Also Bergson (_Laughter_, An essay on the Meaning of the Comic, translated by Brereton and Rothwell, The Macmillan Co., 1914) rejects with sound arguments this sort of explanation of comic pleasure, which has unmistakably been influenced by the effort to create an analogy to the laughing of a person tickled. The explanation of comic pleasure by Lipps which might, in connection with his conception of the comic, be represented as an “unexpected trifle,” is of an entirely different nature. Footnote 69: The recollection of this innervation expenditure will remain the essential part of the idea of this motion, and there will always be methods of thought in my psychic life in which the idea will be represented by nothing else than this expenditure. In other connections a substitute for this element may possibly be put in the form of other ideas, for instance the visual idea of the object of the motion, or it may be put in the form of the word-idea; and in certain types of abstract thought a sign instead of the full content itself may suffice. Footnote 70: “What one has not in his head,” as the saying goes, “he must have in his legs.” Footnote 71: The problem has been greatly confused by the general conditions determining the comic, whereby the comic pleasure is seen to have its source now in a too-muchness and now in a not-enoughness. Footnote 72: Degradation: A. Bain (_The Emotions and the Will_, 2nd Ed., 1865) states: “The occasion of the ludicrous is the degradation of some person of interest possessing dignity, in circumstances that excite no other strong emotion” (p. 248). Footnote 73: “Thus every conscious and clever evocation of the comic is called wit, be it the comic of views or situations. Naturally we cannot use this view of wit here.” Lipps, l. c., p. 78. Footnote 74: At the most this is inserted by the dreamer as an explanation. Footnote 75: l. c., p. 294. Footnote 76: “Trente et quarante” is a gambling game. Footnote 77: Bergson, l. c., p. 29. Footnote 78: Sixth Ed., Berlin, 1891. Footnote 79: “You may well laugh, that no longer concerns you.” Footnote 80: That comic pleasure has its source in the “quantitative contrast,” in the comparison of big and small, which ultimately also expresses the essential relation of the child to the grown-up, would indeed be a peculiar coincidence if the comic had nothing else to do with the infantile. Footnote 81: “Our heads have the right to fall covered before thee.” Footnote 82: