Chapter VII: Part 7

We have defined above the one result of condensation—the manifold application of the same material, play upon words, and similarity of sound—as a localized economy, and have also referred the pleasure produced by harmless wit to that economy. At a later place we have found that the original purpose of wit consisted in producing this kind of pleasure from words, a process which was permitted to the individual during the stage of playing, but which became banked in during the course of intellectual development or by rational criticism. Now we have decided upon the assumption that such condensations as serve the technique of wit originate automatically and without any particular purpose during the process of thinking in the unconscious. Have we not here two different conceptions of the same fact which seem to be incompatible with each other? I do not think so. To be sure, there are two different conceptions, and they demand to be brought in unison, but they do not contradict each other. They are merely somewhat strange to each other, and as soon as we have established a relationship between them we shall probably gain in knowledge. That such condensations are sources of pleasure is in perfect accord with the supposition that they easily find in the unconscious the conditions necessary for their origin; on the other hand, we see the motivation for the sinking into the unconscious in the circumstance that the pleasure-bringing condensation necessary to wit easily results there. Two other factors also, which upon first examination seem entirely foreign to each other and which are brought together quite accidentally, will be recognized on deeper investigation as intimately connected, and perhaps may be found to be substantially the same. I am referring to the two assertions that on the one hand wit could form such pleasure-bringing condensations during its development in the stage of playing, that is, during the infancy of reason; and, on the other hand, that it accomplishes the same function on higher levels by submerging the thought into the unconscious. For the infantile is the source of the unconscious. The unconscious mental processes are no others than those which are solely produced during infancy. The thought which sinks into the unconscious for the purpose of wit-formation only revisits there the old homestead of the former playing with words. The thought is put back for a moment into the infantile state in order to regain in this way childish pleasure-sources. If, indeed, one were not already acquainted with it from the investigation of the psychology of the neuroses, wit would surely impress one with the idea that the peculiar unconscious elaboration is nothing else but the infantile type of the mental process. Only it is by no means an easy matter to grasp, in the unconscious of the adult, this peculiar infantile manner of thinking, because it is usually corrected, so to say, _statu nascendi_. However, it is successfully grasped in a series of cases, and then we always laugh about the “childish stupidity.” In fact every exposure of such an unconscious fact affects us in a “comical” manner.[59]

It is easier to comprehend the character of these unconscious mental processes in the utterances of patients suffering from various psychic disturbances. It is very probable that, following the assumption of old Griesinger, we would be in a position to understand the deliria of the insane and to turn them to good account as valuable information, if we would not make the demands of conscious thinking upon them, but instead treat them as we do dreams by means of our art of interpretation.[60] In the dream, too, we were able to show the “return of psychic life to the embryonal state.”[61]

In discussing the processes of condensation we have entered so deeply into the signification of the analogy between wit and dreams that we can here be brief. As we know that displacements in dream-work point to the influence of the censor of conscious thought, we will consequently be inclined to assume that an inhibiting force also plays a part in the formation of wit when we find the process of displacement among the techniques of wit. We also know that this is commonly the case; the endeavor of wit to revive the old pleasure in nonsense or the old pleasure in word-play meets with resistance in every normal state, a resistance which is exerted by the protest of critical reason, and which must be overcome in each individual case. But a radical distinction between wit and dreams is shown in the manner in which the wit-work solves this difficulty. In the dream-work the solution of this task is brought about regularly through displacements and through the choice of ideas which are remote enough from the objectionable ones to secure passage through the censor; the latter themselves are but offsprings of those whose psychic energy they have taken upon themselves through full transference. The displacements are therefore not lacking in any dream and are far more comprehensive; they not only comprise the deviations from the trend of thought but also all forms of indirect expression, the substitution for an important but offensive element of one seemingly indifferent and harmless to the censor which form very remote allusions to the first, they include substitution also occurring through symbols, comparisons, or trifles. It is not to be denied that parts of this indirect representation really originate in the foreconscious thoughts of the dream,—as, for example, symbolical representation and representation through comparisons—because otherwise the thought would not have reached the state of the foreconscious expression. Such indirect expressions and allusions, whose reference to the original thought is easily findable, are really permissible and customary means of expression even in our conscious thought. The dream-work, however, exaggerates the application of these means of indirect expression to an unlimited degree. Under the pressure of the censor any kind of association becomes good enough for substitution by allusion; the displacement from one element to any other is permitted. The substitution of the inner associations (similarity, causal connection, etc.) by the so-called outer associations (simultaneity, contiguity in space, assonance) is particularly conspicuous and characteristic of the dream-work.

