Laughter E-Book

Henri Bergson

• Herausgeber: Interactive Media
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2021

Beschreibung

Henri Bergson's 'Laughter: An Essay on the Meaning of the Comic' dissects the essence of humor and laughter. With keen philosophical observation, Bergson explores how comedy arises from societal incongruities and mechanical rigidity. This insightful analysis transcends mere amusement, shedding light on the deeper significance of laughter as a social and intellectual phenomenon, making it a timeless exploration of the human experience and the absurdities of life.

Leseprobe

Henri Bergson

Laughter:

An Essay on the Meaning of the Comic

THE BIG NEST

Published by The Big Nest

This Edition first published in 2021

Copyright © 2021 The Big Nest

All Rights Reserved.

ISBN: 9781787362802

Contents

CHAPTER I

CHAPTER II

CHAPTER III

CHAPTER I

THE COMIC IN GENERAL—THE COMIC ELEMENT IN FORMS AND MOVEMENTS—EXPANSIVE FORCE OF THE COMIC.

What does laughter mean? What is the basal element in the laughable? What common ground can we find between the grimace of a merry-andrew, a play upon words, an equivocal situation in a burlesque and a scene of high comedy? What method of distillation will yield us invariably the same essence from which so many different products borrow either their obtrusive odour or their delicate perfume? The greatest of thinkers, from Aristotle downwards, have tackled this little problem, which has a knack of baffling every effort, of slipping away and escaping only to bob up again, a pert challenge flung at philosophic speculation. Our excuse for attacking the problem in our turn must lie in the fact that we shall not aim at imprisoning the comic spirit within a definition. We regard it, above all, as a living thing. However trivial it may be, we shall treat it with the respect due to life. We shall confine ourselves to watching it grow and expand. Passing by imperceptible gradations from one form to another, it will be seen to achieve the strangest metamorphoses. We shall disdain nothing we have seen. Maybe we may gain from this prolonged contact, for the matter of that, something more flexible than an abstract definition,—a practical, intimate acquaintance, such as springs from a long companionship. And maybe we may also find that, unintentionally, we have made an acquaintance that is useful. For the comic spirit has a logic of its own, even in its wildest eccentricities. It has a method in its madness. It dreams, I admit, but it conjures up, in its dreams, visions that are at once accepted and understood by the whole of a social group. Can it then fail to throw light for us on the way that human imagination works, and more particularly social, collective, and popular imagination? Begotten of real life and akin to art, should it not also have something of its own to tell us about art and life?

At the outset we shall put forward three observations which we look upon as fundamental. They have less bearing on the actually comic than on the field within which it must be sought.

I

The first point to which attention should be called is that the comic does not exist outside the pale of what is strictly HUMAN. A landscape may be beautiful, charming and sublime, or insignificant and ugly; it will never be laughable. You may laugh at an animal, but only because you have detected in it some human attitude or expression. You may laugh at a hat, but what you are making fun of, in this case, is not the piece of felt or straw, but the shape that men have given it,—the human caprice whose mould it has assumed. It is strange that so important a fact, and such a simple one too, has not attracted to a greater degree the attention of philosophers. Several have defined man as “an animal which laughs.” They might equally well have defined him as an animal which is laughed at; for if any other animal, or some lifeless object, produces the same effect, it is always because of some resemblance to man, of the stamp he gives it or the use he puts it to.

