Now, there are ready-made categories established by society itself, and necessary to it because it is based on the division of labour. We mean the various trades, public services and professions. Each particular profession impresses on its corporate members certain habits of mind and peculiarities of character in which they resemble each other and also distinguish themselves from the rest. Small societies are thus formed within the bosom of Society at large. Doubtless they arise from the very organisation of Society as a whole. And yet, if they held too much aloof, there would be a risk of their proving harmful to sociability.
Now, it is the business of laughter to repress any separatist tendency. Its function is to convert rigidity into plasticity, to readapt the individual to the whole, in short, to round off the corners wherever they are met with. Accordingly, we here find a species of the comic whose varieties might be calculated beforehand. This we shall call the PROFESSIONAL COMIC.
Instead of taking up these varieties in detail, we prefer to lay stress upon what they have in common. In the forefront we find professional vanity. Each one of M. Jourdain's teachers exalts his own art above all the rest. In a play of Labiche there is a character who cannot understand how it is possible to be anything else than a timber merchant. Naturally he is a timber merchant himself. Note that vanity here tends to merge into SOLEMNITY, in proportion to the degree of quackery there is in the profession under consideration. For it is a remarkable fact that the more questionable an art, science or occupation is, the more those who practise it are inclined to regard themselves as invested with a kind of priesthood and to claim that all should bow before its mysteries. Useful professions are clearly meant for the public, but those whose utility is more dubious can only justify their existence by assuming that the public is meant for them: now, this is just the illusion that lies at the root of solemnity. Almost everything comic in Moliere's doctors comes from this source. They treat the patient as though he had been made for the doctors, and nature herself as an appendage to medicine.
Another form of this comic rigidity is what may be called PROFESSIONAL CALLOUSNESS. The comic character is so tightly jammed into the rigid frame of his functions that he has no room to move or to be moved like other men. Only call to mind the answer Isabelle receives from Perrin Dandin, the judge, when she asks him how he can bear to look on when the poor wretches are being tortured: Bah! cela fait toujours passer une heure ou deux.1
Does not Tartuffe also manifest a sort of professional callousness when he says — it is true, by the mouth of Orgon: Et je verrais mourir frere, enfants, mere et femme, Que je m'en soucierais autant que de cela!2
The device most in use, however, for making a profession ludicrous is to confine it, so to say, within the four corners of its own particular jargon. Judge, doctor and soldier are made to apply the language of law, medicine and strategy to the everyday affairs of life, as though they had became incapable of talking like ordinary people. As a rule, this kind of the ludicrous is rather coarse. It becomes more refined, however, as we have already said, if it reveals some peculiarity of character in addition to a professional habit. We will instance only Regnard's Joueur, who expresses himself with the utmost originality in terms borrowed from gambling, giving his valet the name of Hector, and calling his betrothed Pallas, du nom connu de la Dame de Pique;3 or Moliere's Femmes savantes, where the comic element evidently consists largely in the translation of ideas of a scientific nature into terms of feminine sensibility: "Epicure me plait..." (Epicurus is charming), "J'aime les tourbillons" (I dote on vortices), etc. You have only to read the third act to find that Armande, Philaminte and Belise almost invariably express themselves in this style.
Proceeding further in the same direction, we discover that there is also such a thing as a professional logic, i.e. certain ways of reasoning that are customary in certain circles, which are valid for these circles, but untrue for the rest of the public. Now, the contrast between these two kinds of logic — one particular, the other universal — produces comic effects of a special nature, on which we may advantageously dwell at greater length. Here we touch upon a point of some consequence in the theory of laughter. We propose, therefore, to give the question a wider scope and consider it in its most general aspect.
1 Bah! it always helps to while away an hour or two.
2 Let brother, children, mother and wife all die, what should I care!
3 Pallas, from the well-known name of the Queen of Spades.
IV
Eager as we have been to discover the deep-seated cause of the comic, we have so far had to neglect one of its most striking phenomena. We refer to the logic peculiar to the comic character and the comic group, a strange kind of logic, which, in some cases, may include a good deal of absurdity.
Theophile Gautier said that the comic in its extreme form was the logic of the absurd. More than one philosophy of laughter revolves round a like idea. Every comic effect, it is said, implies contradiction in some of its aspects. What makes us laugh is alleged to be the absurd realised in concrete shape, a "palpable absurdity"; — or, again, an apparent absurdity, which we swallow for the moment only to rectify it immediately afterwards; — or, better still, something absurd from one point of view though capable of a natural explanation from another, etc. All these theories may contain some portion of the truth; but, in the first place, they apply only to certain rather obvious comic effects, and then, even where they do apply, they evidently take no account of the characteristic element of the laughable, that is, the PARTICULAR KIND of absurdity the comic contains when it does contain something absurd. Is an immediate proof of this desired? You have only to choose one of these definitions and make up effects in accordance with the formula: twice out of every three times there will be nothing laughable in the effect obtained. So we see that absurdity, when met with in the comic, is not absurdity IN GENERAL. It is an absurdity of a definite kind. It does not create the comic; rather, we might say that the comic infuses into it its own particular essence. It is not a cause, but an effect — an effect of a very special kind, which reflects the special nature of its cause. Now, this cause is known to us; consequently we shall have no trouble in understanding the nature of the effect.
Assume, when out for a country walk, that you notice on the top of a hill something that bears a faint resemblance to a large motionless body with revolving arms. So far you do not know what it is, but you begin to search amongst your IDEAS — that is to say, in the present instance, amongst the recollections at your disposal — for that recollection which will best fit in with what you see. Almost immediately the image of a windmill comes into your mind: the object before you is a windmill. No matter if, before leaving the house, you have just been reading fairy-tales telling of giants with enormous arms; for although common sense consists mainly in being able to remember, it consists even more in being able to forget. Common sense represents the endeavour of a mind continually adapting itself anew and changing ideas when it changes objects. It is the mobility of the intelligence conforming exactly to the mobility of things. It is the moving continuity of our attention to life.