it really the feeling itself that reaches sad, is it really the feeling itself that reaches our consciousness consciousness with with those those innumerable innumerable fleetfleetour ing shades of meaning meaning and deep deep resounding resounding shades of ing echoes that that make it it something altogether our echoes something altogether own?? We should should all, all, were were it it so, so, be be novelists novelists own or musicians. musicians. Mostly, Mostly, however, however, we or poets poets or or perceive nothing nothing but but the the outward outward display display of of perceive the our mental mental state. state. We catch catch only only the imperimperour sona! aspect aspect of of our Dur feelings, feelings, that that aspect aspect which sonal ;

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i 54 154

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

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in their native native purity: purity: the the forms, in their forms, colours, colours, sounds the physical ph)'rsical world \vorld as of the as \\'reil well as sounds of as the the subtlest movements of the inner life. But this of the inner life. subtlest But this asking too much of nature. Even for is too of nature. is asking for such such of us as it is by accident, as she has made artists, she has of us it is artists, by accident, and that she has lifted side only, and on one one side that she has lifted the the only, veil. In one direction only has she forgotten In one direction only has she forgotten veil. to rivet the perception to the need. the perception to rivet to the need. And since since each direction corresponds to what each direction what we call a call a corresponds to sense - through sense of his one of his senses, and through senses, and through one through that sense alone, is the artist usually is that sense alone, the artist usually wedded to to art. Hence, originally, the diversity of arts. the of art. arts. Hence, originally, diversity Hence also of predispositions. also the the speciality of predispositions. speciality This himself to This one applies and forms, to colours colours and forms, applies himself and since he loves loves colour since he colour for for colonr form colour and fonn perceives them for for for form, their sake since he perceives for their sake form, since and not for his his own, of things not for it is is the inner life life of the inner own, it things that he sees appearing through their torms that sees appearing through their forms and colours. Little he insinuates it into into Little by insinuates it colours. little he by little our perception) baffied be our own perception, baffled though may be though we may at the outset. at least, at the few moments at outset Für For aa few least, he diverts us from the the prejudices prejudices of of form and diverts us colour between ourselves reality. that come between ourselves and reality. colour that of art, And thus he realises the loftiest loftiest ambition ambition of thus he realises the art, nature. consists in revealing to us nature. which here to here consists in revealing BeOthers, themselves. Be· within themselves. retire within Others, again, again, retire

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neath actions which the thousand thousand rudimentary neath the rudimentary actions are emo< of an emo' visible signs and visible the out\vard are the outward and signs of tion, conventional the commonplace, behind the tion, behind commonplace, conventional expression that both reveals and conceaIs conceals expression that both reveals an it is is the the emotion, mental state, an individual individual mental state, it emotion, the mood, to they attain in in its its to ,vhich which attain the original mood, they original undefiled to to induce induce us to essence. And then, undefiled essence. then, to make the same effort ourselves, they contrive contrive effort the same ourselves, they to of what they us see see something to make us something of they have seen: of words, seen: by words, arrangement of rhythmical arrangement by rhythmical which thus become organised and animated animated which thus become organised with they tell us or tell us or rather their own, rather a life life of of their with a own, they suggest that speech calculated was not not calculated speech was things that suggest - things to express. Others yet deeper delve yet Others deIve still. to deeper still. express. Beneath these joys and sorrows which can, these at sorrows which Beneath can, at joys a pinch, pinch, be be translated translated into into language, Ianguage, they they grasp grasp a something that that has has nothing nothing in in common with with something language, certain certain rhythms rhythms of of life Iife and and breath breath language, that are are closer eloser to to man than than his his inmost inmost feelings, feelings, that being the the living living law law- varying varying with -with each each indiindibeing vidual - of of his his enthusiasm enthusiasm and despair, despair, his his vidual and hopes regrets. By setting free and emhopes regrets. By setting free and this phasising this music, they force force it it upon upon our our music, they phasising attention attention; they they compel campel us, us, willy-nilly, willy-nilly, to to fall fall in in with it, it, like Iike passers-by passers-by who join join in in aa dance. dance. ;

And thus thus they they impel impel us us to to set set in in motion, motion, in in the the

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depths same secret chord \'\~hic!.r of our our being, depths of being, some secret chord whicir was only So to thrill. thrill So art, it whether it art, ,,·hether only \vaiting waiting to

be painting or sculpture, or music, has music, has sculpture, poetry painting or poetry or no other object than to brush aside the utilitarian other object than to brush aside the utilitarian accepted symbols, the conventional conventional and and sociall)r symbols, the socially accepted generalities, in short, that veils veils short, e'\re!}1thing generalities, in everything that reality in order order to to bring us face to face face to face us, in reality from us, bring us with itself. It is from a misunderstanding with reality itself. It is a misunderstanding reality on this that the dispute this point that the between realism realism point dispute between and idealism Art in art idealism in art has has risen. risen. Art is is cer· certainly only a more direct vision of reality. But direct vision of reality. But tainly only a this of perception implies a break with of this purity a break with purity perception implies utilitarian utilitarian convention, innate and and specially convention, an innate specially localised localised disinterestedness of sense disinterestedness of sense cr or consciousconsciousness, in short, d. certain immateriality a certain immateriality of of life, life, ness, in short, which is is what what has has always al\vays been been called called idealism. idealism. which So' that we might might say', without in in any any way \vay So that say, without playing upon upon the the meaning meaning of of the the words, words, that that playing the realism is in the work idealism is in the in is idealism when the work realism is in soul, and and that that it it is is only only through through ideality ideality that that soul, can resume resume contact contact with reality. reality. we can

Dramatic art art forms farms no exception exception to to this this law. law. Dramatic drama goes goes forth forth to to discover discover and brings brings What drama

to light, light, is is aa deep-seated deep-seated reality reality that that is is veiled veiled to from us, US, often often in in our our own interests, interests, by by the the from necessities of of life. life. necessities

is this this reality reality ?? What What is

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I

ISf

LAUGHTER

CHAP. CHAP.

are these necessities necessities?? PoetI)~ are these expresses always expr~sses Poetry always in\~rard But these st~tes same states some these But amongst states. inward states. amongst arise with Dur our fello\v-men. fellow-men. contact ,vith from contact arise mainly' mainly from They are the most intense as \\~ell as the as as the most intense well They are the most violent. attract each electricities attract each As contrary violent As contrary electricities other plates the t\'"'O two plates between the accumulate between and accumulate other and \vhich the of the condenser from which will the spark condenser from of the spark will presently' flash, so, b~y simply' bringing people presently flash, so, by simply bringing people together, strong attractions and repulsions take repulsions take together, strong attractions place follo\ved balance, in utter lass in a loss of a of balance, followed by by an utter place ,,~ord, by that electrification of the soul kno't,vn word, by that electrification of the soul known as passion. \Vere to give way to the Were man to to the as passion. give way impulse natural feelings, there his natural of his were there impulse of feelings, '\vere neither moralla\v, nor moral social nar these outbursts of neither social outbursts of law, tllese be the ordinary rule in violent feeling would in the rule violent feeling ordinary life. But utility u~~l~ty demands that that these life. outbursts these outbursts should be foreseen Man must roust should be foreseen and averted. averted. live in society, live in submit to to society, and consequently consequently submit ruIes. And what interest reason rules. interest advises, reason advises, commands: duty cal1s, and we have to to obey have duty calls, obey the the summons. Under this this dual dual influence has influence has perforce been formed an outward outward layer of feelfeelperforce been layer of ings and ideas which make for permanence, ideas for ings permanence, aim at becoming at becoming common to to all all men, men, and cover, cover, are not not strong when they to extinguish they are strong enough enough to extinguish the inner fire it, the inner fire of passions. The of individual individual passions. it,

Iß in

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slo\v mankind in of mankind in the slow progress the direction of direction of progress of an peaceful sociallife has gradually an increasingly social life has increasingly peaceful gradually consolidated just as the life of consolidated this as this la)Ter, the of our our life layer, just planet itself has been one lang effort to cover planet itself has been one long effort to cover aver mass over \vith with a a cool cool and the fiery and solid solid erust crust the fiery mass of But of seething But volcanic metals. volcanic eruptions seething metals. eruptions occur. And if were aa Iiving being, if the occur. earth were the earth living being, as mythology' has feigned, most likely ",,,hen as mythology has feigned, most likely when in in repose it ,vould take delight in dreaming it would in of take repose dreaming of delight these \vhereby it these sudden eAl'losions it suddenly suddenly explosions whereby resumes possession of nature. resumes possession of its its innermost innermost nature. Such is just the kind of pleasure that is is just the kind of pleasure that is provided for us by drama. Beneath the quiet for the us drama. Beneath provided quiet by humdrum Iife have life that that reason reason and society' society have fashioned within us us fashioned far for US, it stirs stirs something us, it something within \vhich 1uckily does not explode, but which it it but which luckily does not explode, makes us It in its It offers us feel offers feel in its inner inner tension. tension. nature Sometimes nature her her revenge upon society. revenge upon society. it it makes straight for the goal, up summoning up straight for the goal, summoning to the surface, from the depths below, passions to the surface, from the depths below, passions that upheaval. Sometimes that produce a general produce a general upheaval. it the case as is is often often the it follows follows a a flank flank movement, movement, as is that is in with a skill skill that in contemporary drama; with contemporary drama; frequently sophistical it up the inconit shows up frequently sophistical sistencies it exaggerates of society; sistencies of exaggerates the shams society it and social law, the social shibboleths of of the and shibboleths law, and so ;

