a volume of Labiche, and you will be almost certain to light upon an effect of this kind. Now, we have a speaker whose most eloquent sentences are cut short by the twinges of a bad tooth; now, one of the characters who never begins to speak without stopping in the middle to complain of his shoes being too small, or his belt too tight, etc. A PERSON EMBARRASSED BY HIS BODY is the image suggested to us in all these examples. The reason that excessive stoutness is laughable is probably because it calls up an image of the same kind. I almost think that this too is what sometime makes bashfulness somewhat ridiculous. The bashful man rather gives the impression of a person embarrassed by his body, looking round for some convenient cloak-room in which to deposit it.
This is just why the tragic poet is so careful to avoid anything calculated to attract attention to the material side of his heroes. No sooner does anxiety about the body manifest itself than the intrusion of a comic element is to be feared. On this account, the hero in a tragedy does not eat or drink or warm himself. He does not even sit down any more than can be helped. To sit down in the middle of a fine speech would imply that you remembered you had a body. Napoleon, who was a psychologist when he wished to be so, had noticed that the transition from tragedy to comedy is effected simply by sitting down. In the "Journal inedit" of Baron Gourgaud — when speaking of an interview with the Queen of Prussia after the battle of Iena — he expresses himself in the following terms: "She received me in tragic fashion like Chimene: Justice! Sire, Justice! Magdeburg! Thus she continued in a way most embarrassing to me. Finally, to make her change her style, I requested her to take a seat. This is the best method for cutting short a tragic scene, for as soon as you are seated it all becomes comedy."
Let us now give a wider scope to this image of THE BODY TAKING PRECEDENCE OF THE SOUL. We shall obtain something more general — THE MANNER SEEKING TO OUTDO THE MATTER, THE LETTER AIMING AT OUSTING THE SPIRIT. Is it not perchance this idea that comedy is trying to suggest to us when holding up a profession to ridicule? It makes the lawyer, the magistrate and the doctor speak as though health and justice were of little moment, — the main point being that we should have lawyers, magistrates and doctors, and that all outward formalities pertaining to these professions should be scrupulously respected. And so we find the means substituted for the end, the manner for the matter; no longer is it the profession that is made for the public, but rather the public for the profession. Constant attention to form and the mechanical application of rules here bring about a kind of professional automatism analogous to that imposed upon the soul by the habits of the body, and equally laughable. Numerous are the examples of this on the stage. Without entering into details of the variations executed on this theme, let us quote two or three passages in which the theme itself is set forth in all its simplicity. "You are only bound to treat people according to form," says Doctor Diafoirus in the "Malade imaginaire". Again, says Doctor Bahis, in "L'Amour medecin": "It is better to die through following the rules than to recover through violating them." In the same play, Desfonandres had previously said: "We must always observe the formalities of professional etiquette, whatever may happen." And the reason is given by Tomes, his colleague: "A dead man is but a dead man, but the non-observance of a formality causes a notable prejudice to the whole faculty." Brid'oison's words, though. embodying a rather different idea, are none the less significant: "F-form, mind you, f-form. A man laughs at a judge in a morning coat, and yet he would quake with dread at the mere sight of an attorney in his gown. F-form, all a matter of f-form."
Here we have the first illustration of a law which will appear with increasing distinctness as we proceed with our task. When a musician strikes a note on an instrument, other notes start up of themselves, not so loud as the first, yet connected with it by certain definite relations, which coalesce with it and determine its quality. These are what are called in physics the overtones of the fundamental note. It would seem that comic fancy, even in its most far-fetched inventions, obeys a similar law. For instance, consider this comic note: appearance seeking to triumph over reality. If our analysis is correct, this note must have as its overtones the body tantalising the mind, the body taking precedence of the mind. No sooner, then, does the comic poet strike the first note than he will add the second on to it, involuntarily and instinctively. In other words, HE WILL DUPLICATE WHAT IS RIDICULOUS PROFESSIONALLY WITH SOMETHING THAT IS RIDICULOUS PHYSICALLY.
When Brid'oison the judge comes stammering on to the stage, is he not actually preparing us, by this very stammering, to understand the phenomenon of intellectual ossification we are about to witness? What bond of secret relationship can there be between the physical defect and the moral infirmity? It is difficult to say; yet we feel that the relationship is there, though we cannot express it in words. Perhaps the situation required that this judging machine should also appear before us as a talking machine. However it may be, no other overtone could more perfectly have completed the fundamental note.
When Moliere introduces to us the two ridiculous doctors, Bahis and Macroton, in L'Amour medecin, he makes one of them speak very slowly, as though scanning his words syllable by syllable, whilst the other stutters. We find the same contrast between the two lawyers in Monsieur de Pourceaugnac. In the rhythm of speech is generally to be found the physical peculiarity that is destined to complete the element of professional ridicule. When the author has failed to suggest a defect of this kind, it is seldom the case that the actor does not instinctively invent one.
Consequently, there is a natural relationship, which we equally naturally recognise, between the two images we have been comparing with each other, the mind crystallising in certain grooves, and the body losing its elasticity through the influence of certain defects. Whether or not our attention be diverted from the matter to the manner, or from the moral to the physical, in both cases the same sort of impression is conveyed to our imagination; in both, then, the comic is of the same kind. Here, once more, it has been our aim to follow the natural trend of the movement of the imagination. This trend or direction, it may be remembered, was the second of those offered to us, starting from a central image. A third and final path remains unexplored, along which we will now proceed.
3. Let us then return, for the last time, to our central image: something mechanical encrusted on something living. Here, the living being under discussion was a human being, a person. A mechanical arrangement, on the other hand, is a thing. What, therefore, incited laughter was the momentary transformation of a person into a thing, if one considers the image from this standpoint. Let us then pass from the exact idea of a machine to the vaguer one of a thing in general. We shall have a fresh series of laughable images which will be obtained by taking a blurred impression, so to speak, of the outlines of the former and will bring us to this new law: WE LAUGH EVERY TIME A PERSON GIVES US THE IMPRESSION OF BEING A THING.
We laugh at Sancho Panza tumbled into a bed-quilt and tossed into the air like a football. We laugh at Baron Munchausen turned into a cannon-ball and travelling through space. But certain tricks of circus clowns might afford a still more precise exemplification of the same law. True, we should have to eliminate the jokes, mere interpolations by the clown into his main theme, and keep in mind only the theme itself, that is to say, the divers attitudes, capers and movements which form the strictly "clownish" element in the clown's art. On two occasions only have I been able to observe this style of the comic in its unadulterated state, and in both I received the same impression. The first time, the clowns came and went, collided, fell and jumped up again in a uniformly accelerated rhythm, visibly intent upon affecting a CRESCENDO. And it was more and more to the jumping up again, the REBOUND, that the attention of the public was attracted. Gradually, one lost sight of the fact that they were men of flesh and blood like ourselves; one began to think of bundles of all sorts, falling and knocking against each other. Then the vision assumed a more definite aspect. The forms grew rounder, the bodies rolled together and seemed to pick themselves up like balls. Then at last appeared the image towards which the whole of this scene had doubtless been unconsciously evolving — large rubber balls hurled against one another in every direction. The second scene, though even coarser than the first, was no less instructive. There came on the stage two men, each with an enormous head, bald as a billiard ball. In their hands they carried large sticks which each, in turn, brought down on to the other's cranium. Here, again, a certain gradation was observable. After each blow, the bodies seemed to grow heavier and more
