overpowered by an increasing degree of rigidity. Then came the return blow, in each case heavier and more resounding than the last, coming, too, after a longer interval. The skulls gave forth a formidable ring throughout the silent house. At last the two bodies, each quite rigid and as straight as an arrow, slowly bent over towards each other, the sticks came crashing down for the last time on to the two heads with a thud as of enormous mallets falling upon oaken beams, and the pair lay prone upon the ground. At that instant appeared in all its vividness the suggestion that the two artists had gradually driven into the imagination of the spectators: "We are about to become ...we have now become solid wooden dummies."
A kind of dim, vague instinct may enable even an uncultured mind to get an inkling here of the subtler results of psychological science. We know that it is possible to call up hallucinatory visions in a hypnotised subject by simple suggestion. If he be told that a bird is perched on his hand, he will see the bird and watch it fly away. The idea suggested, however, is far from being always accepted with like docility. Not infrequently, the mesmeriser only succeeds in getting an idea into his subject's head by slow degrees through a carefully graduated series of hints. He will then start with objects really perceived by the subject, and will endeavour to make the perception of these objects more and more indefinite; then, step by step, he will bring out of this state of mental chaos the precise form of the object of which he wishes to create an hallucination. Something of the kind happens to many people when dropping off to sleep; they see those coloured, fluid, shapeless masses, which occupy the field of vision, insensibly solidifying into distinct objects.
Consequently, the gradual passing from the dim and vague to the clear and distinct is the method of suggestion par excellence. I fancy it might be found to be at the root of a good many comic suggestions, especially in the coarser forms of the comic, in which the transformation of a person into a thing seems to be taking place before our eyes. But there are other and more subtle methods in use, among poets, for instance, which perhaps unconsciously lead to the same end. By a certain arrangement of rhythm, rhyme and assonance, it is possible to lull the imagination, to rock it to and fro between like and like with a regular see-saw motion, and thus prepare it submissively to accept the vision suggested. Listen to these few lines of Regnard, and see whether something like the fleeting image of a DOLL does not cross the field of your imagination:
... Plus, il doit a maints particuliers La somme de dix mil une livre une obole, Pour l'avoir sans relache un an sur sa parole Habille, voiture, chauffe, chausse, gante, Alimente, rase, desaltere, porte.1
Is not something of the same kind found in the following sally of Figaro's (though here an attempt is perhaps made to suggest the image of an animal rather than that of a thing): "Quel homme est-ce? — C'est un beau, gros, court, jeune vieillard, gris pommele, ruse, rase, blase, qui guette et furette, et gronde et geint tout a la fois.2"
Now, between these coarse scenes and these subtle suggestions there is room for a countless number of amusing effects, for all those that can be obtained by talking about persons as one would do about mere things. We will only select one or two instances from the plays of Labiche, in which they are legion.
Just as M. Perrichon is getting into the railway carriage, he makes certain of not forgetting any of his parcels: "Four, five, six, my wife seven, my daughter eight, and myself nine." In another play, a fond father is boasting of his daughter's learning in the following terms: "She will tell you, without faltering, all the kings of France that have occurred." This phrase, "that have occurred," though not exactly transforming the kings into mere things, likens them, all the same, to events of an impersonal nature.
As regards this latter example, note that it is unnecessary to complete the identification of the person with the thing in order to ensure a comic effect. It is sufficient for us to start in this direction by feigning, for instance, to confuse the person with the function he exercises. I will only quote a sentence spoken by a village mayor in one of About's novels: "The prefect, who has always shown us the same kindness, though he has been changed several times since 1847..."
All these witticisms are constructed on the same model. We might make up any number of them, when once we are in possession of the recipe. But the art of the story-teller or the playwright does not merely consist in concocting jokes. The difficulty lies in giving to a joke its power of suggestion, i.e. in making it acceptable. And we only do accept it either because it seems to be the natural product of a particular state of mind or because it is in keeping with the circumstances of the case. For instance, we are aware that M. Perrichon is greatly excited on the occasion of his first railway journey. The expression "to occur" is one that must have cropped up a good many times in the lessons repeated by the girl before her father; it makes us think of such a repetition. Lastly, admiration of the governmental machine might, at a pinch, be extended to the point of making us believe that no change takes place in the prefect when he changes his name, and that the function gets carried on independently of the functionary.
We have now reached a point very far from the original cause of laughter. Many a comic form, that cannot be explained by itself, can indeed only be understood from its resemblance to another, which only makes us laugh by reason of its relationship with a third, and so on indefinitely, so that psychological analysis, however luminous and searching, will go astray unless it holds the thread along which the comic impression has travelled from one end of the series to the other. Where does this progressive continuity come from? What can be the driving force, the strange impulse which causes the comic to glide thus from image to image, farther and farther away from the starting-point, until it is broken up and lost in infinitely remote analogies? But what is that force which divides and subdivides the branches of a tree into smaller boughs and its roots into radicles? An inexorable law dooms every living energy, during the brief interval allotted to it in time, to cover the widest possible extent in space. Now, comic fancy is indeed a living energy, a strange plant that has nourished on the stony portions of the social soil, until such time as culture should allow it to vie with the most refined products of art. True, we are far from great art in the examples of the comic we have just been reviewing. But we shall draw nearer to it, though without attaining to it completely, in the following chapter. Below art, we find artifice, and it is this zone of artifice, midway between nature and art, that we are now about to enter. We are going to deal with the comic playwright and the wit.
1 Further, he owes to many an honest wight Item-the sum two thousand pounds, one farthing, For having on his simple word of honour Sans intermission for an entire year Clothed him, conveyed him, warmed him, shod him, gloved him, Fed him and shaved him, quenched his thirst and borne him.
2 "What sort of man is here? — He is a handsome, stout, short, youthful old gentleman, iron-grey, an artful knave, clean shaved, clean 'used up,' who spies and pries and growls and groans all in the same breath."
CHAPTER II
THE COMIC ELEMENT IN SITUATIONS AND THE COMIC ELEMENT IN WORDS
I
We