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indirectly, by merely' dissol\~ng or or corroding corroding indirectly, by merely dissolving

the us back to the back to the it again outer ernst, the outer crust, it brings us again brings inner But, in both it both cases, whether it core. inner core. cases, \vhether But, in \veakens society or strengthens nature, it has weakens society or strengthens nature, it has the that of view: that of la}Ting bare aa in vie\v: end in same end the same laying bare of ourselves, what might secret be secret portion might be portion of ourselves, called element in our character. the tragic called the tragic element in our character. This is indeed the we get after This is indeed the impression impression \ve get after seeing a stirring drama. \'\rhat has just drama. What has ina just instirring seeing terested so much \\.That what ,,"e we have have been is not not so been us is terested us told the glimpse as the others as have about others told about glimpse we have caught of ourseI-ves a whole hast of ghostly host of ghostly caught of ourselves feelings, emotions and events that \vould events that emotions would fain fain feelings, have come into real real existence, hut, fortunately come into have existence, but, fortunately It also for us, did not. It if an appeal also seems as as if did not. for us, appeal had been been made within within us us to to certain certain ancestral ancestral had memories belonging belonging to to aa far-away far-away past pastmemories memories so so deep-seated deep-seated and so so foreign foreign to to our our memories present life Iife that that this this latter, latter, for for aamoment, moment, present seems something something unreal unreal and conventional, conventional, for for seems which we shall shaII have to to serve serve aa fresh fresh apprenappren~ which ticeship. So it it is is indeed indeed aa deeper deeper reality reality ticeship. that that drama draws draws up up from from beneath beneath our Dur superficial and utilitarian utilitarian attainments; attainments; and and superficial this tbis art art has the the same end in in view view as as all all the others. the others*

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Hence it it follo\vs that art art al\\"avs follows that aims at at always aims what is i'Jzdivldual. \Vhat the artist fixes on what is individual. What the artist fixes on his his canvas canvas is is something has seen he has at a a seen at something he certain certain spot, on a a certain certain day, at a a certain certain spot, on day, at hour, '\\ith a colouring that will ne'ver be seen hour, with colouring that will never be seen again. What the poet sings of is a certain a the of is certain again. poet sings maod his, and his his alone, wh ich mood which was his, and which alone, and will return. What \Vhat the the dramatist unfolds ' will never never return. dramatist unfolds before us is the a living before us is a soul, the life-history' of a soul, a life-history of living tissue of feelings tissue of in events - something, and e~ents feelings and something, in short, which has once happened and can never which has and can never once short, happened be repeatedrepeated. We may, be indeed, give general give general may, indeed, names to these feelings, hut they to these feelings, but they cannot cannot be the thing in They the same thing are another soul. in another soul. They are indiv'idualised. Thereby, individualised. only, do Thereby, and thereby thereby only, they belang to art; for generalities, symbols, for to art; generalities, symbols, they belong or form the current of our current coin coin of form the or even even types types a- misdaily How, then, does misdoes a· How, then, perception. daily perception. understanding on this point anse? arise ? this on point understanding The reason very that two very fact that in the the fact lies in reason lies for for each different things have been mistaken mistaken different things have been of that of other: things and that of things the generality other: the generality of the to regarding the opinions regarding them. opinions we come to Because a feeling is gene rally recognised as a is Because generally recognised feeling is a general it is true, that it it does follow that does not not follow true, it general feeling. Nothing could be more unique unique than than could be Nothing feeling. ,J

162 z6*

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CHAP. CHAP.

the he may Hamlet. Though of Hamlet. character of the character Though he may resemble it is it some respects, is in same other men in resemble other respects, clearly not on that account that that he he interests us interests us clearly not on that account most. But he is universally accepted and and is most But he universally accepted regarded as a living In In this this sense character. sense a as living character. regarded only is he uni\rersally true. The same holds holds only is he universally true. good of all the other praducts of art. Each oI of good of all the other products of art. if them is unique, and yet, if it bear the stamp of it and the bear of is them yet, stamp unique, genius, it come to be accepted by to be will it ,viII accepted by everyeverygenius, body. \Vhy will it And if it be accepted? ? if it it is will is accepted body. Why unique of its kind, by \\that sign do we know it what it sign unique of its kind, by to the very to be be genuine? effort Evidently, by by the very effort genuine ? Evidently, it to make against our predispositions it forces us to forces us against our predispositions Sincerity in to see in order see sincerely. is cenconorder to sincerely. Sincerity is tagious. \\?'hat the artist has seen we shall artist What the has seen we shall tagious. probably never see see again, again, or cr at at least least never never see see probably never in exactly exactly the the same way way; but hut ifif he he has has actually actually in attempt he has has made to to lift lift the the. seen it, it, the the attempt seen veil compels compels our aur imitation. imitation. His His work werk is is an an veil example which which we take take as as aa lesson. lesson. And example the the efficacy efficacy of of the the lesson lesson is is the the exact exact standard standard of of the the genuineness genuineness of of the the work. work. Consequently, Consequently, truth bears within within itself itself aapower of conviction, conviction, truth bears power of nay, of of conversion, conversion, which wh ich is is the the sign* sign~ that that nay, enables enables us us to to recognise recognise it. it. The greater greater the the work and the the more profound profound the the dimly dimly appreappre.. ;

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163 163

hended may the be in the langer the effect in bended truth, effect be truth, the longer may coming; hut, on the the other more other hand, the more hand, the coming; but, universal will that tend to become. So that effect effect tend universal will to become. So the universality here lies in the effect produced, here in the effect produced, the universality lies and the cause. not in in the cause. and not Altogether different different is is the the object of comedy. Altogether object of comedy. Here it is in the v."ork itself that the Here it is in the work itself that 'the generalit;.r generality lies. Comedy t\'Pe have have lies. characters 'we Comedy depicts depicts characters already across and and shall shall meet meet with with again. already come across again. It It placing It airns It takes note of of similarities. at placing similarities. takes note aims at IItt e,"en types before our eyes. even creates creates new eyes. types before types, necessary. In if necessary. In this this respect it farms forms respect it types, if aa contrast to all all the the other other arts. arts. contrast to The very titles of of certain certain classical classical comedies comedies very titles are in themselves. Le :rvlisanthrope, in themselves. are significant Misanthrope, significant l'1'Avare, A vare, le oueUT, le Distrait, etc., are le are names le J Distrait, etc., Joueur, of whole classes classes of even when a of whole of people; and even people; and as its its character comedy has a proper has character comedy proper noun as title, proper noun is is speedily this proper title, this swept away, away, speedily s\vept into by the very weight of its into the its cont~nts, of the contents, very weight by "a Tarstream Tarnouns. We say stream of of common nouns. say tuffe," but should never say "a Phedre" should never but we tuffe," say " or or "a a Polyeucte." Polyeucte." poet will never think think a tragic will never Above a11, all, a tragic poet in of grouping around the chief character in his character the chief of grouping around as simplified play secondary to serve serve as characters to simplified secondary characters play

164 164

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CHAP. CHAP.

copies, so to speak, of the former. The The hera hero copies, so to speak, of the former. of represents an indi'vidualit)T unique a traged}~ of a tragedy represents an individuality unique of to imitate be possible imitate hirn, It may' its kind. kind. It of its him, possible to may be but then \\·e shall be passing, whether conbe but then we shall passing, whether consciously or not, from the tragic the from to the the comic. comic. or not, tragic to sciously No one because he is Iike he is like no is like like hirn, no one. one is one. him, because But a remarkable instinct, on the contrary, But a remarkable instinct, on the contrary, impels once he has elaborated comic poet, he has the comic elaborated poet, onee impels the his to cause cause other other characters, his central central character, character, to characters, general traits, to displaying the same the to revolve revolve traits, general displaying as satellites round hirn. l'tlany comedies as satellites round him. have Many comedies have either noun or same collective term or a plural either a some collective term plural " as "Les Femmes savantes," title. as their their title. Les savantes," "Les " Precieuses ridicules," DU l'on Le Monde ou Precieuses Ton ridicules," "Le s'ennuie," etc., represent so man}T ral1ying points so s'ennuie," etc., represent many rallying points the stage stage adopted adopted by different groups groups of of on the by different to one one identical identical type. type. characters, all all belonging belonging to characters, It It would be be interesting interesting to to analyse analyse this this tendency tendency in in comedy. comedy. Maybe Maybe dramatists dramatists have have caught caught aa glimpse of of a fact fact recently recently brought brought forward forward by by glimpse mental pathology,, pathology,. viz. vize that that cranks cranks of of the the same kind kind are are drawn by by aa secret s.ecret attraction attraction to to seek seek each each other's other's company. company. Without Without precisely precisely coming within within the the province province of of medicine, medicine, the the coming comic comic individual, individual, as as we have have shown, shown, is is in in some some way way absentminded, absentminded, and and the the transition transition

