By Bergson Henri
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Additional resources for Laughter
Example text
In the first place, we may distinguish two keys at the extreme ends of the scale, the solemn and the familiar. The most obvious effects are obtained by merely transposing the one into the other, which thus provides us with two opposite currents of comic fancy. Transpose the solemn into the familiar and the result is parody. The effect of parody, thus defined, extends to instances in which the idea expressed in familiar terms is one that, if only in deference to custom, ought to be pitched in another key.
Gesture, thus defined, is profoundly different from action. Action is intentional or, at any rate, conscious; gesture slips out unawares, it is automatic. In action, the entire person is engaged; in gesture, an isolated part of the person is expressed, unknown to, or at least apart from, the whole of the personality. Lastly--and here is the essential point-- action is in exact proportion to the feeling that inspires it: the one gradually passes into the other, so that we may allow our sympathy or our aversion to glide along the line running from feeling to action and become increasingly interested.
And the equivocal situation is indeed one which permits of two different meanings at the same time, the one merely plausible, which is put forward by the actors, the other a real one, which is given by the public. We see the real meaning of the situation, because care has been taken to show us every aspect of it; but each of the actors knows only one of these aspects: hence the mistakes they make and the erroneous judgments they pass both on what is going on around them and on what they are doing themselves.