_The Difference between Dream-technique and Wit-technique_

All these means of displacement also occur as techniques of wit, but when they do occur they usually restrict themselves to those limits prescribed for their use in conscious thought; in fact they may be lacking, even though wit must regularly solve a task of inhibition. One can comprehend this retirement of the process of displacement in wit-work when one remembers that wit usually has another technique at its disposal through which it defends itself against inhibitions. Indeed, we have discovered nothing more characteristic of it than just this technique. For wit does not have recourse to compromises as does the dream, nor does it evade the inhibition; it insists upon retaining the play with words or nonsense unaltered, but thanks to the ambiguity of words and multiplicity of thought-relations, it restricts itself to the choice of cases in which this play or nonsense may appear at the same time admissible (jest) or senseful (wit). Nothing distinguishes wit from all other psychic formations better than this double-sidedness and this double-dealing; by emphasizing the “sense in nonsense,” the authors have approached nearest the understanding of wit, at least from this angle.

Considering the unexceptional predominance of this peculiar technique in overcoming inhibitions in wit, one might find it superfluous that wit should make use of the displacement-technique even in a single case. But on the one hand certain kinds of this technique remain useful for wit as objects and sources of pleasure—as, for example, the real displacement (deviation of the trend of thought) which in fact shares in the nature of nonsense,—and on the other hand one must not forget that the highest stage of wit, tendency-wit, must frequently overcome two kinds of inhibitions which oppose both itself and its tendency (p. 147), and that allusion and displacements are qualified to facilitate this latter task.

The numerous and unrestricted application of indirect representation, of displacements, and especially of allusions in the dream-work, has a result which I mention not because of its own significance but because it became for me the subjective inducement to occupy myself with the problem of wit. If a dream analysis is imparted to one unfamiliar with the subject and unaccustomed to it, and the peculiar ways of allusions and displacements (objectionable to the waking thoughts but utilized by the dream-work) are explained, the hearer experiences an uncomfortable impression; he declares these interpretations to be “witty,” but it seems obvious to him that these are not successful jokes but forced ones which run contrary to the rules of wit. This impression can be easily explained; it is due to the fact that the dream-work operates with the same means as wit, but in the application of the same the dream exceeds the bounds which wit restricts. We shall soon learn that in consequence of the rôle of the third person wit is bound by a certain condition which does not affect the dream.

_Irony—Negativism_

Among those techniques which are common to both wit and dreams representation through the opposite and the application of absurdity are especially interesting. The first belongs to the strongly effective means of wit as shown in the examples of “outdoing wit” (p. 98). The representation through the opposite, unlike most of the wit-techniques, is unable to withdraw itself from conscious attention. He who intentionally tries to make use of wit-work, as in the case of the “habitual wit,” soon discovers that the easiest way to answer an assertion with a witticism is to concentrate one’s mind on the opposite of this assertion and trust to the chance flash of thought to brush aside the feared objection to this opposite by means of a different interpretation. Maybe the representation through its opposite is indebted for such a preference to the fact that it forms the nucleus of another pleasurable mode of mental expression, for an understanding of which we do not have to consult the unconscious. I refer to _irony_, which is very similar to wit and is considered a subspecies of the comic. The essence of irony consists in imparting the very opposite of what one intended to express, but it precludes the anticipated contradiction by indicating through the inflections, concomitant gestures, and through slight changes in style—if it is done in writing—that the speaker himself means to convey the opposite of what he says. Irony is applicable only in cases where the other person is prepared to hear the reverse of the statement actually made, so that he cannot fail to be inclined to contradict. As a consequence of this condition ironic expressions are particularly subject to the danger of being misunderstood. To the person who uses it, it gives the advantage of readily avoiding the difficulties to which direct expressions, as, for example, invectives, are subject. In the hearer it produces comic pleasure, probably by causing him to make preparations for contradiction, which are immediately found to be unnecessary. Such a comparison of wit with a form of the comical that is closely allied to it might strengthen us in the assumption that the relation of wit to the unconscious is the peculiarity that also distinguishes it from the comical.[62]

In dream-work, representation through the opposite has a far more important part to play than in wit. The dream not only delights in representing a pair of opposites by means of one and the same composite image, but in addition it often changes an element from the dream-thoughts into its opposite, thus causing considerable difficulty in the work of interpretation. In the case of any element capable of having an opposite it is impossible to tell whether it is to be taken negatively or positively in the dream-thoughts.[63]

I must emphasize that as yet this fact has by no means been understood. Nevertheless, it seems to give indications of an important characteristic of unconscious thinking which in all probability results in a process comparable to “judging.” Instead of setting aside judgments the unconscious forms “repressions.” The repression may correctly be described as a stage intermediate between the defense reflex and condemnation.[64]