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from from absentmindedness to crankiness absentmindedness to crankiness is is concontinuous. Eut But there tinuous. there is is also also another another reason. reason. If If the comic poet's the comic is to to offer offer us us poet's object object is types, that is to say, characters capable that is to of types, say, characters capable of he set about it better self-repetition, ho\v can how can he set about it better self-repetition, than than by in each each instance, several us, in instance, several by showing showing us, of the same model? That different copies different copies of the same model? That is is just ,\\That the naturalist does in order to define what naturalist the in order to does define just aa species. He enumerates and describes enumerates and describes its its species. main varieties. varieties. This This essential essential difference difference bet",·eell between tragedy tragedy and comedy, the former being concerned with the former with concerned comedy, being individuals the latter is reindividuals and the latter \\"ith with classes, reclasses, is vealed in yet another '\'\;~y. It in the in yet vealed another way. It appears the appears in first of the the work. work. From the the outset first draft it is is draft of outset it manifested by by two two radicaIly methods different methods manifested radically different of observation. of observation. Though the assertion assertion may ma y seem paradoxical, paradoxieal, Though the a study study of of other other men is is probably probably not not necessary necessary a to the the tragic tragic poet. poet. We W e find find that that some of of the the to great poets poets have have lived lived aa retiring, retiring, homely homely sort sort of of great life, without having a chance of witnessing of a chance without having life, witnessing around them an an outburst outburst of of the the passions passions they they around have so so faithfully faithfully depicted. depicted. But, But, supposing 5upposing have even they had witnessed such a spectacle, it is is even they witnessed such spectacle, it doubtful whether whether they they would have found found it it of of doubtful

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much Für in the us in the work interests us work what interests For what use. much use. of is the glimpse we get of certain of the the poet poet is the glimpse we get of certain profound N ow, this this inner struggles. or inner moods or Now, struggles. profound moods glimpse cannot be obtained fram without. Our without from glimpse cannot be obtained souls Certain to one one another. another. Certain are impenetrable souls are impenetrable to signs of passion are all that \ve all that we ev"er ever apperceive apperceive signs of passion are externally. Theseweinterpret-though always, we These interpret though always, externally. by the "\\·ay, defectively only by analogy only by analogy with by the way, defectively vrhat So ourselves experienced. have ourselves what we we have experienced. \\9hat the main is the main point, we experience and what ,ve experience is point, and \\"e cannot become thoroughlyacquainted with we cannot thoroughly acquainted with anything hut our own heart heart - supposing our but anything supposing we ever Does this so far. far. this mean that ever get that the the get so poet has has experienced he depicts, that experienced what he poet depicts, that he has has gone through the various situations he the various situations gone through he makes makes his his characters characters traverse, traverse, and lived lived the the he whole of of their their inner inner life? life? Here, Here, too, too, the the whole biographies of of poets poets would would contradict contradict such such aa biographies supposition. How, indeed, could the same could the same How, indeed, supposition. man have ,man have been been Macbeth, Macbeth, Hamlet, Hamlet, Othello, Othello, King Lear, Lear, and many many others? others? But then then aa King distinction distinction should should perhaps perhaps here here be made bebetween the the personality personality we have have and all all those those we might rnight have have had. had. Our Gur character character is is the the result a of result of a choice choice that that is is continually continually being being renewed. renewed. There are are points points - at at all all events events

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there be - all where to be all along the there seem to along the Vv"ay, way, where \ve may branch branch off, perceive many many we may and \ve we perceive off, and possible directions directions though we are are unable unable to to possible though ,ve take more than one. T 0 retrace one's steps, than one. To retrace one's steps, take and follow to the distinguishfollow to the end end the the faintly faintly distinguishable" to be the essential able' directions, be the essential directions, appears appears to element in poetic element in course, poetic imagination. imagination. Of course, Shakespeare \vas neither Macbeth, nor was neither Macbeth, nor HamShakespeare let, he mzght nor Othello; have oeen been he let, nor still, Othello; still, might have these several characters, if the these several the circumstances circumstances characters, if the case the consent of on one of the case on and the one hand, consent hand, and of his will had cause to break of his will on the to the other, cause break had other, out \vas nothing into explosive what was out into action ,vhat explosive action nothing prompting. \y"P" more than than an an inner inner prompting. Wee are are to the part play"ed strangely mistaken as mistaken as to the part played by by strangely poetic imagination if it pieces toit if we think tothink pieces poetic imagination gether its heroes out of fragments filched from of its out heroes filched fragments gether right though it patching totoit ,vere as though were patching left, as right and left, gether a harlequin's motley. Nothing living a Nothing living harlequin's motley. gether rewould result cannot be be reLife cannot result from from that. that Life composed; be looked reproat and reprolooked at it can can only composed it only be view duced. Poetic imagination is but a fuller fuller is but duced. Poetic imagination of reality. If If the created by the characters characters created of reality. poet by a poet is only because give us the impression of life, it because it is of us the life, only impression give or they himself, - a multiplication are the the poet multiplication or poet himself, they are ;

division poet, - the plumbing the the poet the poet, of the division of poet plumbing

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CHAP. CHAP.

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

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

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THE COMIC IN CHARACTER 169 169

couple outer effect with causes that are are tao the outer causes that too effect with couple the deep-seated, to endanger, In would mean to and in deep-seated, would endanger, and the in end to to sacrifice all that that was was laughable the end sacrifice all laughable in the effect. In order that \\re may be tempted the effect. In order that we may be tempted to to laugh in at it, must localise its cause localise its cause in it, we must laugh at same region of Conseof the soul. some intennediate intermediate region the soul. Consequently, to us the effect effect ~ust must appear us as as an an appear to quently, the average effect, as expressing an average as of an average effect, average of expressing mankind. And, like mankind. And, is like all all averages, this one one is averages, this by bringing obtained obtained by scattered data, data, bringing together together scattered by comparing analogous cases and extracting by comparing analogous cases and extracting their in short their essence; short by essence in a process of abstracabstracprocess of by a tion which to that tion and generalisation similar to that which generalisation similar the physicist brings the physicist with the to bear bear upon the facts with brings to upon facts of grouping them under laws. In aa object of In under laws. object grouping ward, are here here of of the same the same word, method and object object are that nature in the nature as as in the inductive in that inductive sciences, sciences, in observation result external and observation is is always the result and the always external always general. always general. And so a roundabout so we come back, roundabout back, by by a way, reached in to the the double in the the double conclusion conclusion we reached way, to course On the one hand, the course of of our our investigations. one hand, investigations. a person person is 'through is never ridiculous except never ridiculous except 'through some mental resembling mental attribute attribute absentresembling absentmindedness, upon that lives lives upon mindedness, through through something something that him without part of his organism, without farming of his forming part organism, ;

L-,4.GGHTER LAUGHTER

170

is the the reason this this state state of of mind mind is is observable observable from from reason v.,~ithout and and capable capable of of being being corrected. corrected. But, But, without on the other hand, just because laughter aims on the other hand, just because laughter aims at correcting, correcting, it it is is expedient expedient that that the the correction correction at should reach reach as as great great aa number of of persons persons as as should possible. This This is is the the reason reason COmlC observation comic observation possible. after after

the fashion fashion the

of aa parasite; parasite; of

CRAP. CHAP.

that that

is

instinctiv'eI)r proceeds to \\~hat is is general. general. It It instinctively proceeds to what chooses such such peculiarities peculiarities as as admit admit of of being being chooses reproduced, and consequently are not indisreproduced, and consequently are not indissoIubly bound up "\vith the individuality of a solubly bound up with the individuality of single person, - aa possibly possibl)f common sort unsort of of unsingle person, commonness, to say',peculiarities that that are are so to commonness, so peculiarities say, held B)T transferring to the the in common. common. By held in transferring them to stage, it works ,,"hieh doubtless belang which it creates doubtless creates stage, belong to visible aim is to please, art in in that to that their their onl)T aim is to art visible only please, hut but \vhich which will will be found to to contrast with other be found other contrast with \vorks reason of their generality, and works of art by reason of of art their by generality, also also of of their their scarcely confessed or or scarcely scarcely confessed scarcely conscious to correct conscious intention intention to correct and and instruct. instruct So So we were probably right in saying that comedy in that probably right saying comedy lies midVt'ay lies bet\veen art and life. It is art between It life. is not not midway disinterested By as genuine disinterested as art is. is. genuine art By organising organising Iaughter, social life life as a natural as a natural accepts social laughter, comedy comedy accepts it e"v'en environment; an impulse of social environment it even obeys of social obeys impulse ;

life. it turns life. And in in this this respect turns its its back back upon respect it upon

nI m THE COMIC IN IN CHARACTER

171 171

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

11 II us see, of what has gone Now let let us in the the light see, in light of what has gone before, the take for the line line to to take for creating before, ideally creating an ideally comic of character, comic of in itseH, in its its comic type itself, in character, comic in type and in It must origin, in all all its It must its manifestations. manifestations. origin, be deep-rooted, be with so as as to to supply deep-rooted, so supply comedy comedy with and y'et superficial, inexhaustible matter, in inexhaustible matter, and yet superficial, in order rernain \vithin the scope it may remain within the that it of order that scope of may comedy; to its for the its actual actual o,vner, invisible to the owner, for comedy invisible comic e'ver ever partakes of the the unconscious, but unconscious, but partakes of visible to ever~ybody else, so that it may call visible to everybody else, so that it may call forth to forth generallaughter; considerate to extremely considerate general laughter extrelnely its its own self, it may be without so that that it self, so may be displayed displayed without they scruple, that they but troublesome so that to others, troublesome to others, so scruple, hut may repress it without pity, but immediately it but without immediately may repress pity, repressible~ so that our Iaughter may ha've that so not have our repressible, laughter may not been \vasted; wasted sure sure of under fresh fresh of reappearing reappearing under so that laughter may always find sameaspects, that so find someaspects, laughter may always thing to da ; to social life, life, do; inseparable inseparable from social thing although insufferable to society; capable in in insufferable to capable although society; that order the greatest it mayassume order that it may assume the greatest imaginimaginof forms able of fonns of being tacked on to all to all able variety of tacked variety being ;

;

;

