An Essay on Laughter: Its Forms, Its Causes, Its Development and Its ValueSully, James
Philosophy
An Essay on Laughter: Its Forms, Its Causes, Its Development and Its Value
Sully, James
Laughter
The author’s example of the absurdity of the presentation of the
curve and straight line trying to force itself under the incongruent
conception of an angle is intended to illustrate this theory.[71] Here
is another which has a {131} more promising look. A man who has been
arrested by soldiers is allowed to join them in a game of cards. He is
found cheating and is kicked out, his playmates quite forgetting that
he is their prisoner. Here, according to Schopenhauer, we laugh because
the incident, the ejection of a prisoner just arrested, will not fit
into the general rule, “cheats at the card-table should be thrust out”.
This form of the Intellectual theory clearly avoids the objection to
Kant’s version, that we frequently laugh at things when there is no
discoverable trace of a preceding expectation involving something in
the nature of an idea; for we take it as meaning that the conception
arises after, and as a result of, the perception. It is further
indisputable, as Kant has shown us, that in our explicit judgments, as
when we say, “This painting is (or is not) a work of Rubens,” a general
form of representation or something in the nature of a concept may take
part, the percept being (or refusing to be) subsumed under this.
At the same time, as was urged in the first chapter, the distinct
calling up of this general representation is occasional only, and,
therefore, not a pre-requisite of a perception of conformity or
non-conformity to the normal type. When I envisage a person as
correctly or as oddly dressed, I do not in either case need to have a
schematic representation of the proper typical style of dress. The same
holds good of many cases in which a definite rule, say of language or
good manners, is felt to be complied with or to be broken: we do not
need to call up a distinct representation of the rule. At most we can
speak here of a conceptual _tendency_, of an apperceptive acceptance or
rejection of a presentation, certain features of which are specially
attended to as characteristic of the type or general form; or, on the
other hand, as marks of deviation from this. {132}
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