Henri-Louis Bergson

“ How profound is the comic element in the over-romantic, Utopian bent of mind! And yet, if you reintroduce the idea of absentmindedness, which acts as a go-between, you will see this profound comic element uniting with the most superficial type. Yes, indeed, these whimsical wild enthusiasts, these madmen who are yet so strangely reasonable, excite us to laughter by playing on the same chords within ourselves, by setting in motion the same inner mechanism, as does the victim of a practical joke or the passer-by who slips down in the street. ”

“ Between nature and ourselves, nay, between ourselves and our own consciousness a veil is interposed: a veil that is dense and opaque for the common herd,—thin, almost transparent, for the artist and the poet. What fairy wove that veil? Was it done in malice or in friendliness? We had to live, and life demands that we grasp things in their relations to our own needs. Life is action. Life implies the acceptance only of the utilitarian side of things in order to respond to them by appropriate reactions: all other impressions must be dimmed or else reach us vague and blurred. ”

“ And a living being which did nothing but live would need no more than this. But, simultaneously with this process of perception and adaptation which ends in the record of the past in the form of motor habits, consciousness, as we have seen, retains the image of the situations through which it has successively travelled, and lays them side by side in the order in which they took place. Of what use are these memory-images? Preserved in memory, reproduced in consciousness, do they not distort the practical character of life, mingling dream with reality? ”

“ Were you asked to think of a play capable of being called le Jaloux for instance, you would find that Sganarelle or George Dandin would occur to your mind, but not Othello: le Jaloux could only be the title of a comedy. The reason is that, however intimately vice, when comic, is associated with persons, it none the less retains its simple, independent existence, it remains the central character, present though invisible, to which the characters in flesh and blood on the stage are attached. At times it delights in dragging them down with its own weight and making them share in its tumbles. ”

“ And as these two aspects of perception, quality and movement, have been made equally obscure, the phenomenon of perception, in which a consciousness, assumed to be shut up in itself and foreign to space, is supposed to translate what occurs in space, becomes a mystery.—But let us, on the contrary, banish all preconceived idea of interpreting or measuring, let us place ourselves face to face with immediate reality: at once we find that there is no impassable barrier, no essential difference, no real distinction even, between perception and the thing perceived, between quality and movement. ”

“ We must not go too far; even in the animal it is possible that vague images of the past overflow into the present perception; we can even conceive that its entire past is virtually indicated in its consciousness; but this past does not interest the animal enough to detach it from the fascinating present, and its recognition must be rather lived than thought. To call up the past in the form of an image, we must be able to withdraw ourselves from the action of the moment, we must have the power to value the useless, we must have the will to dream. Man alone is capable of such an effort. ”

“ A witty nation is, of necessity, a nation enamoured of the theatre. In every wit there is something of a poet—just as in every good reader there is the making of an actor. This comparison is made purposely, because a proportion might easily be established between the four terms. In order to read well we need only the intellectual side of the actors art; but in order to act well one must be an actor in all one's soul and body. In just the same way, poetic creation calls for some degree of self-forgetfulness, whilst the wit does not usually err in this respect. ”

“ Do we passively wait for the impressions to go in search of their images? Do we not rather feel that we are adopting a certain disposition which varies with our interlocutor, with the language he speaks, with the nature of the ideas which he expresses,—and varies, above all, with the general movement of his phrase, as though we were choosing the key in which our own intellect is called upon to play? The motor diagram, emphasizing his utterance, following through all its windings the curve of his thought, shows our thought the road. ”

“ Such is just the kind of pleasure that is provided for us by drama. Beneath the quiet humdrum life that reason and society have fashioned for us, it stirs something within us which luckily does not explode, but which it makes us feel in its inner tension. It offers nature her revenge upon society. Sometimes it makes straight for the goal, summoning up to the surface, from the depths below, passions that produce a general upheaval. Sometimes it effects a flank movement, as is often the case in contemporary drama ”

“ To picture is not to remember. No doubt a recollection, as it becomes actual, tends to live in an image; but the converse is not true, and the image, pure and simple, will not be referred to the past unless, indeed, it was in the past that I sought it, thus following the continuous progress which brought it from darkness into light. This is what psychologists too often forget when they conclude, from the fact that a remembered sensation becomes more actual the more we dwell upon it, that the memory of the sensation is the sensation itself beginning to be. ”