LAU"GHTER LAUGHTER

172

CHAR

the a good virtues. to a vices and and even even to the "ices many virtues. good many Truly of elements to fuse elements to fuse number of Truly aa goodly goodly number together ! But of the the soul, entrusted But aa chemist chemist of soul, entrusted together \vith this elaborate preparation, would be be samesomewith this elaborate preparation, what out the the conwhen pouring conwhat disappointed pouring out disappointed \vhen He \vould tents find he had would find retort. his retorte of his tents of taken a vast deal of trouble to taken a vast deal of trouble to compound compound a mixture which may mixture which may be found ready-made ready-made and free is as it is as widespread for it of expense, free of widespread through-· throughexpense, for out air throughout as air nature. mankind as out mankind throughout nature. This Probably is vanity. mixture is This mixture there is is vanity. Probably there not failing that is that is more superficial or or not a a single superficial single failing more The wounds it receives it receives are more deep.rooted. are deep-rooted. ne'\ter very serious, yet they they are are seldom never very seldom serious, and yet rendered to to it healed. The services services rendered it are healed. are the the most unreal unreal of yet they they are all services, most of all and yet are the the services, and "\tel)' that meet meet with It ones that with lasting It very ones gratitude. lasting gratitude. is scarcely scarcely aa vice, vice, and yet yet all all the the vices vices are are is drawn into into its its orbit orbit and, and, in in proportion proportion as as they they refined and and artificial, artificial, tend tend to to be be become more refined nothing than a means of satisfying it. more than a of satisfying it. nothing The outcome of of social social life, life, since since it it is is an an admiraadmiration tion of of ourselves ourselves based based on the the admiration admiration we think think we are are inspiring inspiring in in others, others, it it is is even even more more more natural, universally innate than egoism; natural, universally innate than egoism for for egoism e~oism may may be be conquered conquered by by nature, nature, !

'

;

m m

THE COMIC IN CHARACTER 173 173

whereas the whereas only do we get reflection do only by by reflection get the better of It not seem, as of vanity. better It does does not indeed, as seem, indeed, vanity. if born modest, unless we if men were dub were ever ever born we club modest, unless with a sort of purely a of modesty sort of with the the name of modesty purely bashfulness, which is nearer to pride physical is nearer to which pride physical bashfulness, than True modesty than is is generally supposed. generally supposed. modesty can be nothing but a meditation vanity. a can be nothing but meditation on vanity. It It springs from the the sight others' mistakes, of others' mistakes, springs from sight of similarly deceived. and and the dread of of being the dread deceived. being similarly It It is a sort of scientific sort of is a scientific cautiousness with cautiousness with to what shall say and think of respect to we shall and think of respect say It up of ourselves. It is is made up of improvements ourselves. improvements and In it is an acquired In short, is an and aftertouches. aftertouches. short, it acquired virtue. virtue. It the point point at It is at is no easy define the matter to to define easy matter which the become modest modest may the anxiety to become anxiety to may be distinguished of becoming from the the dread dread of be distinguished from becoming ridiculous. But surely, this at the ridiculous. the outset, outset, this surely, at this anxiety dread are one the same dread and and this one and the anxiety are thing. A complete into the the complete investigation investigation into thing. illusions ridicule that that into the the ridicule of vanity, illusions of vanity, and into clings to them, would cast a strange light upon a cast to would them, strange light upon clings should find find the whole theory of laughter. We should of the whole laughter. theory laughter performing, with reguwith mathematical mathematical regulaughter performing, of that larity, one of its main functions that of its functions of larity, one bringing back back to self-consciousness to complete complete self-eonsciousness bringing

Ll\I;GHTER LAUGHTER

Ii4 74

i

a certain certain self-admiration self-admlration which \vhich a matic~ matic,

CHAP.

is almost almost autoauto..

is

and thus thus obtaining obtaining the the greatest greatest possible possible and

sociability of cha!'acters. sociability of characters.

\\~ e We

should see see that that should

vanity', though it is a natural product of of social social vanity, though it is a natural product life, is an incon,,"enience to society', just as life, is an inconvenience to society, just as certain slight slight poisons, poisons, continually continual1y secreted by secreted by certain the human organism, l\"ould destroy it in the the human organism, would destroy it in the

if they they' were ,vere not not neutralised neutralised by other by other secretions. Laughter Laughter is is unceasingly unceasingly' doing doing secretions. ,,·ork this kind. In this respect, might be be In this it might kind. of this work of respect, it long run, long run,

if

said that the the speci:fic remedy for vanity is for vanity is said that specific remedy laughter, and that the one failing that is is essenessenlaughter, and that the one failing that tial1y laughable is is ,"anity. vanity. tially laughable 'Vhile dealing with the the comic form and in form While dealing ,,~ith comic in movement, we showed how any movement, '\ve simple image, image, any simple laughable in itself, is of worming is capable in of its itself, capable laughable worming its ,,~a)" into other images of a more complex complex way into other images of a nature, and instilling into them something into of nature, instilling something of its its comic essence; the highest forms of of thus, the essence; thus, highest farms the the comic can can sometimes be be explained the explained by by the lo\vest. however, is perlowest The inverse inverse process, is process, however, perhaps and many coarse and coarse haps even more common, common, many effects are comic effects are the the direct direct result a drop result of of a drop from some very subtle comic element. For ininelement very subtle stance, ty, that higher form of the comic, that of the is stance, vani comic, is vanity, higher an element we are are prane to look look for, for, minutely prone to minutely

m

THE COMIC IN CHARACTER 175 175

though unconsciously, in manifestation in every every manifestation though unconsciously, of \Ve it if if only to We look for it look for of human activity. activity. only to laugh Indeed, it. at it. often our imagination Indeed, our imagination often laugh at it ""here it has no business to locates business to be. be. locates it where it has Perhaps we must attribute to this source the to this attribute source the Perhaps altogether in certain coarse comic element in certain comic element altogether coarse effects \\7hich psychologists psychologists have inhave ver~y effects which very in.. adequately explained b)' contrast : a short a short adequately explained by contrast: man bo\ving head to pass beneath beneath aa large his head to pass large bowing his door; tall, the other other one very the two individuals, individuals, one tall, door; t\VO very aa mere mere d\varf, arm-indwarf, gravely gravely \valking walking along along arm-inetc. By scanning narro\vly this Iatter arm, etc. this latter arm, By scanning narrowly image, probably find we shall shall probably that the find that the shorter shorter image, \\Te of the two persons were of the as though seems as persons seems though he were trying to razse himseif to the height of to raise to the the trying himself height of the taller, like the frog that wanted to make itself like the that wanted to itself taller, frog

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

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

1

76

LAUGHTER

CHAP.

man}~ a a good good quality. qualit}·. Even Even though though aa list list many of all alt the the peculiarities peculiarities that that have have ever ever been been of found ridiculous ridicuJous were \vere drawn draVr~n up, up, comedy comedy would would found manage to acid to them, not indeed by creating not indeed by creating manage to add to them, artificiaI ones, ones, but but by b~y discovering disco,'"ering lines lines of of comic comic artificial development that that had had hitherto hitherto gone gone unnoticed; unnoticed; development thus does imagination isolate ever fresh figures fresh thus does imagination isolate ever figures in the the intricate intricate design design of of one one and and the the same in piece of tapestry. The essential essential condition, conditioDt as as piece of tapestry. we know, is that the peculiarity peculiarity observed observed should that the should we know, is straight\vay appear as a kind of categor)' into a as kind of category into straightway appear which aa number number of individuals can of individuals can step. which step. NOl\1, there there a.re ready-made categories are ready-made estabNow, categories established by society itself, and necessar:y to it it lished by society itself, necessary to because the division based on the division oE of labour. it is labour. is based because it \Ve various trades, the various We mean the trades, public services, public services, professions. Each particular profession a.nd and professions. particular profession impresses on its corporate its on certain corporate members certain impresses habits habits of of mind and and peculiarities of character character peculiarities of in in which they resemble each each other other and and also also they resemble distinguish themselves from the rest. Small themselves from the rest Small distinguish societies societies are are thus thus fonned within the formed within the bosom of of at large. Doubtless Society Doubtless they arise from from the the Society at large. they arise very organisation of Society as a whole. And of very organisation Society as a whole. if they held tao too yet, if much aloof, there would would be be yet, aloof, there they risk of of their their proving aa risk ciabiliry. harmful to to so proving harmful sociability.

m THE COMIC

m

IN CHARACTER 177 177

the business business of repress Now, it of laughter is the it is to repress Now, laughter to any Its is to Its function to function is separatist tendency. tendency. any separatist convert into plasticity, to readapt the into to convert rigidity the plasticity, readapt rigidity individual to the the whole, whole, in to round in short, individual to off round off short, to the corners wherever they are met with. the corners wherever they are with. here find a species of the Accordingly, we a here of find the species Accordingly, comic be calculated varieties might calculated bebecomic whose varieties might be forehand. This shall call the professional This we shall call the professional forehand. &omzc. comic.