Here I would point out, as a symptom equally worthy of notice, the ABSENCE OF FEELING which usually accompanies laughter. It seems as though the comic could not produce its disturbing effect unless it fell, so to say, on the surface of a soul that is thoroughly calm and unruffled. Indifference is its natural environment, for laughter has no greater foe than emotion. I do not mean that we could not laugh at a person who inspires us with pity, for instance, or even with affection, but in such a case we must, for the moment, put our affection out of court and impose silence upon our pity. In a society composed of pure intelligences there would probably be no more tears, though perhaps there would still be laughter; whereas highly emotional souls, in tune and unison with life, in whom every event would be sentimentally prolonged and re-echoed, would neither know nor understand laughter. Try, for a moment, to become interested in everything that is being said and done; act, in imagination, with those who act, and feel with those who feel; in a word, give your sympathy its widest expansion: as though at the touch of a fairy wand you will see the flimsiest of objects assume importance, and a gloomy hue spread over everything. Now step aside, look upon life as a disinterested spectator: many a drama will turn into a comedy. It is enough for us to stop our ears to the sound of music, in a room where dancing is going on, for the dancers at once to appear ridiculous. How many human actions would stand a similar test? Should we not see many of them suddenly pass from grave to gay, on isolating them from the accompanying music of sentiment? To produce the whole of its effect, then, the comic demands something like a momentary anesthesia of the heart. Its appeal is to intelligence, pure and simple.

This intelligence, however, must always remain in touch with other intelligences. And here is the third fact to which attention should be drawn. You would hardly appreciate the comic if you felt yourself isolated from others. Laughter appears to stand in need of an echo, Listen to it carefully: it is not an articulate, clear, well-defined sound; it is something which would fain be prolonged by reverberating from one to another, something beginning with a crash, to continue in successive rumblings, like thunder in a mountain. Still, this reverberation cannot go on for ever. It can travel within as wide a circle as you please: the circle remains, none the less, a closed one. Our laughter is always the laughter of a group. It may, perchance, have happened to you, when seated in a railway carriage or at table d’hote, to hear travellers relating to one another stories which must have been comic to them, for they laughed heartily. Had you been one of their company, you would have laughed like them; but, as you were not, you had no desire whatever to do so. A man who was once asked why he did not weep at a sermon, when everybody else was shedding tears, replied: “I don’t belong to the parish!” What that man thought of tears would be still more true of laughter. However spontaneous it seems, laughter always implies a kind of secret freemasonry, or even complicity, with other laughers, real or imaginary. How often has it been said that the fuller the theatre, the more uncontrolled the laughter of the audience! On the other hand, how often has the remark been made that many comic effects are incapable of translation from one language to another, because they refer to the customs and ideas of a particular social group! It is through not understanding the importance of this double fact that the comic has been looked upon as a mere curiosity in which the mind finds amusement, and laughter itself as a strange, isolated phenomenon, without any bearing on the rest of human activity. Hence those definitions which tend to make the comic into an abstract relation between ideas: “an intellectual contrast,” “a palpable absurdity,” etc.,—definitions which, even were they really suitable to every form of the comic, would not in the least explain why the comic makes us laugh. How, indeed, should it come about that this particular logical relation, as soon as it is perceived, contracts, expands and shakes our limbs, whilst all other relations leave the body unaffected? It is not from this point of view that we shall approach the problem. To understand laughter, we must put it back into its natural environment, which is society, and above all must we determine the utility of its function, which is a social one. Such, let us say at once, will be the leading idea of all our investigations. Laughter must answer to certain requirements of life in common. It must have a SOCIAL signification.

Let us clearly mark the point towards which our three preliminary observations are converging. The comic will come into being, it appears, whenever a group of men concentrate their attention on one of their number, imposing silence on their emotions and calling into play nothing but their intelligence. What, now, is the particular point on which their attention will have to be concentrated, and what will here be the function of intelligence? To reply to these questions will be at once to come to closer grips with the problem. But here a few examples have become indispensable.

II

A man, running along the street, stumbles and falls; the passers-by burst out laughing. They would not laugh at him, I imagine, could they suppose that the whim had suddenly seized him to sit down on the ground. They laugh because his sitting down is involuntary.

Consequently, it is not his sudden change of attitude that raises a laugh, but rather the involuntary element in this change,—his clumsiness, in fact. Perhaps there was a stone on the road. He should have altered his pace or avoided the obstacle. Instead of that, through lack of elasticity, through absentmindedness and a kind of physical obstinacy, AS A RESULT, IN FACT, OF RIGIDITY OR OF MOMENTUM, the muscles continued to perform the same movement when the circumstances of the case called for something else. That is the reason of the man’s fall, and also of the people’s laughter.