“ It came from the fact that the living body became rigid, like a machine. Accordingly, it seemed to us that the living body ought to be the perfection of suppleness, the ever-alert activity of a principle always at work. But this activity would really belong to the soul rather than to the body. It would be the very flame of life, kindled within us by a higher principle and perceived through the body, as if through a glass. When we see only gracefulness and suppleness in the living body, it is because we disregard in it the elements of weight, of resistance, and, in a word, of matter ”

“ Perception is made into a disinterested work of the mind, a pure contemplation. Then, as pure recollection can evidently be only something of this kind (since it does not correspond to a present and urgent reality) , memory and perception become states of the same nature, and between them no other difference than a difference of intensity can be found. But the truth is that our present should not be defined as that which is more intense: it is that which acts on us and which makes us act, it is sensory and it is motor;—our present is, above all, the state of our body. ”

“ Language only attains laughable results because it is a human product, modelled as exactly as possible on the forms of the human mind. We feel it contains some living element of our own life; and if this life of language were complete and perfect, if there were nothing stereotype in it, if, in short, language were an absolutely unified organism incapable of being split up into independent organisms, it would evade the comic as would a soul whose life was one harmonious whole, unruffled as the calm surface of a peaceful lake. ”

“ Note that, in such a case, a comic author is always careful to personify the two opposing decisions. For, if there is no spectator, there must at all events be actors to hold the strings.
All that is serious in life comes from our freedom. The feelings we have matured, the passions we have brooded over, the actions we have weighed, decided upon, and carried through, in short, all that comes from us and is our very own, these are the things that give life its ofttimes dramatic and generally grave aspect. What, then, is requisite to transform all this into a comedy? ”

“ But then how should it be otherwise when I perceive changes of quality in things? Sound differs absolutely from silence, as also one sound from another sound. Between light and darkness, between colours, between shades, the difference is absolute. The passage from one to another is also an absolutely real phenomenon. I hold then the two ends of the chain, muscular sensations within me, the sensible qualities of matter without me, and neither in the one case nor in the other do I see movement, if there be movement, as a mere relation: it is an absolute. ”

“ Between the plane of action—the plane in which our body has condensed its past into motor habits,—and the plane of pure memory, where our mind retains in all its details the picture of our past life, we believe that we can discover thousands of different planes of consciousness, a thousand integral and yet diverse repetitions of the whole of the experience through which we have lived. ”

“ As we are both in and of it, we cannot help treating it as a living being. Any image, then, suggestive of the notion of a society disguising itself, or of a social masquerade, so to speak, will be laughable. Now, such a notion is formed when we perceive anything inert or stereotyped, or simply ready-made, on the surface of living society. There we have rigidity over again, clashing with the inner suppleness of life. The ceremonial side of social life must, therefore, always include a latent comic element, which is only waiting for an opportunity to burst into full view. ”

“ Poetic imagination is but a fuller view of reality. If the characters created by a poet give us the impression of life, it is only because they are the poet himself,—a multiplication or division of the poet,—the poet plumbing the depths of his own nature in so powerful an effort of inner observation that he lays hold of the potential in the real, and takes up what nature has left as a mere outline or sketch in his soul in order to make of it a finished work of art. ”

“ In vain does our imagination endeavour to go on, to carry division further still, and to quicken, so to speak, the circulation of our inner phenomena: the very effort by which we are trying to effect this further division of our duration lengthens that duration by just so much. And yet we know that millions of phenomena succeed each other while we hardly succeed in counting a few. We know this not from physics alone; the crude experience of the senses allows us to divine it; we are dimly aware of successions in nature much more rapid than those of our internal states. ”

“ Hence the equivocal nature of the comic. It belongs neither altogether to art nor altogether to life. On the one hand, characters in real life would never make us laugh were we not capable of watching their vagaries in the same way as we look down at a play from our seat in a box; they are only comic in our eyes because they perform a kind of comedy before us. But, on the other hand, the pleasure caused by laughter, even on the stage, is not an unadulterated enjoyment; it is not a pleasure that is exclusively esthetic or altogether disinterested. ”

“ Let us suppose, now, that we have to do a piece of intellectual work, to form a conception, to extract a more or less general idea from the multiplicity of our recollections. A wide margin is left to fancy on the one hand, to logical discernment on the other; but, if the idea is to live, it must touch present reality on some side; that is to say, it must be able, from step to step, and by progressive diminutions or contractions of itself, to be more or less acted by the body at the same time as it is thought by the mind. ”

