We may briefly refer to some other matters dealt with more incidentally; wit, and the relation of the comic to art and to dreams. The discussion of wit is perhaps the weakest part of the book. No analysis is given of the different forms of wit, and the important subject of what may be called its technique is quite passed by. Wit is identified in a superficial manner with the comic in general, the fundamental differences between the two, which Freud has dealt so exhaustively with, being altogether ignored. Bergson gives a more interesting and profitable study of the relation of the comic to art; especially of the nature of comedy as distinct from other forms of drama. According to him, comedy portrays character types rather than individual persons. He repeatedly insists on this point, adding that "it is the ONLY one of all the arts that aims at the general; so that once this objective has been attributed to it, we have said all that it is and all that the rest cannot be." Further, "comedy lies midway between art and life. It is not disinterested as genuine art is. By organizing laughter, comedy accepts social life as a natural environment, it even obeys an impulse of social life. And in this respect it turns its back upon art, which is a breaking away from society and a return to pure nature. "The discussion of the relation of the comic to dreams is, on the other hand, less satisfying. Comic absurdity is stated to be of the same nature as that of dreams. The main point of resemblance seems to be that in both cases there occurs an absence of social contact. In both there is a mental relaxation from the effort of "seeing nothing but what is existent and thinking nothing but what is consistent." This really applies much more to wit than to the comic itself. As may be expected, the whole book is written in Professor Bergson's pleasing style, and is full of suggestive hints and fresh points of view. The most significant contribution, one which pervades the book throughout, is the view of laughter as a social censor. Even if this hypothesis is substantiated by detailed investigation, however, it cannot rank as a complete theory of laughter, or of the comic, until it is supplemented by some explanation, not given by the author, of the most striking feature of laughter, its capacity for yielding pleasure. It only remains to say that the translation is literally excellent. ERNEST JONES. ADDRESSES AND PAPERS AT THE OPENING OF THE PHIPPS PSYCHIATRIC CLINIC, JOHNS HOPKINS HOSPITAL. The American Journal of Insanity, Special Number, Vol. LXIX, No. 5. The Johns Hopkins Press, 1915.