Further, the ultimate subsumption, ludicrous to all, of what in one respect is heterogeneous, under a conception which in other respects agrees with it, may take place contrary to our intention. For example, one of the free negroes in North America, who take pains to imitate the whites in everything, quite recently placed an epitaph over his dead child which begins, “Lovely, early broken lily.” If, on the contrary, something real and perceptible is, with direct intention, brought under the conception of its opposite, the result is plain, common irony. For example, if when it is raining hard we say, “Nice weather we are having to-day;” or if we say of an ugly bride, “That man has found a charming treasure;” or of a knave, “This honest man,” &c. &c. Only children and quite uneducated people will laugh at such things; for here the incongruity between what is thought and what is perceived is total. Yet just in this direct exaggeration in the production of the ludicrous its fundamental character, incongruity, appears very distinctly. This species of the ludicrous is, on account of its exaggeration and distinct intention, in some respects related to _parody_. The procedure of the latter consists in this. It substitutes for the incidents and words of a serious poem or drama insignificant low persons or trifling motives and actions. It thus subsumes the commonplace realities which it sets forth under the lofty conceptions given in the theme, under which in a certain respect they must come, while in other respects they are very incongruous; and thereby the contrast between what is perceived and what is thought appears very glaring. There is no lack of familiar examples of this, and therefore I shall only give one, from the “Zobeide” of Carlo Gozzi, act iv., scene 3, where the famous stanza of Ariosto (_Orl. Fur._, i. 22), “_Oh gran bontà de’ cavalieri antichi_,” &c., is put word for word into the mouth of two clowns who have just been thrashing each other, and tired with this, lie quietly side by side. This is also the nature of the application so popular in Germany of serious verses, especially of Schiller, to trivial events, which clearly contains a subsumption of heterogeneous things under the general conception which the verse expresses. Thus, for example, when any one has displayed a very characteristic trait, there will rarely be wanting some one to say, “From that I know with whom I have to do.” But it was original and very witty of a man who was in love with a young bride to quote to the newly married couple (I know not how loudly) the concluding words of Schiller’s ballad, “The Surety:” “Let me be, I pray you, In your bond the third.”