“ When we speak of expressive beauty or even expressive ugliness, when we say that a face possesses expression, we mean expression that may be stable, but which we conjecture to be mobile. It maintains, in the midst of its fixity, a certain indecision in which are obscurely portrayed all possible shades of the state of mind it expresses, just as the sunny promise of a warm day manifests itself in the haze of a spring morning. But a comic expression of the face is one that promise nothing more than it gives. ”

“ Do we not sometimes perceive in ourselves, in sleep, two contemporaneous and distinct persons of whom one sleeps a few minutes, while the other's dream fills days and weeks? And would not the whole of history be contained in a very short time for a consciousness at a higher degree of tension than our own, which should watch the development of humanity while contracting it, so to speak, into the great phases of its evolution? ”

“ Let us try to picture to ourselves a certain inborn lack of elasticity of both senses and intelligence, which brings it to pass that we continue to see what is no longer visible, to hear what is no longer audible, to say what is no longer to the point: in short, to adapt ourselves to a past and therefore imaginary situation, when we ought to be shaping our conduct in accordance with the reality which is present. This time the comic will take up its abode in the person himself; it is the person who will supply it with everything—matter and form, cause and opportunity. ”

“ Without denying to psychology, any more than to metaphysics, the right to make itself into an independent science, we believe that each of these two sciences should set problems to the other and can, in a measure, help it to solve them. How should it be otherwise, if psychology has for its object the study of the human mind working for practical utility, and if metaphysics is but this same mind striving to transcend the conditions of useful action and to come back to itself as to a pure creative energy? ”

“ And yet this hero of romance may not be a comic character at all. But then it is comic to be like him. It is comic to wander out of one's own self. It is comic to fall into a ready-made category. And what is most comic of all is to become a category oneself into which others will fall, as into a ready-made frame; it is to crystallise into a stock character.
Thus, to depict characters, that is to say, general types, is the object of high-class comedy. ”

“ In vain do we seek its trace in anything actual and already realized: we might as well look for darkness beneath the light. This is, in fact, the error of associationism: placed in the actual, it exhausts itself in vain attempts to discover in a realized and present state the mark of its past origin, to distinguish memory from perception, and to erect into a difference in kind that which it condemned in advance to be but a difference of magnitude. ”

“ An idea is something that grows, buds, blossoms and ripens from the beginning to the end of a speech. It never halts, never repeats itself. It must be changing every moment, for to cease to change would be to cease to live. Then let gesture display a like animation! Let it accept the fundamental law of life, which is the complete negation of repetition! ”

“ Perception, therefore, consists in detaching, from the totality of objects, the possible action of my body upon them. Perception appears, then, as only a choice. It creates nothing; its office, on the contrary, is to eliminate from the totality of images all those on which I can have no hold, and then, from each of those which I retain, all that does not concern the needs of the image which I call my body. Such is, at least, much simplified, the way we explain or describe schematically what we have called pure perception. ”

“ Indeed, we have no choice: if our belief in a more or less homogeneous substratum of sensible qualities has any ground, this can only be found in an act which makes us seize or divine, in quality itself, something which goes beyond sensation, as if this sensation itself were pregnant with details suspected yet unperceived. Its objectivity—that is to say, what it contains over and above what it yields up—must then consist, as we have foreshadowed, precisely in the immense multiplicity of the movements which it executes, so to speak, within itself as a chrysalis. ”

“ Comedy can only begin at the point where our neighbour's personality ceases to affect us. It begins, in fact, with what might be called a growing callousness to social life. Any individual is comic who automatically goes his own way without troubling himself about getting into touch with the rest of his fellow-beings. It is the part of laughter to reprove his absentmindedness and wake him out of his dream. ”

“ Past images, reproduced exactly as they were, with all their details and even with their affective colouring, are the images of idle fancy or of dream: to act is just to induce this memory to shrink, or rather to become thinned and sharpened, so that it presents nothing thicker than the edge of a blade to actual experience, into which it will thus be able to penetrate. In truth, it is because psychology has failed to separate out the motor element in memory, that we have sometimes overlooked and sometimes exaggerated what is automatic in the evocation of remembrances. ”

“ For a few moments at least, he diverts us from the prejudices of form and colour that come between ourselves and reality. And thus he realises the loftiest ambition of art, which here consists in revealing to us nature. Others, again, retire within themselves. Beneath the thousand rudimentary actions which are the outward and visible signs of an emotion, behind the commonplace, conventional expression that both reveals and conceals an individual mental state, it is the emotion, the original mood, to which they attain in its undefiled essence. ”