Still, we must not accept this formula as a definition of the comic. It is suitable only for cases that are elementary, theoretical and perfect, in which the comic is free from all adulteration. Nor do we offer it, either, as an explanation. We prefer to make it, if you will, the leitmotiv which is to accompany all our explanations. We must ever keep it in mind, though without dwelling on it too much, somewhat as a skilful fencer must think of the discontinuous movements of the lesson whilst his body is given up to the continuity of the fencing-match. We will now endeavour to reconstruct the sequence of comic forms, taking up again the thread that leads from the horseplay of a clown up to the most refined effects of comedy, following this thread in its often unforeseen windings, halting at intervals to look around, and finally getting back, if possible, to the point at which the thread is dangling and where we shall perhaps find--since the comic oscillates between life and art--the general relation that art bears to life. III Let us begin at the simplest point. What is a comic physiognomy? Where does a ridiculous expression of the face come from? And what is, in this case, the distinction between the comic and the ugly? Thus stated, the question could scarcely be answered in any other than an arbitrary fashion. Simple though it may appear, it is, even now, too subtle to allow of a direct attack. We should have to begin with a definition of ugliness, and then discover what addition the comic makes to it; now, ugliness is not much easier to analyse than is beauty. However, we will employ an artifice which will often stand us in good stead. We will exaggerate the problem, so to speak, by magnifying the effect to the point of making the cause visible. Suppose, then, we intensify ugliness to the point of deformity, and study the transition from the deformed to the ridiculous. Now, certain deformities undoubtedly possess over others the sorry privilege of causing some persons to laugh; some hunchbacks, for instance, will excite laughter. Without at this point entering into useless details, we will simply ask the reader to think of a number of deformities, and then to divide them into two groups: on the one hand, those which nature has directed towards the ridiculous; and on the other, those which absolutely diverge from it. No doubt he will hit upon the following law: A deformity that may become comic is a deformity that a normally built person, could successfully imitate.