Instead of taking varieties in in detail, Instead of these varieties detail, up these taking up we prefer prefer to to lay stress upon what they have in stress have in upon they lay common. In In the find professional the forefront forefront we find professional vanity. Each ane of 1\1. Jourdain's teachers one of M. Jourdain's teachers vanity. exalts In play art above all the a play above all the rest. In a his own art rest. exalts his cannot of a character is a there is character who cannot of Labiche Labiche there understand how it is possible to be anything to is it be understand possible anything else Naturally he he is is than a a timber timber merchant. merchant Naturally else than aa timber Note that that vanity himself. timber merchant merchant himself. vanity here to merge into solemn1:ty, in proporin into here tends tends to proporsolemnity, merge tion of quackery there is in in the there is the to the the degree of tion to quackery degree profession under consideration. For it is a is it profession under consideration. remarkable that the the more questionable fact that remarkable fact questionable an art, those the more those or occupation is, the science, or art, science, occupation is, who practise it are inclined to regard themto it are inclined regard practise selves with a kind of of priesthood as invested selves as invested with priesthood before its its and to that aII all should claim that should bow befare to claim N

LAUGHTER

8 1 78 17

CHAP. CHAP.

mysteries. Useful are clearly Useful professions clearly professions are mysteries. mea.:lt but those ",.hose utility whose those but for the the pt:blic, meant for utility public, is their existence can onl~y is more dubious ca~ more dubious only justif)' justify their existence by is meant for for them: the public that the public is by aS5uming assuming that no\v, just the at the the root lies at that lies root illusion that the illusion is just this is now, this of .:\lmost in Almost everything of solemnity'. everything comic in solemnity. l\Io1iere's doctors comes from this source. this from source. Moliere's doctors They' as though the patient treat the patient as though he had been They treat made herself as as an nature herself the doctors, for the made for doctors, and nature appendage to medicine. appendage to medicine. ~4.nother this comic form of of this comic rigidity is \vhat what Another form rigidity is may professio12al callous1zßss.. The called professional be called callousness. may be comic jammed into is so so tightly character is into the comic character the tightly jammed rigid frame of his functions that he has of his functions frame that he has no rigid room to to be be mo\red men. or to moved Iike to move or like other room other men. OnI}1 to mind the the ans\ver receives answer Isabelle call to Isabelle receives Only caII the judge, when she from Perrin Dandin, Perrin Dandin, the judge, she asks asks hirn how he he can can bear bear to to look look on on when the the poor poor him wretches are are being being tortured tortured : wretches :

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

not Tartuffe Tartuffe also also manifest manifest aa sort sort of of Does not professional callousness callousness when he he says says - it it is is professional true, true,

by the the mouth of of Orgon: Orgon: by

1 Bah! Ba.h!

1

it always aIways helps he1ps to to while while away away an an hour hour or or two. two.

it

m in

COMIC IN CHARi\CTER CHARACTER THE COl\JIIC

179 179

Et je yerrais m&re et femme verrais mourir mourir frere, et femme Et je fr&re, enfants, enfants, mere 1 Que je m'en m' en soueierais soucierais autant autant que de cela cela 11 Que je que de I

The de,rice hO\Ve\ier, for device most most in in use, for making use, however, making aa profession profession ludicrous is to confine so to ludicrous is to confine it, it, so to say, '\vithin the four corners of its o'\vn parsay, within the four corners of its own particular jargon. J udge, doctor and soldier ticular jargon. doctor and soldier are are Judge, made to to apply the language of Ja,v, medicine law, medicine apply the language of and strategy to the everyday affairs of as life, as strategy to the everyday affairs of life, though they bad become incapable of talking had of become though they incapable talking like people. As a rule, this kind of like ordinary a kind this of rule, ordinary people. the rather coarse. It becomes the ludicrous is rather ludicrous is It becomes coarse. ,ve have more refined, howev'er, as as we have already refined, however, already if it reveals same peculiarity' of characsaid, if it reveals characsome of said, peculiarity ter habit. "Ve a professional in addition addition to to a ter in We professional habit. will joueltr, '\vho will instance instance only who only Regnard's Regnard's Joueur, expresses himself ,vith the utmost originwith himself the utmost expresses originality in terms borro\ved from gambling, in terms borrowed ality gambling, giving giving his valet the of Hector, his valet the name of his Hector, and calling calling his betrothed betrothed * Pallas, connu de de la la Dame de nom connu de Pique; Pallas, du Dom Pique i ;

or sava1ztes, where the or Moliere's Moliere's Femmes savantes the comic element in the the consists largely element evidently evidently consists largely in translation of ideas ideas of of a scientific scientific nature nature into translation of into y

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

LAUGHTER

ISo iSo

CHAP.

sensibility': "Epicure "Epicure me plai! ..." (Epicurus is is charming), charming), "]'ai1ne les ." (Epicurus "faiine les plait tourbillons " (I dote on vortices), etc. YOll You tourbillons" (I dote on vortices), etc. ha\1e onl~y to read the third act to find that find to act that third the read have only to Armande, Philaminte Philaminte and and Belise BeIise almost almost invariinvariArmande, ablyexpress themselv'es in in this this style. stj~le. ably express themselves Proceeding further in the same direction, we in the direction, Proceeding further terms terms

of of

.

feminine feminine

sensibility:

.

. discover discover that that there there is is also also such a thing thing as as aa such a professional logic, z·.e_ certain ways of reasoning professional logic, i& certain ways of reasoning that in certain certain circles, are are customary that are circles, which are customary in ,

valid für these circles, hut untrue untrue for rest of for the the rest of for these valid circles, but

the public. public. Now, Now, the the contrast between these these contrast between the t\\'"o kinds particular, the the other one particular, other of logic kinds of two logic - one universalproduces of a a special effects of universal produces comic effects special nature, which we may on ,,"hieh dwell nature, on may advantageously advantageously dweIl at H ere we touch Here at greater touch upon upon aa greater length. length. point of SQme in the some consequence the theory of point of consequence in theory of laughter. We propose, therefore, to give the to propose, therefore, laughter. give the question a wider scope and consider it a wider it in in its consider its question scope most general aspect. general aspect.

IV as we have been Eager been to to discover discover the the Eager as deep-seated cause of. the comic, we have so cause of the have so comic, deep-seated far had to to neglect its most striking far one of of its neglect striking *

m m

THE COMIC IN CHARACTER

181

phenomena. We refer refer to the logic to the to peculiar to phenomena. logic peculiar the and the the comic a the comic character and comic group, comic character group, a strange which, in seme cases, of logic, kind ef logic, which, in some cases, strange kind may a good deal of of absurdit}T include a good deal may include absurdity. Theophile Gautier said that the that in its said the cOlnic Gautier comic in its Theophile extreme \vas the form was the Iogic of the the absurd. extreme form absurd. logic of More than one philosophy of laughter revolves than one philosophy of laughter revolves round Every a like like idea. idea. comic effect, it is round a is effect, it Every comic said, in same of its contradiction in some of its said, implies implies contradiction aspects. What makes us us laugh is alleged to aspects. laugh is alleged to be the absurd realised in concrete be the absurd realised in concrete shape, shape, a " " "palpable - or, an apparent or, again, absurdity palpable absurdity"; apparent again, an absurdity, ,vhich ,ve swallow for the moment for which swallow we the absurdity, only it immediately after\vards to rectif}r or, rectify it immediately afterwards;; - or, only to better something absurd from one point from absurd better still, one still, something point capable of a natural explanation of of a natural of view view though explanation though capable from All these theories theories may All these etc. from another, another, etc. may contain the truth; in the of the truth but, the contain same some portion but, in portion of first they apply only to certain rather certain to first pIace, rather place, they apply only obvious where even where obvious comic comic effects, then, even effects, and then, they take no account account do apply, they evidently evidently take they do apply, they of the characteristic element of the laughable, of element the of the characteristic laughable, that the partitular kind of absurdity of the that is, the is, absurdity tlle particular comic contains contain something it does does contain contains when it something ? absurd. Is immediate proof proof of this desired of this desired ? Is an immediate absurd. of these these definitions definitions Y DU have only to choose choose one of You only to e

;

;

LAUGHTER

182 i8a

CHAP. CHAP.

and with the accordance with in accordance the effects in and make make up up effects formula: times there three times of e"reI)" there out of formula t\\1Ce twice out every three ,viII in the the effect effect obtained. will be be nothing obtained. laughable in nothing laughable So ",oe see that absurdit:r, \vhen met with with in when in So we see that absurdity, the It is in ge1zeral. is an an not absurdit}" is not the comic, comic, is absurdity Z..'~ general. It absurditv, of a definite kind. IItt does does not not create create absurdity of a definite kind. the comic; rather, we might say that the comic that the comic the comic rather, might say infuses essence. It own particular It is essence. it its its o\vn is infuses into into it particular not a very an effect effect - an but an effect effect of of a a cause not a cause but very special kind, ,vhich reflects the special nature special kind, which reflects the special nature of No,,", this cause cause is is kno\vn known to to us; its cause. cause. us of its Now, this consequentl}" have no shall have we shall in underno trouble trouble in underconsequently ,ve standing of the nature of the effect. effect the nature standing the out for a country that Assume, when out for a Assume, walk, that country walk, J'OU notice notice on the the top top of of aa hill hilI something something that that you bears aa faint faint resemblance resemblance to to aa large large motionless motionless bears bod}" with with revolving revolving arms. arms. So far far you you do do not not body know kno'v what ,,"hat it it is, is, but hut you you begin begin to to search search amongst your your ideas zaeas- that that is is to to say, say, in in the the amongst present instance, instance, amongst amongst the the recollections recollections at at present }~our disposal-for that recollection which will that for recollection which will your disposal best best fit fit in in with with what you you see. see. Almost immediimmedithe image image of of aa windmill 'tvindmil1 comes comes into into your your ately the ately 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 have just just been been reading reading

fairy-tales telling teIling of of

fairy-tales

m

THE COMIC IN CHARACTER 183 183

giants with enormous arms; for although com.. giants with enormous arms for although common sense being ableahle' to consists mainly in being sense consists to mainly in remember, it consists consists even even more in being more in able remember, it being ahle to Common sense represents the en.. to forget. the sense represents enforget deavour adapting itself of a a mind continually deavour of itself continually adapting anew and it changes and changing ideas when it changing ideas changes objects. I t is the mobility of the intelligence It is the mobility of the intelligence objects. confonning to the the mobility of things. exactly to conforming exactly mobility of things. It moving continuity of Gur attention It is is the the moving our of attention continuity to to life. life. But now, us take let us take Don Quixote now, let Quixote setting setting out wars. The romances he has been has been out for the wars. for the romances he reading tell of on the of knights all tell the knights encountering, encountering, on reading all way, He therefore adversaries. therefore must way, giant giant adversaries. needs This idea a giant a giant. This idea of needs encounter encounter a of a giant giant. ;

is is a a privileged has taken which has taken recollection, which privileged recollection, its in wait, wait, in his his mind and lies lies there its abode there in abode in motionless, watehing for an opportunity to motionless, watching for an opportunity to sally sally forth thing. It in a a thing. It 'tS is embodied in forth and become embodied bent material world, so the the bent on entering the material world, and so entering the very he sees hearing the the faintest faintest first object sees bearing object he very first resemblance with the a giantis the form invested with to a resemblance to giant is invested of Thus, where sees giants of one. one* Thus, Don Quixote Quixote sees giants where it is is comicaI; we see also is also comical it see windmills. windmills. This is absurd. But is a mere absurdity, it is it absurd. absurdity, - an absurdity indefinite kind? of an indefinite absurdity of ;

L.. ~GGHTER LAUGHTER

184

CHAP.

