There is another objection, which, though related to the last, is to be carefully distinguished from it. Even in cases where the laughable feature is clearly localised there may seem something arbitrary in our mode of describing it. For example, it may be said, why distinguish the relation of the unfit and kindred relations as a special group, since in all cases they may be regarded as products and expressions of a defective intelligence or taste? To raise this difficulty now is, however, to anticipate our theoretical problem, how far these several varieties of laughable feature lend themselves to reduction to a {116} common principle. In naming each of the above groups I have sought to envisage the laughable aspect as the natural man, innocent of theoretic aims, would envisage it. What is important here is to emphasise both the frequent combination of entertaining features in the objects which excite our laughter, and the fact that one and the same feature may be envisaged in more than one way. These two circumstances throw an interesting light on the meaning of the long discussions and the want of agreement among theorists. In drawing up this list of the laughable features in things I have said nothing about the connection between this part of the inquiry and that which preceded it. Yet the connection has not been wholly hidden. In the entertaining effect of new things we have found an element of the laughter which springs from a sudden expansion of joy. In the laughter excited by the indecent we have noted a trace of the laughter of “sudden glory” and of what I have called nervous laughter. Lastly, in dealing with the entertaining quality of the more sportive wit we seem to have got near the laughter of play. This connection would appear the more clearly if we were to extend our list by adding a pair of groups. These are (11) laughable objects which affect us as expressions of a merry mood; and (12) laughable situations which involve a relation akin to that of victor and vanquished. A word or two on each of these must suffice. (11) There is little doubt that all presentations which are instantly interpreted as manifestations of a fun-loving disposition tend to excite merriment. This is true of series of sounds, musical as well as non-musical, which have in their rapid staccato movement a resemblance to those of laughter. It holds good also of play-like movements, such as the {117} freakish gambols of a just loosened pony, or of a circus clown. The expression of the mirthful temper in things awakens a sympathetic laughter in the observer. Here, perhaps it would seem to be more correct to say that we laugh not _at_ or _over_, but, if one may so say, _to_ the playful freak. Nevertheless, we shall find that what we recognise as objectively laughable cannot be understood save by reference to these appearances of playful challenge.