笑い：滑稽の意義に関する試論

if you reintroduce the idea of absentmindedness, which acts as a go-between, you will see this profound comic element uniting with the most superficial type. Yes, indeed, these whimsical wild enthusiasts, these madmen who are yet so strangely reasonable, excite us to laughter by playing on the same chords within ourselves, by setting in motion the same inner mechanism, as does the victim of a practical joke or the passer-by who slips down in the street. They, too, are runners who fall and simple souls who are being hoaxed--runners after the ideal who stumble over realities, child-like dreamers for whom life delights to lie in wait. But, above all, they are past-masters in absentmindedness, with this superiority over their fellows that their absentmindedness is systematic and organised around one central idea, and that their mishaps are also quite coherent, thanks to the inexorable logic which reality applies to the correction of dreams, so that they kindle in those around them, by a series of cumulative effects, a hilarity capable of unlimited expansion. Now, let us go a little further. Might not certain vices have the same relation to character that the rigidity of a fixed idea has to intellect? Whether as a moral kink or a crooked twist given to the will, vice has often the appearance of a curvature of the soul. Doubtless there are vices into which the soul plunges deeply with all its pregnant potency, which it rejuvenates and drags along with it into a moving circle of reincarnations. Those are tragic vices. But the vice capable of making us comic is, on the contrary, that which is brought from without, like a ready-made frame into which we are to step. It lends us its own rigidity instead of borrowing from us our flexibility. We do not render it more complicated; on the contrary, it simplifies us. Here, as we shall see later on in the concluding section of this study, lies the essential difference between comedy and drama.…