It is aa very 'ter~t special In,-ersion of common It is special inversion of sense. It mould things to mould in seeking It consists consists in sense. things seeking to on of moulding instead of one's 0""'0, of one's an idea idea of on an own, instead moulding one's - in before us us "'tvhat in seeing what on things, ideas on one's ideas seeing before things, '\ve of, instead of thinking of what we are are thinking thinking of, instead of thinking of what \ve see. Good leave all would hav'e have us leave all sense ',,"Duld Good sense we see. our their proper proper rank and file; in their memories in our memories file; then the appropriate memory will every time will time then the appropriate memory every ans\\·er the situation of the of the situation of the the summons of answer the moment But in to interpret in it. serve only and sen~e moment and interpret it. only to Don QuL.xote, on the contrary, there is one is the there Don Quixote, contrary, group of memories in command of in all the the rest of all rest memories of group and thus it is the character character itself: itself thus it is and dominating dominating the reality that nOVl has to bow to has to its to imagination, imagination, its reality that now onI)~ function being to supply fancy with a body. to with function being supply fancy body. only :

Onee has been been created, illusion has Once the the illusion created, Don Quixote Quixote develops in all all its its conit logically enough condevelops it logically enough in sequences; he proceeds with the certaintyand with the certainty and sequences he proceeds precision of a somnambulist who is of is acting his a precision acting his dream. is the the origin dream. Such, of bis his deludeluSuch, then, then, is origin of sions sions and such the the peculiar conpeculiar Iogic logic which controls particular absurdity. Now, is this trols this this particular is this Now, absurdity. logic to Don Quixote? Quixote ? peculiar to logic peculiar We have shown that Wehave that the the comic comic character character errs always elTS through obstinacy of mind or or of of disdisalways through obstinacy of position, through absentmindedness, in short, in position, through absentmindedness, short, ;

m m

THE COMIC IN CHARACTER 185 185

through the root of the root of comic automatism. At the the comic through automatism. there rigidity \vhich of rigidity its is a a sort sort of which compels there is compels its victims keep strictly to one path, to follow it to keep victims to strictly to one path, to follow it straight along, to shut their ears and to and refuse refuse to straight along, to shut their ears listen. In plays how many many comic In Moliere's Moliere's plays listen. comic sC,enes this simple can be be reduced a to this scenes can reduced to simple type: type a character followi1tg up his O1ze one idea, concharacter following and con· idea, and up his tinually recurring to it in spite of incessant to it in of incessant spite tinually recurring interruptions! The transition seems transition take to take seems to interruptions! place imperceptibly will the man who '\-vilI from the place imperceptibly from listen to nothing to the one who will listen to nothing to the one see will see nothing, and from this latter to the one who from this latter to one the nothing, to see. A sees he wants wants to stubborn sees only see. A stubbom only what he spirit things to ends by its own to its spirit ends by adjusting adjusting things way of thinking, instead of accommodating of of instead accommodating way thinking, its to tl1e things.. So every its thoughts to the comic every comic things. thoughts character highroad to the above-mento the is on the the highroad character is above-mentioned us tioned illusion, furnishes us illusion, and Don Quixote Quixote furnishes with type of comic absurdity. of the general with the absurdity. general type 15 this inversion inversion of Is there for this of common there a name far sense? in either it may either sense? Doubtless Doubtless it found, in may be found, an acute or a chronic form, in certain types in certain of chronic an acute or form, types of insanity. In its aspects it resembles In many resembles a of its aspects it insanity. many of But neither fixed in general, nor neither insanity idea. fixed idea. insanity in general, oor fixed particular, are provocative of are provocative of in particular, ideas in fixed ideas laughter: they are diseases, and arouse our pity. are arouse diseases, laughter: they 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. a madnes5 that is madness that is exists a emotion. If If there there exists laughable, it can on}}"· be one compatible \vith laughable, it can only be one compatible with the general a sane the mind, sane type of the of health of the general health mind, - a type of madness, one might saJ'. Xow there is a sane is there a sane one madness, might say. Now, state that resembles resembles madness in of the the mind that in state of ever.y respect~ in \\"hich '\ve find the same aSSQassoevery respect in which we find the ciations the same we da do in in lunac}~, as \ve the of ideas ideas as ciations of lunacy, peculiar Iogic as in a fixed idea. This state fixed a as in idea. state is is peculiar logic that either aur our analysis is indreams. So either that of of dreams. inanalysis is correct, or it roust be capable of being stated in must be of or it stated in correct, capable being the theorem: C01nzc absztrdity zs of Comic theorem is the follo'\ving absurdity following of tlze sa11ze 1zatu?"e that of nature as that dreams. the same of dreanzs. The behaviour behaviour of of the the intellect intellect in in a a dream dream is is exactly what \\~e have just been describing. we what have been just exactly describing. mind, enamoured of of itself, itself, now no\v seeks seeks in in The mind, the outer outer world '\\~orld nothing nothing more more than than aapretext the pretext for for realizing realizing its its imaginations. imaginations. A confused confused the ear, ear, of sounds sounds still still reaches reaches the murmur of colours enter enter the the field field of of vision, vision, the the senses senses are are colours not not completely completely shut shut in. in. But the the dreamer, dreamer, instead the whole whole of of his his recolrecolinstead of of appealing appealing to to the lections lections for for the the interpretation interpretation of of what what his his senses senses perceive, makes use use of of what what he he perceives perceives to to perceive, to substance he give substance to the particular recollection the give particular recollection he favours: favours: thus, thus, according according to to the the mood of of the the f

:

m THE COMIC, COMIG IN CHARACTER

ID

d~eamer the idea and the that idea that dreamer and

187 187

fil1s fills his his imagination imagination at the time, of '\vind blo\ving a gust wind down the at the of the time, a gust blowing do\vn chimney becomes the beast of a a \vild howl of the ho\vl wild beast chimney becomes or a tuneful melod)r. Such is the ordinary is the ordinary or a tuneful melody. mechanism of illusion in dreams. dreams. illusion in mechanism of N O\V, if if comic comic illusion to dream illusion is is similar similar to dream Now, illusion, if the logic of the comic is the logic of illusion, if the logic of the comic is the logic of may expect to discover in the Iogic dreams, ,ve in we to the discover dreams, may expect logic of the laughable all the peculiarities of dream all of the dream of the peculiarities laughable logic.. Here, again, ,ye shall an illustrawe find an illustrashall find Here, again, logic. the la\v \vith \vhich we are tion of are ,vell tion of the law with which well acquainted: given one form of the laughable, form one of the acquainted: given laughable, other in the same comic that are are lacking forms that in other farms the comic lacking their outward essence from their outward essence become laughable laughable from Indeed, it is not diffi.. resemblance to the first. it the first. is not diffiresemblance to Indeed, cult an:y play play of afford to see that any ideas n1ay cult to see that may afford of ideas us bring back back to mind, if only it us arnusement to mind, amusement if only it bring more or play of less distinctly, of dreamland. or less the play dreamland. distinctly, the Weshall to aa certain certain We shall first attention to first call call attention general relaxation of of the the ruIes rules of of reasoning. reasoning. general relaxation The reasonings at which '\ve laugh those at are those we reasonings laugh are we }{now to be false, hut which we might to but know be false, might a in a accept as true were \ve to hear them in we as true were to hear accept dream. true reasoning just dream. They counterfeit true They counterleit reasoning just off to sufficiently to deceive a mind dropping to deceive a sufficiently to dropping off is sleep. There is still an element of logic of in still element sleep. logic in

rSB i88

LAUGHTER

them, it is a logic is a but it if }~OU will, hut them, if logic lacking lacking you '\\;11, in tension and, very reason, that very for that in tension reason, affording and, for affording " us relief relief from ::\Iany" wittiintellectual eifort. effort, from intel1ectual us Many "ritti" cisms" are reasonings of this kind, considerably of this cisms are reasonings kind, considerably abridged reasonings, of which of we are are given which given abridged reasonings, onI}· the beginning and the end. Such play and the end. the play beginning only upon ideas evolves in the direction of upon ideas evolves in the direction of aa pla)~ upon words in proportion as the relaplay upon words in proportion as the relations up bet\veen the ideas ideas become more between the set up tions set superficial: gradually \ve come to to take take na no superficial: gradually we a.ccount of the meaning of the words we hear, of the words account of the meaning hear, hut of their sound. I t might be instrucIt sound. their be of instrucbut only only might tive '\\"ith dreams certain with certain comic to compare tive to comic compare scenes which one of in which of the the characters characters systemscenes in systematical1y repeats in a nonsensicaI fashion what in a nonsensical fashion what atically repeats another whispers in If in his character whispers his earl ear. If yon another character you fall with people people talking round you, you fall asleep round asleep with talking you, you sometimes find find that that what they they say say gradually gradually becomes devoid meaning, that the sounds devoid of of meaning, becomes that the sounds

get it were, as it and recombine recombine in in a a distorted, as were, and get distorted, haphazard to form. fashion to in your form in the haphazard fashion your mind the of strangest of meanings, and that you are that restrangest meanings, you are reproducing yourself and the different between and the different producing yourself the scene speakers scene between Petit-Jean Petit-Jean and and speakers the 11 The Prompter. Prompter. 1 Les Plau&urs 1 Les Plaideurs (Racine). (Racine).

