[1] Article on “Humour” in the Cornhill Magazine, vol. xxxiii., pp. 318–26.
[2] See B. Bosanquet, History of Æsthetics, p. 360, where we are told that serious modern comedy, such as Molière’s L’Avare, is, according to Hegel, wanting in this characteristic.
[3] Die Welt als Wille und Vorstellung, Band II., Erstes Buch, Kap. viii.
[4] Le Rire, published by Félix Alcan, 1900.
[5] See an article “Pourquoi rit-on?” by Camille Mélinaud, in the Revue des deux Mondes, 1895 (Tom. 127, p. 612 ff.). The theory of M. Mélinaud seems to resemble closely that of Jean Paul Richter and others, which Lotze criticises, Geschichte der Æsthetik, p. 346.
[6] M. Bergson furnishes some striking illustrations of the forcing of a theory on reluctant facts in his treatment of the laughable aspect of the red nose and the black skin, op. cit., p. 41 ff.
[7] The references here are to one of a series of articles entitled “Psychologie der Komik” in the Phil. Monatshefte, Bd. XXIV. See p. 399 ff. The articles have been elaborated in a volume, Komik und Humor. The point here dealt with is touched on in this volume in Kap. iv., s. 558.
[8] The point that when we judge two successive impressions to be different we do not necessarily represent both simultaneously, has been recently emphasised by G. F. Stout and T. Loveday, who quote the views of Wundt and Schumann. See Mind, N.S., ix. (1900), pp. 1–7, and p. 386.
[9] Dr. Lipps seems half to perceive this mode of interaction among parts of a complex presentation when he says that the cylinder appears to renounce its dignity (Würde) as man’s head-covering when it stoops to adorn the head of a child (loc. cit.).
[10] Geschichte der Æsthetik in Deutschland, p. 343.