Now, take the case of a person who attends to the petty occupations of his everyday life with mathematical precision. The objects around him, however, have all been tampered with by a mischievous wag, the result being that when he dips his pen into the inkstand he draws it out all covered with mud, when he fancies he is sitting down on a solid chair he finds himself sprawling on the floor, in a word his actions are all topsy-turvy or mere beating the air, while in every case the effect is invariably one of momentum. Habit has given the impulse: what was wanted was to check the movement or deflect it. He did nothing of the sort, but continued like a machine in the same straight line. The victim, then, of a practical joke is in a position similar to that of a runner who falls,—he is comic for the same reason. The laughable element in both cases consists of a certain MECHANICAL INELASTICITY, just where one would expect to find the wide-awake adaptability and the living pliableness of a human being. The only difference in the two cases is that the former happened of itself, whilst the latter was obtained artificially. In the first instance, the passer-by does nothing but look on, but in the second the mischievous wag intervenes.

All the same, in both cases the result has been brought about by an external circumstance. The comic is therefore accidental: it remains, so to speak, in superficial contact with the person. How is it to penetrate within? The necessary conditions will be fulfilled when mechanical rigidity no longer requires for its manifestation a stumbling-block which either the hazard of circumstance or human knavery has set in its way, but extracts by natural processes, from its own store, an inexhaustible series of opportunities for externally revealing its presence. Suppose, then, we imagine a mind always thinking of what it has just done and never of what it is doing, like a song which lags behind its accompaniment. Let us try to picture to ourselves a certain inborn lack of elasticity of both senses and intelligence, which brings it to pass that we continue to see what is no longer visible, to hear what is no longer audible, to say what is no longer to the point: in short, to adapt ourselves to a past and therefore imaginary situation, when we ought to be shaping our conduct in accordance with the reality which is present. This time the comic will take up its abode in the person himself; it is the person who will supply it with everything—matter and form, cause and opportunity. Is it then surprising that the absent-minded individual—for this is the character we have just been describing—has usually fired the imagination of comic authors? When La Bruyere came across this particular type, he realised, on analysing it, that he had got hold of a recipe for the wholesale manufacture of comic effects. As a matter of fact he overdid it, and gave us far too lengthy and detailed a description of Menalque, coming back to his subject, dwelling and expatiating on it beyond all bounds. The very facility of the subject fascinated him. Absentmindedness, indeed, is not perhaps the actual fountain-head of the comic, but surely it is contiguous to a certain stream of facts and fancies which flows straight from the fountain-head. It is situated, so to say, on one of the great natural watersheds of laughter.

Now, the effect of absentmindedness may gather strength in its turn. There is a general law, the first example of which we have just encountered, and which we will formulate in the following terms: when a certain comic effect has its origin in a certain cause, the more natural we regard the cause to be, the more comic shall we find the effect. Even now we laugh at absentmindedness when presented to us as a simple fact. Still more laughable will be the absentmindedness we have seen springing up and growing before our very eyes, with whose origin we are acquainted and whose life-history we can reconstruct. To choose a definite example: suppose a man has taken to reading nothing but romances of love and chivalry. Attracted and fascinated by his heroes, his thoughts and intentions gradually turn more and more towards them, till one fine day we find him walking among us like a somnambulist. His actions are distractions. But then his distractions can be traced back to a definite, positive cause. They are no longer cases of ABSENCE of mind, pure and simple; they find their explanation in the PRESENCE of the individual in quite definite, though imaginary, surroundings. Doubtless a fall is always a fall, but it is one thing to tumble into a well because you were looking anywhere but in front of you, it is quite another thing to fall into it because you were intent upon a star. It was certainly a star at which Don Quixote was gazing. How profound is the comic element in the over-romantic, Utopian bent of mind! And yet, 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.