in m

THE COMIC IN CHARi\.CTER CHARACTER 189 189

There are also also comic There are comic obsessz·o1tS to that seem obsessions that seem to bear bear a a great to dream resemblance to dream obsessions. obsessions. great resemblance Who has not had has not had the the experience of seeing the experience of seeing the same image appear in several successive dreams, in several successive dreams, image appear assuming a plausible meaning a in each of them, each of them, assuming plausible meaning in whereas whereas these these dreams no other in dreams had had no other point point in common. Effects repetition Effects of of sometimes repetition sometimes present this special form on the stage this or in in on the form present special stage or fiction: same of them, fiction some of in fact, as though sound as them, in fact, sound though they belonged to a dream. It may to a It be the the dream. they belonged may be same ,vith the hurden of many a song: with the burden of many a song: it it persistently recurs, al,vays unchanged, at the at the persistently recurs, always unchanged, end of of every a different time with different with a each time verse, each every verse, meaning. meaning. infrequently do we notice in dreams aa Not infrequently notice in particular crescendo, crescendo, aa weird weird effect that grows effect that particular grows pronounced as we proceed. proceed. The first first more pronounced as we concession extorted extorted from from reason reason introduces introduces aa concession second; and this one, another of aa more another of this and one, second; serious nature; nature; and and so till the the crowning crowning so on till serious absurdity is is reached. reached. Now, N OW, this this progress progress totoabsurdity wards the the absurd absurd produces produces on the the dreamer a wards very peculiar peculiar sensation. sensation. Such is is probably probably very the experience experience of of the the tippler tippler when he feels feels the state of himself pleasantly pleasantly drifting drifting into inta aastate of himself nor reason in which neither reason problankness neither blankness in pro:

19° igo

L~-\LGHTER

LAUGHTER

CHAP. CHAP.

priety' has any' ~eaning for hirn. N OVl, Now, priety has any meaning for him. consider of :\Ioliere's Moliere's plays whether some oi consider \\·hether plays \ro~ld not produce the same sensation: far for would not produce the same sensation: instance, _lfoJz.s:-eltr de PoztyceattgJzac, which, de instance, Monsieur Pourceaugnac, which, almost reasonably', after almost after beginning reasonably, de\Telops develops beginning into all sarts sorts of of absurdities. absurdities. of all a sequence into a sequence of BOltrgeois geJztilhomnze, Consider aIs') the Consider also the Bourgeois gentilhomme^ \vhere to allo\v allow characters seem to different characters where tl1e the d:tterent themselves in a a ,rery whirlbe caught to be themselves to up in caught up very ,vhirl" "yind "If as the the play' If madness as of madness wind of proceeds, play proceeds. it is possible to find a man more completely a find to it is completely possible \\·ill go and publish it in Rome." This mad, I it in I will mad, publish go sentence, play is warns us us that that the which \varns is over, the play over, sentence, \~lhich the increasingly extravagant rouses us fram rouses us from the increasingly extravagant dream into \vhich, along Jourdain, we with .M. into which, M. Jourdain, along ,vith ha\"e been been sinking. sinking. have But, above above all, all, there there is is aa special special madness madness But, that that is is peculiar peculiar to to dreams. dreams. There are are certain certain special contradictions contradictions so so natural natural to to the the imaginaimaginaspecial tion tion of of aa dreamer, dreamer, and and so so absurd absurd to to the the reason reason of of aa man wide-awake, \vide-a'\vake, that that it it would would be be imimgi"ve aa full fuII and correct correct idea idea of of possible to to give possible their their nature nature to to anyone anyone who ,vho had had not not exexperienced them. them. We 'Ve allude aIlude to to the the strange strange perienced fusion fusion that that aa dream often often effects effects between two two persons who henceforth henceforth form form only only one one and and persons

m THE COMIC CO~1IC IN CHARi\CTER CHARACTER 191 191

yet remain distinct. Generally these one of of these Generally ane yet remain distinct. is the dreamer He feels is the dreamer himself. has not not feels he he has himself. ceased to be \vhat he is; yet he has ceased to be what he is; yet he has bebecome someone else. He is himself, and not and else. is not come himself, himself. He hears hears himself himself. himself speak sees speak and sees he feels that himself but he that same himself act, some other other feels act, hut ""he" he" has borro\ved his body and stolen has borrowed his body and stolen his his voice. Or perhaps perhaps he is conscious he is of speakconscious of voice. speaking and acting as usual, but he speaks as but he and of usual, speaks of acting ing \\~hom he himself as astranger a stranger "\vith he has with whom has himself as nothing in common; he has stepped out of in out he has of common; stepped nothing not seem as his Does it it as though self. not his o\vn own self. though we found this same confusion found this same extraorclinary confusion extraordinary in many aa comic II am not not speaking comic scene? in many scene? speaking of Amph:itryo1z, in play the in ,vhich the confusion which play confusion of Amphitryon, is perhaps suggested the mind of to the of the the is perhaps suggested to spectator, of the the comic effect bulk of effect the bulk though the spectator, though proceeds rather from what we have already rather have proceeds already " intenerence of two series." called reciprocal a" of called a interference series." reciprocal the extravagant II am speaking of the comic extravagant and comic speaking of reasonings real1y meet \vith in which we really with this this reasonings in confusion pure form, though it requires it in its its pure confusion in form, though requires same into to pick it Für instance, to it out. out For some looking into instance, pick looking the reporter listen to Mark Twain's to the listen to Twain's replies replies to reporter to interview hirn : who called called to interview him Question. Isn't that brother of yours ? Isn't that a brother of yours ? Question. :

LJ>~UGHTER

LAUGHTER

i 92

CHAP. CHAP.

A,ZrdJ€l'. }·es, j"es! Now you Oh y'es, Answer. Oh! you yes, yes, yes remind of mIne. mine. brother of was aa brother that was of it, that remind me of Thafs Paar Poor him. called hirn. we called Bill \ve William -Bill Thafs \\:illiam old Bill old Bill! Q. then?? he dead, Is he dead, then Q. \\11)'"? Why? 15 A. \'l could Wee never never could so. Ah \vel1, A. Ah! well, II suppose suppose so. tell. There ,vas a great mystery about it. There was a great mystery about it. tell. Q. That is He disappeared, sad. is sad, That sad, ,,"ery disappeared, Q. very sad. !

!

it,

I

I

then?

A. in a sort of general way. A. \Vell, Well, yes, yes, in a sort of general way.

We

buried him. buried hirn.

Q. Q.

Bt~ried him Buried hirn

I Bztried Buried hirn, without knowhim, without !

ing or not? dead or not ? whether he was dead ing ,,,"hether A. Oh no no! Not that that. He was \vas dead dead enough. A. enough. !

Q. that II can't understand confess that can't understand Well, II confess Q. WeIl, this. If If you yau buried buried him, hirn, and and you you knew he he was this. deaddead A. No No! no na! We only only thought thought he was. was. Q. Oh, Oh, II see see! He came to to life life again again?? Q. bet he he didn't didn't. A. II bet Q. Well, WeIl, II never never heard heard anything anything like like this. this. Q. was Some1Jody dead. Sonubody was buried. dead. Somebody Somebody was buried. mystery? Now, where was the the mystery? Now, !

S

!

A. A.

Ah Ah! that's that's just just it it I That's That's it it exactly. exactly. I

!

You YOll see, see, we were twins, twins, - defunct defunct and I1,- and and we got got mixed _in _in the the bath-tub bath-tub when we were were 5

THE COMIC IN CHAR.l\CTER CHARACTER 193 193 only us "vas one of of us was drowned. two weeks oId, drowned. old, and one only t'\vo But we didn't kno\v which. Same think didn't know which. Some think it it was was Bill. Same me. think it it was me. Some think Bill, Q. \Vhat da you that is is remarkable. remarkable. What do you Well, that Q WeIl, think? think ? A. Goodness knows! II wauld whole would give give whole worlds This solemn, awful worlds to to know. this awful solemn, this tragedy has cast a gloom over my whole life. a cast over life. tragedy gloom my But II will tell you a secret now, which I have a will tell secret I which have now, you never befare. One to any never revealed revealed to creature before. any creature of us had aa peculiar of us mark, - a Iarge peculiar mark, large mole on the back of that was \vas me. That of his his left hand that the back left hand:me. chz-Id the otze that was drowned one that child was the drowned!/ • . . etc., etc. etc., etc. will show us A close that the close examination examination will us that the absurdity of this dialogue is by means an this of is no dialogue absurdity by absurdity of an ordinary type. I t would disIt of disordinary type. absurdity appear the speaker not the himself one of of the the speaker himself appear were not twins It results entirely from the It the story. in the results the twins in story. entirely fact that Mark Twain asserts these is one of asserts he is fact that of these twins, whilst all the time he talks as though talks as though he twins, whilst all the were aa third the tale_ In third person tells the tale. person who teIls many of our dreams we adopt exactly the same of the adopt exactly many method. m m

m

:

.

o

.

