studied the comic element in forms, in attitudes, and in movements generally; now let us look for it in actions and in situations. We encounter, indeed, this kind of comic readily enough in everyday life. It is not here, however, that it best lends itself to analysis. Assuming that the stage is both a magnified and a simplified view of life, we shall find that comedy is capable of furnishing us with more information than real life on this particular part of our subject. Perhaps we ought even to carry simplification still farther, and, going back to our earliest recollections, try to discover, in the games that amused us as children, the first faint traces of the combinations that make us laugh as grown-up persons. We are too apt to speak of our feelings of pleasure and of pain as though full grown at birth, as though each one of them had not a history of its own. Above all, we are too apt to ignore the childish element, so to speak, latent in most of our joyful emotions. And yet, how many of our present pleasures, were we to examine them closely, would shrink into nothing more than memories of past ones! What would there be left of many of our emotions were we to reduce them to the exact quantum of pure feeling they contain, by subtracting from them all that is merely reminiscence? Indeed, it seems possible that, after a certain age, we become impervious to all fresh or novel forms of joy, and the sweetest pleasures of the middle-aged man are perhaps nothing more than a revival of the sensations of childhood, a balmy zephyr wafted in fainter and fainter breaths by a past that is ever receding. In any case, whatever reply we give to this broad question, one thing is certain: there can be no break in continuity between the child's delight in games and that of the grown-up person. Now, comedy is a game, a game that imitates life. And since, in the games of the child when working its dolls and puppets, many of the movements are produced by strings, ought we not to find those same strings, somewhat frayed by wear, reappearing as the threads that knot together the situations in a comedy? Let us, then, start with the games of a child, and follow the imperceptible process by which, as he grows himself, he makes his puppets grow, inspires them with life, and finally brings them to an ambiguous state in which, without ceasing to be puppets, they have yet become human beings. We thus obtain characters of a comedy type. And upon them we can test the truth of the law of which all our preceding analyses gave an inkling, a law in accordance with which we will define all broadly comic situations in general. ANY ARRANGEMENT OF ACTS AND EVENTS IS COMIC WHICH GIVES US, IN A SINGLE COMBINATION, THE ILLUSION OF LIFE AND THE DISTINCT IMPRESSION OF A MECHANICAL ARRANGEMENT.
1. THE JACK-IN-THE-BOX. — As children we have all played with the little man who springs out of his box. You squeeze him flat, he jumps up again. Push him lower, and he shoots up still higher. Crush him down beneath the lid, and often he will send everything flying. It is hard to tell whether or no the toy itself is very ancient, but the kind of amusement it affords belongs to all time. It is a struggle between two stubborn elements, one of which, being simply mechanical, generally ends by giving in to the other, which treats it as a plaything. A cat playing with a mouse, which from time to time she releases like a spring, only to pull it up short with a stroke of her paw, indulges in the same kind of amusement.
We will now pass on to the theatre, beginning with a Punch and Judy show. No sooner does the policeman put in an appearance on the stage than, naturally enough, he receives a blow which fells him. He springs to his feet, a second blow lays him flat. A repetition of the offence is followed by a repetition of the punishment. Up and down the constable flops and hops with the uniform rhythm of the bending and release of a spring, whilst the spectators laugh louder and louder.
Now, let us think of a spring that is rather of a moral type, an idea that is first expressed, then repressed, and then expressed again; a stream of words that bursts forth, is checked, and keeps on starting afresh. Once more we have the vision of one stubborn force, counteracted by another, equally pertinacious. This vision, however, will have discarded a portion of its materiality. No longer is it Punch and Judy that we are watching, but rather a real comedy.
Many a comic scene may indeed be referred to this simple type. For instance, in the scene of the Mariage force between Sganarelle and Pancrace, the entire vis comica lies in the conflict set up between the idea of Sganarelle, who wishes to make the philosopher listen to him, and the obstinacy of the philosopher, a regular talking-machine working automatically. As the scene progresses, the image of the Jack-in-the-box becomes more apparent, so that at last the characters themselves adopt its movements, — Sganarelle pushing Pancrace, each time he shows himself, back into the wings, Pancrace returning to the stage after each repulse to continue his patter. And when Sganarelle finally drives Pancrace back and shuts him up inside the house — inside the box, one is tempted to say — a window suddenly flies open, and the head of the philosopher again appears as though it had burst open the lid of a box.
The same by-play occurs in the Malade Imaginaire. Through the mouth of Monsieur Purgon the outraged medical profession pours out its vials of wrath upon Argan, threatening him with every disease that flesh is heir to. And every time Argan rises from his seat, as though to silence Purgon, the latter disappears for a moment, being, as it were, thrust back into the wings; then, as though Impelled by a spring, he rebounds on to the stage with a fresh curse on his lips. The self-same exclamation: "Monsieur Purgon!" recurs at regular beats, and, as it were, marks the TEMPO of this little scene.
Let us scrutinise more closely the image of the spring which is bent, released, and bent again. Let us disentangle its central element, and we shall hit upon one of the usual processes of classic comedy, — REPETITION.
Why is it there is something comic in the repetition of a word on the stage? No theory of the ludicrous seems to offer a satisfactory answer to this very simple question. Nor can an answer be found so long as we look for the explanation of an amusing word or phrase in the phrase or word itself, apart from all it suggests to us. Nowhere will the usual method prove to be so inadequate as here. With the exception, however, of a few special instances to which we shall recur later, the repetition of a word is never laughable in itself. It makes us laugh only because it symbolises a special play of moral elements, this play itself being the symbol of an altogether material diversion. It is the diversion of the cat with the mouse, the diversion of the child pushing back the Jack-in-the-box, time after time, to the bottom of his box, — but in a refined and spiritualised form, transferred to the realm of feelings and ideas. Let us then state the law which, we think, defines the main comic varieties of word-repetition on the stage: IN A COMIC REPETITION OF WORDS WE GENERALLY FIND TWO TERMS: A REPRESSED FEELING WHICH GOES OFF LIKE A SPRING, AND AN IDEA THAT DELIGHTS IN REPRESSING THE FEELING ANEW.
When Dorine is telling Orgon of his wife's illness, and the latter continually interrupts him with inquiries as to the health of Tartuffe, the question: "Et tartuffe?" repeated every few moments, affords us the distinct sensation of a spring being released. This spring Dorine delights in pushing back, each time she resumes her account of Elmire's illness. And when Scapin informs old Geronte that his son has been taken prisoner on the famous galley, and that a ransom must be paid without delay, he is playing with the avarice of Geronte exactly as Dorine does with the infatuation of Orgon. The old man's avarice is no sooner repressed than up it springs again automatically, and it is this automatism that Moliere tries to indicate by the mechanical repetition of a sentence expressing regret at the money that would have to be forthcoming: "What the deuce did he want in that galley?" The same criticism is applicable to the scene in which Valere points out to Harpagon the wrong he would be doing in marrying his daughter to a man she did not love. "No dowry wanted!" interrupts the miserly Harpagon every few moments. Behind this exclamation, which recurs automatically, we faintly discern a complete repeating-machine set going by a fixed idea.
At times this mechanism is less easy to detect, and here we encounter a fresh difficulty in the theory of the comic. Sometimes the whole interest of a scene lies in one character playing a double part, the intervening speaker acting as a mere prism, so to speak, through which the dual personality is developed. We run the risk, then, of going astray if we look for the secret of the effect in what we see and hear, — in the external scene played by the characters, — and not in the altogether inner comedy of which this scene is no more than the outer refraction. For instance, when Alceste stubbornly repeats the words, "I don't say that!" on Oronte asking him if he thinks
