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 we shall see it expand into a comic scene. Now, we find this very scene, ready made, in the Amour médecin of Molière. The sham doctor, Clitandre, who has been summoned to attend Sganarelle's daughter, contents himself with feeling Sganarelle's own pulse, whereupon, relying on the sympathy there must be between father and daughter, he unhesitatingly concludes: "Your daughter is very ill!" Here we have the transition from the witty to the comical. To complete our analysis, then, all we have to do is to discover what there is comical in the idea of giving a diagnosis of the child after sounding the father or the mother. Well, we know that one essential form of comic fancy lies in picturing to ourselves a living person as a kind of jointed dancing-doll, and that frequently, with the object of inducing us to form this mental picture, we are shown two or more persons speaking and acting as though attached to one another by invisible strings. Is not this the idea here suggested when we are led to materialise, so to speak, the sympathy we postulate as existing between father and daughter?

We now see how it is that writers on wit