The distinction made here agrees with the differentiation, to be made later, between a “witticism” and a “jest.” However, it would not be correct to exclude examples like Home-Roulard from the discussion of the nature of wit. As soon as we take into consideration the peculiar pleasure of wit, we discover that the “poor” witticisms are by no means poor as witticisms, i.e., they are by no means unsuited for the production of pleasure. Footnote 46: _Die Spiele der Menschen_, 1899, p. 153. Footnote 47: _Vorschule der Aesthetik_, 1, XVII. Footnote 48: Chapter XVII. Footnote 49: Kleinpaul: _Die Rätsel der Sprache_, 1890. Footnote 50: _Vorschule der Aesthetik_, Vol. 1, V, p. 51, 2nd Ed., Leipzig, 1897. Footnote 51: The nonsense-witticisms, which have been somewhat slighted in this treatise, deserve a short supplementary comment. In view of the significance attributed by our conception to the factor “sense in nonsense,” one might be tempted to demand that every witticism should be a nonsense-joke. But this is not necessary, because only the play with thoughts inevitably leads to nonsense, whereas the other source of wit-pleasure, the play with words, makes this impression incidental and does not regularly invoke the criticism connected with it. The double root of wit-pleasure—from the play with words and thoughts, which corresponds to the most important division into word- and thought-witticisms—sets its face against a short formulation of general principles about wit as a tangible aggravation of difficulties. The play with words produces laughter, as is well known, in consequence of the factor of recognition described above, and therefore suffers suppression only in a small degree. The play with thoughts cannot be motivated through such pleasure: it has suffered a very energetic suppression and the pleasure which it can give is only the pleasure of released inhibitions. Accordingly one may say that wit-pleasure shows a kernel of the original play-pleasure and a shell of removal-pleasure. Naturally we do not grant that the pleasure in nonsense-wit is due to the fact that we have succeeded in making nonsense despite the suppression, while we do notice that the play with words gives us pleasure. Nonsense, which has remained fixed in thought-wit, acquires secondarily the function of stimulating our attention through confusion, it serves as a reinforcement of the effect of wit, but only when it is insistent, so that the confusion can anticipate the intellect by a definite fraction of time. That nonsense in wit may also be employed to represent a judgment contained within the thought has been demonstrated by the example on p. 73. But even this is not the primal signification of nonsense in wit.