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 invite him, in imagination, to share his amusement with us; in fact, we treat him first as a playmate. So, in the laugher we find a "hail-fellow-well-met" spirit—as far, at least, as appearances go—which it would be wrong of us not to take into consideration. In particular, there is in laughter a movement of relaxation which has often been noticed, and the reason of which we must try to discover. Nowhere is this impression more noticeable than in the last few examples. In them, indeed, we shall find its explanation.

When the comic character automatically follows up his idea, he ultimately thinks, speaks and acts as though he were dreaming. Now, a dream is a relaxation. To remain in touch with things and men, to see nothing but what is existent and think nothing but what is consistent, demands a continuous effort of intellectual tension. This effort is common sense. And to remain sensible is, indeed, to remain at work. But to detach oneself from things and yet continue to perceive images, to break away from logic and yet continue to string together ideas, is to indulge in play or, if you prefer, in dolce far niente. So, comic absurdity gives us