_The Unconscious as the Psychic Stage of the Wit-work_

Nonsense, or absurdity, which occurs so often in dreams and which has made them the object of so much contempt, has never really come into being as the result of an accidental shuffling of conceptual elements, but may in every case be proven to have been purposely admitted by the dream-work. Nonsense and absurdity are intended to express embittered criticism and scornful contradiction within the dream-thoughts. Absurdity in the dream-content thus stands for the judgment: “It’s pure nonsense,” expressed in dream-thoughts. In my work on the Interpretation of Dreams, I have placed great emphasis on the demonstration of this fact because I thought that I could in this manner most strikingly controvert the error expressed by many that the dream is no psychic phenomenon at all—an error which bars the way to an understanding of the unconscious. Now we have learnt (in the analysis of certain tendency-witticisms on p. 73) that nonsense in wit is made to serve the same purposes of expression. We also know that a nonsensical façade of a witticism is peculiarly adapted to enhance the psychic expenditure in the hearer and hence also to increase the amount to be discharged through laughter. Moreover, we must not forget that nonsense in wit is an end in itself, since the purpose of reviving the old pleasure in nonsense is one of the motives of the wit-work. There are other ways to regain the feeling of nonsense in order to derive pleasure from it; caricature, exaggeration, parody, and travesty utilize the same and thus produce “comical nonsense.” If we subject these modes of expression to an analysis similar to the one used in studying wit, we shall find that there is no occasion in any of them for resorting to unconscious processes in our sense for the purpose of getting explanations. We are now also in a position to understand why the “witty” character may be added as an embellishment to caricature, exaggeration, and parody; it is the manifold character of the performance upon the “psychic stage”[65] that makes this possible.

I am of the opinion that by transferring the wit-work into the system of the unconscious we have made a distinct gain, since it makes it possible for us to understand the fact that the various techniques to which wit admittedly adheres are on the other hand not its exclusive property. Many doubts, which have arisen in the beginning of our investigation of these techniques and which we were forced temporarily to leave, can now be conveniently cleared up. Hence we shall give due consideration to the doubt which expresses itself by asserting that the undeniable relation of wit to the unconscious is correct only for certain categories of tendency-wit, while we are ready to claim this relation for all forms and all the stages of development of wit. We may not shirk the duty of testing this objection.

We may assume that we deal with a sure case of wit-formation in the unconscious when it concerns witticisms that serve unconscious tendencies, or those strengthened by unconscious tendencies, as, for example, most “cynical” witticisms. For in such cases the unconscious tendency draws the foreconscious thought down into the unconscious in order to remodel it there; a process to which the study of the psychology of the neuroses has added many analogies with which we are acquainted. But in the case of tendency-wit of other varieties, namely, harmless wit and the jest, this power seems to fall away, and the relation of the wit to the unconscious is an open question.

But now let us consider the case of the witty expression of a thought that is not without value in itself and that comes to the surface in the course of the association of mental processes. In order that this thought may become a witticism, it is of course necessary that it make a choice among the possible forms of expression in order to find the exact form that will bring along the gain in word-pleasure. We know from self-observation that this choice is not made by conscious attention; but the selection will certainly be better if the occupation energy of the foreconscious thought is lowered to the unconscious. For in the unconscious, as we have learnt from the dream-work, the paths of association emanating from a word are treated on a par with associations from objects. The occupation energy from the unconscious presents by far the more favorable conditions for the selection of the expression. Moreover, we may assume without going farther that the possible expression which contains the gain in word-pleasure exerts a lowering effect on the still fluctuating self-command of the foreconscious, similar to that exerted in the first case by the unconscious tendency. As an explanation for the simpler case of the jest we may imagine that an ever watchful intention of attaining the gain in word-pleasure seizes the opportunity offered in the foreconscious of again drawing the investing energy down into the unconscious, according to the familiar scheme.

I earnestly wish that it were possible for me on the one hand to present one decisive point in my conception of wit more clearly, and on the other hand to fortify it with compelling arguments. But as a matter of fact it is not a question here of two failures, but of one and the same failure. I can give no clearer exposition because I have no further testimony on behalf of my conception. The latter has developed as the result of my study of the technique and of comparison with dream-work, and indeed from this one side only. I now find that the dream-work is altogether excellently adapted to the peculiarities of wit. This conception is now concluded; if the conclusion leads us not to a familiar province, but rather to one that is strange and novel to our modes of thought, the conclusion is called a “hypothesis,” and the relation of the hypothesis to the material from which it is drawn is justly not accepted as “proof.” The hypothesis is admitted as “proved” only if it can be reached by other ways and if it can be shown to be the junction point for other associations. But such proof, in view of the fact that our knowledge of unconscious processes has hardly begun, cannot be had. Realizing then that we are on soil still virgin, we shall be content to project from our viewpoint of observation one narrow slender plank into the unexplored region.

