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 fails to cement this union: a case in point is our head and top hat. Suppose, however, some eccentric individual dresses himself in the fashion of former times: our attention is immediately drawn to the clothes themselves, we absolutely distinguish them from the individual, we say that the latter is disguising himself,—as though every article of clothing were not a disguise!—and the laughable aspect of fashion comes out of the shadow into the light.

Here we are beginning to catch a faint glimpse of the highly intricate difficulties raised by this problem of the comic. One of the reasons that must have given rise to many erroneous or unsatisfactory theories of laughter is that many things are comic de jure without being comic de facto, the continuity of custom having deadened within them the comic quality. A sudden dissolution of continuity is needed, a break with fashion, for this quality to revive. Hence the impression that this dissolution of continuity is the parent of the comic, whereas all it does is to bring it to our notice. Hence, again, the explanation of laughter by surprise, contrast, etc., definitions which would equally apply to a host of cases in which we have no