In the third class we place such words as refer to the mind alone as the source of amusement, and under this head we may place Humour as a general and generic term. Raillery and sarcasm (from a Greek word "to tear flesh") refer especially to the expression of the feeling in language, and irony from its covert nature generally requires assistance from the voice and manner. Some words refer especially to literature, and never to any attacks made on present company. Of these, satire aims at making a man odious or ridiculous; lampoon, contemptible. Satire is the rapier; lampoon the broadsword, or even the cudgel--the former points to the heart and wounds sharply, the latter deals a dull and blundering blow, often falling wide of the mark. In general a different man selects a different weapon; the educated and refined preferring satire; the rude and more vulgar, lampoon--one adopting what is keen and precise, the other seeking rough and irrelevant accessories. But clever men, to gain others over to them by amusement, have sometimes taken the clumsier means, and while placing their victim nearer the level of the brutes than of humanity, have not struck so straight; for the improbability they have introduced has in it so much that is fantastic that their attack seems mostly playful, if not bordering on the ludicrous. Lampoon was the earliest kind of humorous invective; we have an instance of it in Homer's Thersites. Buffoonery differs from lampoon in being carried on in acting, instead of words. The latter is rather based upon some moral delinquency or imperfection; the former aims merely at amusement, and resembles burlesque in being generally optical, and containing little malice. Both come under the category of broad humour, which is excessive in accessory emotion, and in most cases deficient in complication. Caricature resembles them both in being often concerned with deformity. It appeals to the senses rather than to the emotions. The complication in it is never very good when it is confined to pictorial representation, as we may observe that without some explanation we should seldom know what a design was intended to portray; and when the word means description in writing it still retains some of its original reference to sight, and is concerned principally with form and optical similitudes.