We shall not build a great structure on such a foundation as this. If we correlate the different stages of wit to the mental dispositions favorable to them we may say: The _jest_ has its origin in the happy mood; what seems to be peculiar to it is an inclination to lower the psychic static energies (_Besetzungen_). The jest already makes use of all the characteristic techniques of wit and satisfies the fundamental conditions of the same through the choice of such an assortment of words or mental associations as will conform not only to the requirements for the production of pleasure, but also conform to the demands of the intelligent critic. We shall conclude that the sinking of the mental energy to the unconscious stage, a process facilitated by the happy mood, has already taken place in the case of the jest. The mood does away with this requirement in the case of _harmless_ wit connected with the expression of a valuable thought; here we must assume a particular _personal adaptation_ which finds it as easy to come to expression as it is for the foreconscious thought to sink for a moment into the unconscious. An ever watchful tendency to renew the original resultant pleasure of wit exerts thereby a lowering effect upon the still fluctuating foreconscious expression of the thought. Most people are probably capable of making jests when in a happy mood; aptitude for joking independent of the mood is found only in a few persons. Finally, the most powerful incentive for wit-work is the presence of strong tendencies which reach back into the unconscious and which indicate a particular fitness for witty productions; these tendencies might explain to us why the subjective conditions of wit are so frequently fulfilled in the case of neurotic persons. Even the most inapt person may become witty under the influence of strong tendencies.

_Differences Between Wit and Dreams_

This last contribution, the explanation of wit-work in the first person, though still hypothetical, strictly speaking, ends our interest in wit. There still remains a short comparison of wit to the more familiar dream and we may expect that, outside of the one agreement already considered, two such diverse mental activities should show nothing but differences. The most important difference lies in their social behavior. The dream is a perfectly asocial psychic product. It has nothing to tell to anyone else, having originated in an individual as a compromise between conflicting psychic forces it remains incomprehensible to the person himself and has therefore altogether no interest for anybody else. Not only does the dream find it unnecessary to place any value on intelligibleness, but it must even guard against being understood, as it would then be destroyed; it can only exist in disguised form. For this reason the dream may make use freely of the mechanism that controls unconscious thought processes to the extent of producing undecipherable disfigurements. Wit, on the other hand, is the most social of all those psychic functions whose aim is to gain pleasure. It often requires three persons, and the psychic process which it incites always requires the participation of at least one other person. It must therefore bind itself to the condition of intelligibleness; it may employ disfigurement made practicable in the unconscious through condensation and displacement, to no greater extent than can be deciphered by the intelligence of the third person. As for the rest, wit and dreams have developed in altogether different spheres of the psychic life, and are to be classed under widely separated categories of the psychological system. No matter how concealed the dream is still a wish, while wit is a developed play. Despite its apparent unreality the dream retains its relation to the great interests of life; it seeks to supply what is lacking through a regressive detour of hallucinations; and it owes its existence solely to the strong need for sleep during the night. Wit, on the other hand, seeks to draw a small amount of pleasure from the free and unencumbered activities of our psychic apparatus, and later to seize this pleasure as an incidental gain. It thus _secondarily_ reaches to important functions relative to the outer world. The dream serves preponderately to guard from pain while wit serves to acquire pleasure; in these two aims all our psychic activities meet.

VII
WIT AND THE VARIOUS FORMS OF THE COMIC

We have approached the problems of the comic in an unusual manner. It appeared to us that wit, which is usually regarded as a subspecies of the comic, offered enough peculiarities to warrant our taking it directly under consideration, and thus it came about that we avoided discussing its relation to the more comprehensive category of the comic as long as it was possible to do so, yet we did not proceed without picking up on the way some hints that might be valuable for studying the comic. We found it easy to ascertain that the comic differs from wit in its social behavior. The comic can be content with only two persons, one who finds the comical, and one in whom it is found. The third person to whom the comical may be imparted reinforces the comic process, but adds nothing new to it. In wit, however, this third person is indispensable for the completion of the pleasure-bearing process, while the second person may be omitted, especially when it is not a question of aggressive wit with a tendency. Wit is made, while the comical is found; it is found first of all in persons, and only later by transference may be seen also in objects, situations, and the like. We know, too, in the case of wit that it is not strange persons, but one’s own mental processes that contain the sources for the production of pleasure. In addition we have heard that wit occasionally reopens inaccessible sources of the comic, and that the comic often serves wit as a façade to replace the fore-pleasure usually produced by the well-known technique (p. 236). All of this does not really point to a very simple relationship between wit and the comic. On the other hand, the problems of the comic have shown themselves to be so complicated, and have until now so successfully defied all attempts made by the philosophers to solve them, that we have not been able to justify the expectation of mastering it by a sudden stroke, so to speak, even if we approach it along the paths of wit. Incidentally we came provided with an instrument for investigating wit that had not yet been made use of by others; namely, the knowledge of dream-work. We have no similar advantage at our disposal for comprehending the comic, and we may therefore expect that we shall learn nothing about the nature of the comic other than that which we have already become aware of in wit; in so far as wit belongs to the comic and retains certain features of the same unchanged or modified in its own nature.

