Even where the thing expected lays claims only to my sensory organs, and not to my motility, I may assume that the expectation manifests itself in a certain motor emanation causing tension of the senses, and I may even conceive the suspension of attention as a motor activity which is equivalent to a certain amount of expenditure. Moreover, I can presuppose that the preparatory activity of expectation is not independent of the amount of the expected impression, but that I represent mimically the bigness and smallness of the same by means of a greater or smaller preparatory expenditure, just as in the case of imparting something and in the case of thinking when there is no expectation. The expectation expenditure naturally will be composed of many components, and also for my disappointment diverse factors will come into consideration; it is not only a question whether the realized event is perceptibly greater or smaller than the expected one, but also whether the expectation is worthy of the great interest which I had offered for it. In this manner I am instructed to consider, besides the expenditure for the representation of bigness and smallness (the conceptual mimicry), also the expenditure for the tension of attention (expectation expenditure), and in addition to these two expenditures there is in all cases the abstraction expenditure. But these other forms of expenditure can easily be reduced to the one of bigness and smallness, for what we call more interesting, more sublime, and even more abstract, are only particularly qualified special cases of what is greater. Let us add to this that, among other things, Lipps holds that the quantitative, not the qualitative, contrast is primarily the source of comic pleasure, and we shall be altogether content to have chosen the comic element of motion as the starting-point of our investigation. In working out Kant’s thesis, “The comic is an expectation dwindled into nothing,” Lipps made the attempt in his book, often cited here, to trace the comic pleasure altogether to expectation. Despite the many instructive and valuable results which this attempt brought to light I should like to agree with the criticism expressed by other authors, namely, that Lipps has formulated a field of origin of the comic which is much too narrow, and that he could not subject its phenomena to his formula without much forcing. _Caricature_