As so often happens in Lichtenberg’s witticisms, in this case, too, the impression of appropriateness, cleverness, and ingenuity is so marked that our judgment of the character of the witty element is thereby misled. If something witty is intermingled in such an utterance with the excellent sense, we probably are deluded into declaring the whole to be an exceptional joke. Moreover, I dare say that everything that is really witty about it results from the strangeness of the peculiar combination bread-bread-glory. Thus as far as wit is concerned it is representation through absurdity. The peculiar combination or absurd attribution can alone be represented as a product of a comparison. Lichtenberg says: “_A twice-sleepy woman—a once-sleepy church pew_.” Behind each one there is a comparison with a bed; in both cases there is besides the comparison also the technical factor of _allusion_. Once it is an allusion to the soporific effect of sermons, and the second time to the inexhaustible theme of sex. Having found hitherto that a comparison as often as it appears witty owes this impression to its connection with one of the techniques of wit known to us, there are nevertheless some other examples which seem to point to the fact that a comparison as such can also be witty. This is Lichtenberg’s characteristic remark about certain odes. “They are in poetry what Jacob Böhm’s immortal writings are in prose—_they are a kind of picnic in which the author supplies the words, and the readers the meaning_.” “When he _philosophizes_, he generally sheds _an agreeable moonlight_ over his topics, which is in the main quite pleasant, but which does not show any one subject clearly.” Again, Heine’s description: “_Her face resembled a kodex palimpsestus, where under the new block-lettered text of a church father peek forth the half-obliterated verses of an ancient Hellenic erotic poet._” Or, the continued comparison of a very degrading tendency, in the “Bäder von Lucca.”