_The Naïve_

The species of the comic that is most closely allied to wit is the _naïve_. Like the comic the naïve is found universally and is not made like in the case of wit. The naïve cannot be made at all, while in the case of the pure comic the question of making or evoking the comical may be taken into account. The naïve must result without our intervention from the speech and actions of other persons who take the place of the _second_ person in the comic or in wit. The naïve originates when one puts himself completely outside of inhibition, because it does not exist for him; that is, if he seems to overcome it without any effort. What conditions the function of the naïve is the fact that we are aware that the person does not possess this inhibition, otherwise we should not call it naïve but impudent, and instead of laughing we should be indignant. The effect of the naïve, which is irresistible, seems easy to understand. An expenditure of that inhibition energy which is commonly already formed in us suddenly becomes inapplicable when we hear the naïve and is discharged through laughter; as the removal of the inhibition is direct, and not the result of an incited operation, there is no need for a suspension of attention. We behave like the hearer in wit, to whom the economy of inhibition is given without any effort on his part.

In view of the understanding about the genesis of inhibitions which we obtained while tracing the development of play into wit, it will not surprise us to learn that the naïve is mostly found in children, although it may also be observed in uneducated adults, whom we look on as children as far as their intellectual development is concerned. For the purposes of comparison with wit, naïve speech is naturally better adapted than naïve actions, for speech and not actions are the usual forms of expression employed by wit. It is significant, however, that naïve speeches, such as those of children, can without straining also be designated as “naïve witticisms.” The points of agreement as well as demonstration between wit and naïveté will become clear to us upon consideration of a few examples.[66]

_A little girl of three years was accustomed to hear from her German nurse the exclamatory word “Gesundheit” (God bless you!; literally, may you be healthy!) whenever she happened to sneeze. While suffering from a severe cold during which the profuse coughing and sneezing caused her considerable pain, she pointed to her chest and said to her father, “Daddy, Gesundheit hurts.”_

_Another little girl of four years heard her parents refer to a Jewish acquaintance as a Hebrew, and on later hearing the latter’s wife referred to as Mrs. X, she corrected her mother, saying, “No, that is not her name; if her husband is a Hebrew she is a Shebrew.”_

In the first example the wit is produced through the use of a contiguous association in the form of an abstract thought for the concrete action. The child so often heard the word “Gesundheit” associated with sneezing that she took it for the act itself. While the second example may be designated as word-wit formed by the technique of sound similarity. The child divided the word Hebrew into He-brew and having been taught the genders of the personal pronouns, she naturally imagined that if the man is a He-brew his wife must be a She-brew. Both examples could have originated as real witticisms upon which we would have unwillingly bestowed a little mild laughter. But as examples of naïveté they seem excellent and cause loud laughter. But what is it here that produces the difference between wit and naïveté? Apparently it is neither the wording nor the technique, which is the same for both wit and the naïve, but a factor which at first sight seems remote from both. It is simply a question whether we assume that the speakers had the intention of making a witticism or whether we assume that they—the children—wished to draw an earnest conclusion, a conclusion held in good faith though based on uncorrected knowledge. Only the latter case is one of naïveté. It is here that our attention is first called to the mechanism in which the second person places himself into the psychic process of the person who produces the wit.

The investigation of a third example will confirm this opinion. A brother and a sister, the former ten and the latter twelve years old, produce a play of their own composition before an audience of uncles and aunts. The scene represents a hut on the seashore. In the first act the two dramatist-actors, a poor fisherman and his devoted wife, complain about the hard times and the difficulty of getting a livelihood. The man decides to sail over the wide ocean in his boat in order to seek wealth elsewhere, and after a touching farewell the curtain is drawn. The second act takes place several years later. The fisherman has come home rich with a big bag of money and tells his wife, whom he finds waiting in front of the hut, what good luck he has had in the far countries. His wife interrupts him proudly, saying: “Nor have I been idle in the meanwhile,” and opens the hut, on whose floor the fisherman sees twelve large dolls representing children asleep. At this point of the drama the performers were interrupted by an outburst of laughter on the part of the audience, a thing which they could not understand. They stared dumfounded at their dear relatives, who had thus far behaved respectably and had listened attentively. The explanation of this laughter lies in the assumption on the part of the audience that the young dramatists know nothing as yet about the origin of children, and were therefore in a position to believe that a wife would actually boast of bearing offspring during the prolonged absence of her husband, and that the husband would rejoice with her over it. But the results achieved by the dramatists on the basis of this ignorance may be designated as nonsense or absurdity.

These examples show that the naïve occupies a position midway between wit and the comic. As far as wording and contents are concerned, the naïve speech is identical with wit; it produces a misuse of words, a bit of nonsense, or an obscenity. But the psychic process of the first person or producer which, in the case of wit, offered us so much that was interesting and puzzling, is here entirely absent. The naïve person imagines that he is using his thoughts and expressions in a simple and normal manner; he has no other purpose in view, and receives no pleasure from his naïve production. All the characteristics of the naïve lie in the conception of the hearer, who corresponds to the third person in the case of wit. The producing person creates the naïve without any effort. The complicated technique, which in wit serves to paralyze the inhibition produced by the critical reason, does not exist here, because the person does not possess this inhibition, and he can therefore readily produce the senseless and the obscene without any compromise. The naïve may be added to the realm of wit if it comes into existence after the important function of the censor, as observed in the formula for wit-formation, has been reduced to zero.

