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.