of two contemporary series, you might take one series of events belonging to the past and another belonging to the present: if the two series happen to coincide in our imagination, there will be no resulting cross-purposes, and yet the same comic effect will continue to take place. Think of Bonivard, captive in the Castle of Chillon: one series of facts. Now picture to yourself Tartarin, travelling in Switzerland, arrested and imprisoned: second series, independent of the former. Now let Tartarin be manacled to Bonivard's chain, thus making the two stories seem for a moment to coincide, and you will get a very amusing scene, one of the most amusing that Daudet's imagination has pictured. [Tartarin sur les Alpes, by Daudet.] Numerous incidents of the mock-heroic style, if analysed, would reveal the same elements. The transposition from the ancient to the modern — always a laughable one — draws its inspiration from the same idea. Labiche has made use of this method in every shape and form. Sometimes he begins by building up the series separately, and then delights in making them interfere with one another: he takes an independent group — a wedding-party, for instance — and throws them into altogether unconnected surroundings, into which certain coincidences allow of their being foisted for the time being. Sometimes he keeps one and the same set of characters right through the play, but contrives that certain of these characters have something to conceal — have, in fact, a secret understanding on the point — in short, play a smaller comedy within the principal one: at one moment, one of the two comedies is on the point of upsetting the other; the next, everything comes right and the coincidence between the two series is restored. Sometimes, even, he introduces into the actual series a purely immaterial series of events, an inconvenient past, for instance, that some one has an interest in concealing, but which is continually cropping up in the present, and on each occasion is successfully brought into line with situations with which it seemed destined to play havoc. But in every case we find the two independent series, and also their partial coincidence.
We will not carry any further this analysis of the methods of light comedy. Whether we find reciprocal interference of series, inversion, or repetition, we see that the objective is always the same — to obtain what we have called a MECHANISATION of life. You take a set of actions and relations and repeat it as it is, or turn it upside down, or transfer it bodily to another set with which it partially coincides — all these being processes that consist in looking upon life as a repeating mechanism, with reversible action and interchangeable parts. Actual life is comedy just so far as it produces, in a natural fashion, actions of the same kind, — consequently, just so far as it forgets itself, for were it always on the alert, it would be ever-changing continuity, irrevertible progress, undivided unity. And so the ludicrous in events may be defined as absentmindedness in things, just as the ludicrous in an individual character always results from some fundamental absentmindedness in the person, as we have already intimated and shall prove later on. This absentmindedness in events, however, is exceptional. Its results are slight. At any rate it is incurable, so that it is useless to laugh at it. Therefore the idea would never have occurred to any one of exaggerating that absentmindedness, of converting it into a system and creating an art for it, if laughter were not always a pleasure and mankind did not pounce upon the slightest excuse for indulging in it. This is the real explanation of light comedy, which holds the same relation to actual life as does a jointed dancing-doll to a man walking, — being, as it is, an artificial exaggeration of a natural rigidity in things. The thread that binds it to actual life is a very fragile one. It is scarcely more than a game which, like all games, depends on a previously accepted convention. Comedy in character strikes far deeper roots into life. With that kind of comedy we shall deal more particularly in the final portion of our investigation. But we must first analyse a certain type of the comic, in many respects similar to that of light comedy: the comic in words.
1 ... d'humbles marionnettes Dont le fil est aux mains de la Necessite. SULLY-PRUDHOMME.
2 Un Chapeau de paille d'Italie (Labiche).
3 La Cagnotte.
4 Les Surprises du divorce.
5 Labiche, "Le Voyage de M. Perrichon."
6 The word "interference" has here the meaning given to it in Optics, where it indicates the partial superposition and neutralisation, by each other, of two series of light-waves.
II
There may be something artificial in making a special category for the comic in words, since most of the varieties of the comic that we have examined so far were produced through the medium of language. We must make a distinction, however, between the comic EXPRESSED and the comic CREATED by language. The former could, if necessary, be translated from one language into another, though at the cost of losing the greater portion of its significance when introduced into a fresh society different in manners, in literature, and above all in association of ideas. But it is generally impossible to translate the latter. It owes its entire being to the structure of the sentence or to the choice of the words. It does not set forth, by means of language, special cases of absentmindedness in man or in events. It lays stress on lapses of attention in language itself. In this case, it is language itself that becomes comic.
Comic sayings, however, are not a matter of spontaneous generation; if we laugh at them, we are equally entitled to laugh at their author. This latter condition, however, is not indispensable, since the saying or expression has a comic virtue of its own. This is proved by the fact that we find it very difficult, in the majority of these cases, to say whom we are laughing at, although at times we have a dim, vague feeling that there is some one in the background.
Moreover, the person implicated is not always the speaker. Here it seems as though we should draw an important distinction between the WITTY (SPIRITUEL) and the COMIC. A word is said to be comic when it makes us laugh at the person who utters it, and witty when it makes us laugh either at a third party or at ourselves. But in most cases we can hardly make up our minds whether the word is comic or witty. All that we can say is that it is laughable.
Before proceeding, it might be well to examine more closely what is meant by ESPRIT. A witty saying makes us at least smile; consequently, no investigation into laughter would be complete did it not get to the bottom of the nature of wit and throw light on the underlying idea. It is to be feared, however, that this extremely subtle essence is one that evaporates when exposed to the light.
Let us first make a distinction between the two meanings of the word wit ESPRIT, the broader one and the more restricted. In the broader meaning of the word, it would seem that what is called wit is a certain DRAMATIC way of thinking. Instead of treating his ideas as mere symbols, the wit sees them, he hears them and, above all, makes them converse with one another like persons. He puts them on the stage, and himself, to some extent, into the bargain. A witty nation is, of necessity, a nation enamoured of the theatre. In every wit there is something of a poet — just as in every good reader there is the making of an actor. This comparison is made purposely, because a proportion might easily be established between the four terms. In order to read well we need only the intellectual side of the actor's art; but in order to act well one must be an actor in all one's soul and body. In just the same way, poetic creation calls for some degree of self-forgetfulness, whilst the wit does not usually err in this respect. We always get a glimpse of the latter behind what he says and does. He is not wholly engrossed in the business, because he only brings his intelligence into play. So any poet may reveal himself as a wit when he pleases. To do this there will be no need for him to acquire anything; it seems rather as though he