If the affective determination of wit consists in the fact that both persons should be subject to about the same inhibitions or inner resistances, we may say now that the determination of the naïve consists in the fact that one person should have inhibitions which the other lacks. It is the person provided with inhibitions who understands the naïve, and it is he alone who gains the pleasure produced by the naïve. We can easily understand that this pleasure is due to the removal of inhibitions. Since the pleasure of wit is of the same origin—a kernel of word-pleasure and nonsense-pleasure, and a shell of removal- and release-pleasure,—the similarity of this connection to the inhibition thus determines the inner relationship between the naïve and wit. In both cases pleasure results from the removal of inner inhibitions. But the psychic process of the recipient person (which in the naïve regularly corresponds with our ego, whereas in wit we may also put ourselves in place of the producing person) is by as much more complicated in the case of the naïve as it is simpler in the producing person in wit. For one thing, the naïve must produce the same effect upon the receiving person as wit does, this may be fully confirmed by our examples, for just as in wit the removal of the censor has been made possible by the mere effort of hearing the naïve. But only a part of the pleasure created by the naïve admits of this explanation, in other cases of naïve utterances, even this portion would be endangered, as, for example, while listening to naïve obscenities. We would react to a naïve obscenity with the same indignation felt toward a real obscenity, were it not for the fact that another factor saves us from this indignation and at the same time furnishes the more important part of the pleasure derived from the naïve.

This other factor is the result of the condition mentioned before, namely, that in order to recognize the naïve we have to be cognizant of the fact that there are no inner inhibitions in the producing person. It is only when this is assured that we laugh instead of being indignant. Hence we take into consideration the psychic state of the producing person; we imagine ourselves in this same psychic state and endeavor to understand it by comparing it to our own. This putting ourselves into the psychic state of the producing person and comparing it with our own results in an economy of expenditure which we discharge through laughing.

We might prefer the simpler explanation, namely, that when we reflect that the person has no inhibition to overcome our indignation becomes superfluous; the laughing therefore results at the cost of economized indignation. In order to avoid this conception, which is, in general, misleading, I shall distinguish more sharply between two cases that I had treated as one in the above discussion. The naïve, as it appears to us, may either be in the nature of a witticism, as in our example, or an obscenity, or of anything generally objectionable; which becomes especially evident if the naïve is expressed not in speech but in action. This latter case is really misleading; for it might lead one to assume that the pleasure originated from the economized and transformed indignation. The first case is the illuminating one. The naïve speech in the example “Hebrew” can produce the effect of a light witticism and give no cause for indignation; it is certainly the more rare, or the more pure and by far the more instructive case. In so far as we think that the child took the syllable “he” in “Hebrew” seriously, and without any additional reason identified it with the masculine personal pronoun, the increase in pleasure as a result of hearing it has no longer anything to do with the pleasure of the wit. We shall now consider what has been said from two viewpoints, first how it came into existence in the mind of the child, and secondly, how it would occur to us. In following this comparison we find that the child has discovered an identity and has overcome barriers which exist in us, and by continuing still further it may express itself as follows: “If you wish to understand what you have heard, you may save yourself the expenditure necessary for holding these barriers in place.” The expenditure which became freed by this comparison is the source of pleasure in the naïve, and is discharged through laughter; to be sure, it is the same expenditure which we would have converted into indignation if our understanding of the producing person, and in this case the nature of his utterance, had not precluded it. But if we take the case of the naïve joke as a model for the second case, viz., the objectionable naïve, we shall see that here, too, the economy in inhibition may originate directly from the comparison. That is, it is unnecessary for us to assume an incipient and then a strangulated indignation, an indignation corresponding to a different application of the freed expenditure, against which, in the case of wit, complicated defensive mechanisms were required.

_Source of Comic Pleasure in the Naïve_

This comparison and this economy of expenditure that occur as the result of putting one’s self into the psychic process of the producing person can have an important bearing on the naïve only if they do not belong to the naïve alone. As a matter of fact we suspect that this mechanism which is so completely foreign to wit is a part—perhaps the essential part—of the psychic process of the comic. This aspect—it is perhaps the most important aspect of the naïve—thus represents the naïve as a form of the comic. Whatever is added to the wit-pleasure by the naïve speeches in our examples is “comical” pleasure. Concerning the latter we might be inclined to make a general assumption that this pleasure originates through an economized expenditure by comparing the utterance of some one else with our own. But since we are here in the presence of very broad views we shall first conclude our consideration of the naïve. The naïve would thus be a form of the comic, in so far as its pleasure originates from the difference in expenditure which results in our effort to understand the other person; and it resembles wit through the condition that the expenditure saved by the comparison must be an inhibition expenditure.[67]

