We expect art to accomplish three great results--reconciliation, revelation, and sympathy. So far we have shown how comic art may accomplish the first; we have yet to prove how it may accomplish the rest. In his book _Le Rire_, Bergson has expressed the view that comedy is explicitly falsifying and unsympathetic. As to the former charge, we can, I think, convince ourselves of the opposite if we examine certain of the more obvious methods of comedy, particularly those which might seem at first sight to lend support to his contention. One of the most common of these is exaggeration. The simplest example is caricature, where certain features of an object are purposely exaggerated. The effect is, of course, comical, because we expect the normal and duly-proportioned. What a manifest falsification, one might assert! Yet just the opposite is the actual result. For every good caricaturist selects for exaggeration prominent and characteristic traits, through which by the very emphasis that is placed upon them, the nature of the individual is better understood. Another favorite method is abstraction. Certain traits are presented as if they were the whole man. We get the typical comic figures of the novel and drama; the physician who is only a physician; the lawyer who injects the legal point of view into every circumstance of life; the lover or the miser who is just love or greed; the people who, as in Dickens, meet every situation with the same phrase or attitude, This, too, looks like a plain falsification of human nature, because, however strong be the professional bias or however overmastering the ruling passion, real people are always more complex and many-sided, having other modifying and counteracting elements of character which prevent their speech and actions from being completely monotonous and mechanical. Nevertheless, we can again acquit the comic writer of falsification, because we understand the method which he is employing, the trick of his trade. He deceives no one. On the contrary, he enables us to perceive the logic of certain elementary springs of character. Following the method of the experimentalist, he selects certain aspects from the total complexity of a phenomenon and shows how they work when isolated from the rest. And, like the man of science, he provides insight into the normal, because we can accept his results as at least partially or approximately true. Art of this kind is abstract and therefore less valuable than the portrayal of the concrete; yet only the dogmatist who insists on the restriction of art to the individual can reject it.