.

I 94 194

LAUGHTER

CH.AP. CHAP.

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

m m

THE COMIC IN CHARACTER 195 195

we invite hirn, in to share his in imagination, invite him, imagination, to share his amusement ,vith us; in first with us in fact, treat hirn him first we treat fact, \ve as ,ve find a a playmate. in the as a the laugher, So, in playmate. So, laugher, we find a ""hail-fellow-well-met" hail-fellow-\vell-met" spirit as far, as far, at at least, least, spirit as go ""'hich it ,vould be '\\~rong as appearances it which would be appearances go wrong of us not partieof us not to to take In partictake into into consideration. consideration. In ular, is in in laughter a movement of there is of relaxarelaxaular, there laughter a tz·on been noticed, and the tion which has and the has often often been noticed, reason which we must try to Noreason of to discover. of which must try discover. where more noticeable than is this noticeable than where is this impression impression more in the last few examples. In them, indeed, in the last few examples. In them, indeed, we shall shall find find its its explanation. explanation. When the the comic character automatica11y comic character automatically follows his idea, follows up he ultin1ately idea, he thinks, speaks up his speaks ultimately thinks, and acts he '\vere dreaming. N OW, as though acts as he were dreaming. Now, though aa dream is T in touch touch is a a relaxation. To0 remain remain in relaxation. with with things but what to see see nothing men, to things and men, nothing hut is existent and think nothing hut ,vhat is what is conis existent and think nothing but consistent, demands a continuous effort of inteIa effort of intelcontinuous sistent, This lectual This effort is common sense. sense. lectual tension. effort is tension. And to to remain at remain at to remain sensible sensible is, is, indeed, indeed, to work. and But to oneself from things work. Hut to detach detach oneself things yet continue to perceive images, to break away to to continue perceive images, away yet from logic and yet continue to string together to continue string together logic yet if you prefer, in play or, ideas, in play is to to indulge or, if ideas, is you prefer, in indulge in dolce far niente. So, niente. So, comic absurdity absurdity gives gives us dolcefar ;

I 96

Li\UGHTER LAUGHTER

CHAP. CHAP.

from pla}Ting ,,"ith with of playing the outset outset the the impression from the impression of join in ideas. the game. in the to join is to first impulse ideas. Our first game. impulse is That relieves us from the strain of thinking. That relieves us from the strain of thinking. No\v, the might be be said of the the other said of other same might the same Now, forms the laughable. Deep-rooted in the the of the forms of Deep-rooted in laughable. comic, a tendency', is al,vays there is said, comic, there always a tendency, we said, to take the line of least resistance, generally of least line to take the resistance, generally that character no langer habit The comic character that of of habit. longer tries be ceaselessly adapting and readapting and to be tries to ceaselessly adapting readapting himself the society a member. of "\\"hich which he is a he is member. to the himself to society of He slackens the attention attention that in the is due to to life. that is slackens in life. He more resembles the or Iess less resembles the absentrninded. more or absentminded. Maybe will is here even is here even more concerned his will concerned Maybe his than and there is not so much aa is than his his intelIect, there not so intellect, want as a lack of tension: want of of attention attention as lack of tension still, in still, in same is aasent, some way or another, from another, he is absent^ away way or away from his work, taking it easy_ He abandons social his work, taking it easy. abandons social convention, as indeed in the case just as indeed in the case we have have just convention, been considering he abandoned Here, been abandoned logic. Here, considering - he logic. too, first impulse is to to accept the invitation invitation too, our :first impulse is accept the it easy. to take to take it For a short short time, at all all events, time, at events, easy. in the the game. we join join in And that relieves us that relieves us game. from the the strain strain of of Iiving. living. But we rest rest only for a a short short time. time. The only for that is sympathy that is capable of entering of into the the sympathy capable entering into of is impression of the comic is a very fleeting one. one. impression very fleeting :

nI m

THE COMIC IN CHARACTER 197 197

IItt also Thus, from a a Japse in attention. comes from attention. also comes Thus, lapse in astern times forget himself and a stern father and times father mayat at himself may forget join in same prank his child is playing, only to join in some prank his child is playing, only to check to correct it at onee check himself himself at once in in order to it order correct Laughter is, above all, a corrective. Beil.l above a corrective. is, all, o Beiug Laughter intended must make aa painful painful to humiliate, it must intended to humiliate, it impression is the person it is impression on the person against against whom it directed. By laughter, society avenges itself itself directed. By laughter, society avenges far the liberties It would fail in for the liberties taken taken with It would fail in with it. it. its object object if if it it bore its bore the of sympathyß the stamp stamp of sympathyjgf kindness. kindness. Shall at all all Shall we be told that that the the motive, be told motive, at events, be a a good that we often often events, may one, that may be good one, punish because because we love, that laughter, and that love, and punish by laughter, by checking the outer manifestations of certain the outer manifestations of certain checking failings, thus causes the person Iaughed to at to thus the causes person failings, laughed at correct and thereby himthese failings correct these improve himthereby improve failings seH self inwardly? inwardly ? Much might be said point As a this point said on this might be general and speaking rule, and laughter general ruIe, roughly, laughter speaking roughly, doubtless Indeed, a useful exercises a useful function. function. doubtless exercises Indeed, the points to this fact. our analysis to this fact whole of of aur the whole analysis points But that laughter not therefore it does follow that But it does not therefore follow laughter always hits the mark or is invariably hits the is or inspired always invariably inspired by justice. sentiments of of kindness kindness or or even of of justice. by sentiments it To be certain hitting the mark, certain of of always the mark, it always hitting

LAUGHTER

Ig8 198

CHAP.

would have have to to proceed proceed from from an an act act of of reflecreflecwould ~O\\" laughter laughter is is simply simply' the the result result of of aa Now mechanism set set up up in in us us by by nature nature or, or, what what is is mechanism

tion..

tion.

the same same thing, thing, by b)· our our long lang acquaintacquaintalmost the almost ance with '\vith :;ociallife. It goes goes off off spontaneously spontaneously It social life. ance and returns returns tit tit for for tat tat. It I t has has no no time time to to look look and

\vhere where

it hits. hits. Laughter Laughter punishes punishes certain certain failfail-

it

ings some,,·hat as disease disease punishes punishes certain certain somewhat as forms of of excess, excess, striking striking down do\vn some same ,vho are who are forms innocent some ,,·ho who are are guilty, and sparing innocent and sparing same guilty, at a general result and incapable aiming a result of at and incapable of general aiming dealing with each each indi\idual individual case. case. separately ,vith dealing separatel)1 is ",.ith that comes to with everything it is comes to And so so it everything that pass by natural means instead of happening by instead of happening by pass by natural conscious An average justice reflection. of justice conscious reflection. average of may in the total result, itself in the total the result, though may show itseH though the details, often point to anytaken separately, details, taken separately, often point to anything hut justice. but justice. thing In this this sense, cannot be be absolutely sense, laughter laughter cannot absolutely just. Nor should it be should it be kind-hearted kind-hearted either. either. just. Its ~~9D-i~ by humiliatin~ functiorkosjto intimidat~ intimidate, by humiliating it Now, it would not succeed in doing not in succeed had Now, this, had doing this, not nature implanted for that that very implanted for very purpose, purpose, in the the best even in of spi tefuIbest of of men, of men, a spark spark spitefulness or, at all ness at all events, of mischief. Perhaps or, events, of mischief. Perhaps we had better this point better not investigate this too point too investigate ings

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 should see that see that flattering to ourselves. this or expansion this movement of of relaxation relaxation or expansion is nothing but aprelude to laughter, a that the is the prelude to laughter, that nothing but laugher immediately retires within himself, within retires himself, laugher immediately more self-assertive than ever, conceited than and self-assertive and and conceited ever, and is evidently disposed to look upon another's is evidently disposed to look upon another's pulls the personality as a a marionette of \vhich which he pulls marionette of the personality as strings. In presumptuousness '\ve In this this presumptuousness we speedily speedily strings. discern of egoism and, behind this a degree this discern a of behind and, degree egoism latter, something less spontaneous and more latter, something less spontaneous and bitter, the beginnings of a curious the beginnings of a curious pessimism bitter, pessimism which becomes the as the the the more pronounced pronounced as laugher his laughter. laugher more closely closely analyses analyses his laughter. Here, as elsewhere, nature has utilised evil has as nature utilised evil elsewhere, Here, is more especially with with a It is a view to good. view to the especially the good. It good has engaged that has attention throughour attention engaged aur good that throughout this work. Wehave seen out this work. We have seen that that the the more society the more plastic the adaptis the plastic is adaptsociety improves, improves, the ability it obtains from its members; while the its it while from members the obtains ability greater tendency towards towards increasing the tendency greater the increasing stability stability below, the does it force to the surface the to the the the does it force surface more below, disturbing vast so vast elements inseparable inseparable from so disturbing elements bulk; and thus useful a bulk; a useful thus laughter performs a laughter performs function by emphasising these of these the fann form of function by emphasising the significant undulations. undulations. significant ;

200 200

LAUGHTER

CHAP. CHAP,

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

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