Before concluding we shall rapidly point out a few agreements and differences between the conceptions at which we have just arrived and those that have been known for a long time in the psychology of the comic. The putting one’s self into the psychic process of another and the desire to understand him is obviously nothing else than the “comic burrowing” (_komisches Leihen_) which has played a part in the analysis of the comic ever since the time of Jean Paul; the “comparing” of the psychic process of another with our own corresponds to a “psychological contrast,” for which we here at last find a place, after we did not know what to do with it in wit. But in our explanation of comic pleasure we take issue with many authors who contend that this pleasure originates through the fluctuation of our attention to and fro between contrasting ideas. We are unable to see how such a mechanism could produce pleasure, and we point to the fact that in the comparing of contrasts there results a difference in expenditure which, if not used for anything else, becomes capable of discharge and hence a source of pleasure.[68]

It is with misgiving only that we approach the problem of the comic. It would be presumptuous to expect from our efforts any decisive contribution to the solution of this problem after the works of a large number of excellent thinkers have not resulted in an explanation that is in every respect satisfactory. As a matter of fact, we intend simply to follow out into the province of the comic certain observations that have been found valuable in the study of wit.

_Occurrence and Origin of the Comic_

The comical appears primarily as an unintentional discovery in the social relations of human beings. It is found in persons, that is, in their movements, shapes, actions, and characteristic traits. In the beginning it is found probably only in their psychical peculiarities and later on in their mental qualities, especially in the expression of these latter. Even animals and inanimate objects become comical as the result of a widely used method of personification. However, the comical can be considered apart from the person in whom it is found, if the conditions under which a person becomes comical can be discerned. Thus arises the comical situation, and this knowledge enables us to make a person comical at will by putting him into situations in which the conditions necessary for the comic are bound up with his actions. The discovery that it is in our power to make another person comical opens the way to unsuspected gains in comic pleasure, and forms the foundation of a highly developed technique. It is also possible to make one’s self just as comical as others. The means which serve to make a person comical are transference into comic situations, imitations, disguise, unmasking, caricature, parody, travesty, and the like. It is quite evident that these techniques may enter into the service of hostile or aggressive tendencies. A person may be made comical in order to render him contemptible or in order to deprive him of his claims to dignity and authority. But even if such a purpose were regularly at the bottom of all attempts to make a person comical this need not necessarily be the meaning of the spontaneous comic.

As a result of this superficial survey of the manifestations of the comic we can readily see that the comic originates from wide-spread sources, and that conditions so specialized as those found in the naïve cannot be expected in the case of the comic. In order to get a clue to the conditions that are applicable to the comic the selection of the first example is most important. We will examine first the comic movement because we remember that the most primitive stage performance, the pantomime, uses this means to make us laugh. The answer to the question, Why do we laugh at the actions of clowns? would be that they appear to us immoderate and inappropriate; that is, we really laugh over the excessive expenditure of energy. Let us look for the same condition outside of the manufactured comic, that is, under circumstances where it may unintentionally be found. The child’s motions do not appear to us comical, even if it jumps and fidgets, but it is comical to see a little boy or girl follow with the tongue the movement of his pen-holder when he is trying to master the art of writing; we see in these additional motions a superfluous expenditure of energy which under similar conditions we should save. In the same way we find it comical to see unnecessary motions or even marked exaggeration of expressive motions in adults. Among the genuinely comic cases we might mention the motions made by the bowler after he has released the ball while he is following its course as though he were still able to control it; all grimaces which exaggerate the normal expression of the emotions are comical, even if they are involuntary, as in the case of persons suffering from St. Vitus’ dance (chorea); the impassioned movements of a modern orchestra leader will appear comical to every unmusical person, who cannot understand why they are necessary. Indeed, the comic element found in bodily shapes and physiognomy is a branch of the comic of motion, in that they are conceived as though they were the result of motion that either has been carried too far or is purposeless. Wide exposed eyes, a crook-shaped nose bent towards the mouth, handle-like ears, a hunch back, and all similar physical defects probably produce a comical impression only in so far as the movements that would be necessary to produce these features are imagined, whereby the nose and other parts of the body are pictured as more movable than they actually are. It is certainly comical if some one can “wiggle his ears,” and it would undoubtedly be a great deal more comical if he could raise and lower his nose. A large part of the comical impression that animals make upon us is due to the fact that we perceive in them movements which we cannot imitate.

_Comic of Motion_

But how does it come about that we laugh as soon as we have recognized that the actions of some one else are immoderate and inappropriate? I believe that we laugh because we compare the motions observed in others with those which we ourselves should produce if we were in their place. The two persons must naturally be compared in accordance with the same standard, but this standard is my own innervation expenditure connected with my idea of motion in the one case as well as the other. This assertion is in need of discussion and amplification.

