Chapter XVII

.

Footnote 49:

Kleinpaul: _Die Rätsel der Sprache_, 1890.

Footnote 50:

_Vorschule der Aesthetik_, Vol. 1, V, p. 51, 2nd Ed., Leipzig, 1897.

Footnote 51:

The nonsense-witticisms, which have been somewhat slighted in this treatise, deserve a short supplementary comment.

In view of the significance attributed by our conception to the factor “sense in nonsense,” one might be tempted to demand that every witticism should be a nonsense-joke. But this is not necessary, because only the play with thoughts inevitably leads to nonsense, whereas the other source of wit-pleasure, the play with words, makes this impression incidental and does not regularly invoke the criticism connected with it. The double root of wit-pleasure—from the play with words and thoughts, which corresponds to the most important division into word- and thought-witticisms—sets its face against a short formulation of general principles about wit as a tangible aggravation of difficulties. The play with words produces laughter, as is well known, in consequence of the factor of recognition described above, and therefore suffers suppression only in a small degree. The play with thoughts cannot be motivated through such pleasure: it has suffered a very energetic suppression and the pleasure which it can give is only the pleasure of released inhibitions. Accordingly one may say that wit-pleasure shows a kernel of the original play-pleasure and a shell of removal-pleasure. Naturally we do not grant that the pleasure in nonsense-wit is due to the fact that we have succeeded in making nonsense despite the suppression, while we do notice that the play with words gives us pleasure. Nonsense, which has remained fixed in thought-wit, acquires secondarily the function of stimulating our attention through confusion, it serves as a reinforcement of the effect of wit, but only when it is insistent, so that the confusion can anticipate the intellect by a definite fraction of time. That nonsense in wit may also be employed to represent a judgment contained within the thought has been demonstrated by the example on p. 73. But even this is not the primal signification of nonsense in wit.

A series of wit-like productions for which we have no appropriate name, but which may lay claim to the designation of “witty nonsense,” may be added to the nonsense-jokes. They are very numerous, but I shall cite only two examples: As the fish was served to a guest at the table he put both hands twice into the mayonnaise and then ran them through his hair. Being looked at by his neighbor with astonishment he seemed to have noticed his mistake and excused himself, saying: “Pardon me, I thought it was spinach.”

Or: “Life is like a suspension bridge,” said the one. “How is that?” asked the other. “How should I know?” was the answer.

These extreme examples produce an effect through the fact that they give rise to the expectation of wit, so that one makes the effort to find the hidden sense behind the nonsense. But none is found, they are really nonsense. Under that deception it was possible for one moment to liberate the pleasure in nonsense. These witticisms are not altogether without tendencies, they furnish the narrator a certain pleasure in that they deceive and annoy the hearer. The latter then calms his anger by resolving that he himself should take the place of the narrator.

Footnote 52:

H. Spencer, _The Physiology of Laughter_ (first published in _Macmillan’s Magazine_ for March, 1860), Essays, Vol. 11, 1901.

Footnote 53:

Different points in this declaration would demand an exhaustive inquiry into an investigation of the pleasure of the comic, a thing that other authors have already done, and which, at all events, does not touch our discussion. It seems to me that Spencer was not happy in his explanation of why the discharge happens to find just that path, the excitement of which results in the physical picture of laughter. I should like to add one single contribution to the subject of the physiological explanation of laughter, that is, to the derivation or interpretation of the muscular actions that characterize laughter—a subject that has been often treated before and since Darwin, but which has never been conclusively settled. According to the best of my knowledge the grimaces and contortions of the corners of the mouth that characterize laughter appear first in the satisfied and satiated nursling when he drowsily quits the breasts. There it is a correct motion of expression since it bespeaks the determination to take no more nourishment, an “enough,” so to speak, or rather a “more than enough.” This primal sense of pleasurable satiation may have furnished the smile, which ever remains the basic phenomenon of laughter, the later connection with the pleasurable processes of discharge.

Footnote 54:

Cf. _The Interpretation of Dreams_, Chap. VII, also _On the Psychic Force_, etc., in the above cited book of Lipps (p. 123), where he says: “This is the general principle: The dominant factors of the psychic life are not represented by the contents of consciousness but by those psychic processes which are unconscious. The task of psychology, provided it does not limit itself to a mere description of the content of consciousness, must also consist of revealing the nature of these unconscious processes from the nature of the contents of consciousness and its temporal relationship. Psychology must itself be a theory of these processes. But such a psychology will soon find that there exist quite a number of characteristics of these processes which are unrepresented in the corresponding contents of consciousness.”

Footnote 55:

Heymans (_Zeitschrift für Psychol._, XI) has taken up the viewpoint of the nascent state in a somewhat different connection.

Footnote 56:

Through an example of displacement-wit I desire to discuss another interesting character of the technique of wit. The genial actress Gallmeyer when once asked how old she was is said to have answered this unwelcome question with abashed and downcast eyes, by saying, “In Brünn.” This is a very good example of displacement. Having been asked her age, she replied by naming the place of her birth, thus anticipating the next query, and in this manner she wishes to imply: “This is a question which I prefer to pass by.” And still we feel that the character of the witticism does not here come to expression undimmed. The deviation from the question is too obvious; the displacement is much too conspicuous. Our attention understands immediately that it is a matter of an intentional displacement. In other displacement-witticisms the displacement is disguised and our attention is riveted by the effort to discover it. In one of the displacement-witticisms (p. 69) the reply to the recommendation of the horse—“What in the world should I do in Monticello at 6:30 in the morning?”—the displacement is also an obtrusive one, but as a substitute for it it acts upon the attention in a senseless and confusing manner, whereas in the interrogation of the actress we know immediately how to dispose of her displacement answer.

The so-called “facetious questions” which may make use of the best techniques deviate from wit in other ways. An example of the facetious question with displacement is the following: “What is a cannibal who devours his father and mother?—Answer: An orphan.—And when he has devoured all his other relatives?—Sole-heir.—And where can such a monster ever find sympathy?—In the dictionary under S.” The facetious questions are not full witticisms because the required witty answers cannot be guessed like the allusions, omissions, etc., of wit.

Footnote 57:

Cf. _The Interpretation of Dreams_,