What we are here putting into juxtaposition is, on the one hand, the psychic expenditure of a given idea, and on the other hand, the content of this idea. We maintain that the former is not primarily and principally independent of the latter—the content of the idea—particularly because the idea of something great requires a larger expenditure than the idea of something small. As long as we are concerned only with the idea of different coarse movements we shall encounter no difficulties in the theoretical determination of our thesis or in establishing its proof through observation. It will be shown that in this case an attribute of the idea actually coincides with an attribute of the object conceived, although psychology warns us of confusions of this sort.

I obtain an idea of a definite coarse movement by performing this motion or by imitating it, and in so doing I set a standard for this motion in my feelings of innervation.[69]

Now if I perceive a similar more or less coarse motion in some one else, the surest way to the understanding—to apperception—of the same is to carry it out imitatively and the comparison will then enable me to decide in which motion I expended more energy. Such an impulse to imitate certainly arises on perceiving a movement. But in reality I do not carry out the imitation any more than I still spell out words simply because I have learnt to read by means of spelling. Instead of imitating the movement by my muscles I substitute the idea of the same through my memory traces of the expenditures necessary for similar motions. Perceiving, or “thinking,” differs above all from acting or carrying out things by the fact that it entails a very much smaller displacement of energy and keeps the main expenditure from being discharged. But how is the quantitative factor, the more or less big element of the movement perceived, given expression in the idea? And if the representation of the quantity is left off from the idea that is composed of qualities, how am I to differentiate the ideas of different big movements, how am I to compare them?

Here, physiology shows the way in that it teaches us that even while an idea is in the process of conception innervations proceed to the muscles, which naturally represent only a moderate expenditure. It is now easy to assume that this expenditure of innervation which accompanies the conception of the idea is utilized to represent the quantitative factor of the idea, and that when a great motion is imagined it is greater than it would be in the case of a small one. The conception of greater motions would thus actually be greater, that is, it would be a conception accompanied by greater expenditure.

_Ideational Mimicry_

Observation shows directly that human beings are in the habit of expressing the big and small things in their ideation content by means of a manifold expenditure or by means of a sort of _ideational mimicry_.

When a child or a person of the common people or one belonging to a certain race imparts or depicts something, one can easily observe that he is not content to make his ideas intelligible to the hearer through the choice of correct words alone, but that he also represents the contents of the same through his expressive motions. Thus he designates the quantities and intensities of “a high mountain” by raising his hands over his head, and those of “a little dwarf” by lowering his hand to the ground. If he broke himself of the habit of depicting with his hands, he would nevertheless do it with his voice, and if he should also control his voice, one may be sure that in picturing something big he would distend his eyes, and describing something little he would press his eyes together. It is not his own affects that he thus expresses, but it is really the content of what he imagines.

Shall we now assume that this need for mimicry is first aroused through the demand for imparting, whereas a good part of this manner of representation still escapes the attention of the hearer? I rather believe that this mimicry, though less vivid, exists even if all imparting is left out of the question, that it comes about when the person imagines for himself alone, or thinks of something in a graphic manner; that then such a person, just as in talking, expresses through his body the idea of big and small which manifests itself at least through a change of innervation in the facial expressions and sensory organs. Indeed, I can imagine that the bodily innervation which is consensual to the content of the idea conceived is the beginning and origin of mimicry for purposes of communication. For, in order to be in a position to serve this purpose, it is only necessary to increase it and make it conspicuous to the other. When I take the view that this “expression of the ideation content” should be added to the expression of the emotions, which are known as a physical by-effect of psychic processes, I am well aware that my observations which refer to the category of the big and small do not exhaust the subject. I myself could add still other things, even before reaching to the phenomenon of tension through which a person physically indicates the accumulation of his attention and the _niveau_ of abstraction upon which his thoughts happen to rest. I maintain that this subject is very important, and I believe that tracing the ideation mimicry in other fields of æsthetics would be just as useful for the understanding of the comic as it is here.

To return to the comic movement, I repeat that with the perception of a certain motion the impulse to conceive it will be given through a certain expenditure. In the “desire to understand,” in the apperception of this movement I produce a certain expenditure, and I behave in this part of the psychic process just as if I put myself in the place of the person observed. Simultaneously I probably grasp the aim of the motion, and through former experiences I am able to estimate the amount of expenditure necessary to attain this aim. I thereby drop out of consideration the person observed and behave as if I myself wished to attain the aim of the motion. These two ideational possibilities depend on a comparison of the motion observed with my own inhibited motion. In the case of an immoderate or inappropriate movement on the part of the other, my greater expenditure for understanding becomes inhibited _statu nascendi_ during the mobilization as it were, it is declared superfluous and stands free for further use or for discharge through laughing. If other favorable conditions supervened this would be the nature of the origin of pleasure in comic movement,—an innervation expenditure which, when compared with one’s own motion, becomes an inapplicable surplus.

_Comparison of Two Kinds of Expenditure as Pleasure-sources_

We now note that we must continue our discussion by following two different paths; first, to determine the conditions for the discharge of the surplus; secondly, to test whether the other cases of the comic can be conceived similarly to our conception of comic motion.