Part 21

The numerous and unrestricted application of indirect representation, of displacements, and especially of allusions in the dream-work, has a result which I mention not because of its own significance but because it became for me the subjective inducement to occupy myself with the problem of wit. If a dream analysis is imparted to one unfamiliar with the subject and unaccustomed to it, and the peculiar ways of allusions and displacements (objectionable to the waking thoughts but utilized by the dream-work) are explained, the hearer experiences an uncomfortable impression; he declares these interpretations to be “witty,” but it seems obvious to him that these are not successful jokes but forced ones which run contrary to the rules of wit. This impression can be easily explained; it is due to the fact that the dream-work operates with the same means as wit, but in the application of the same the dream exceeds the bounds which wit restricts. We shall soon learn that in consequence of the rôle of the third person wit is bound by a certain condition which does not affect the dream.

Irony—Negativism

Among those techniques which are common to both wit and dreams representation through the opposite and the application of absurdity are especially interesting. The first belongs to the strongly effective means of wit as shown in the examples of “outdoing wit” (p. 98). The representation through the opposite, unlike most of the wit-techniques, is unable to withdraw itself from conscious attention. He who intentionally tries to make use of wit-work, as in the case of the “habitual wit,” soon discovers that the easiest way to answer an assertion with a witticism is to concentrate one’s mind on the opposite of this assertion and trust to the chance flash of thought to brush aside the feared objection to this opposite by means of a different interpretation. Maybe the representation through its opposite is indebted for such a preference to the fact that it forms the nucleus of another pleasurable mode of mental expression, for an understanding of which we do not have to consult the unconscious. I refer to irony, which is very similar to wit and is considered a subspecies of the comic. The essence of irony consists in imparting the very opposite of what one intended to express, but it precludes the anticipated contradiction by indicating through the inflections, concomitant gestures, and through slight changes in style—if it is done in writing—that the speaker himself means to convey the opposite of what he says. Irony is applicable only in cases where the other person is prepared to hear the reverse of the statement actually made, so that he cannot fail to be inclined to contradict. As a consequence of this condition ironic expressions are particularly subject to the danger of being misunderstood. To the person who uses it, it gives the advantage of readily avoiding the difficulties to which direct expressions, as, for example, invectives, are subject. In the hearer it produces comic pleasure, probably by causing him to make preparations for contradiction, which are immediately found to be unnecessary. Such a comparison of wit with a form of the comical that is closely allied to it might strengthen us in the assumption that the relation of wit to the unconscious is the peculiarity that also distinguishes it from the comical.

In dream-work, representation through the opposite has a far more important part to play than in wit. The dream not only delights in representing a pair of opposites by means of one and the same composite image, but in addition it often changes an element from the dream-thoughts into its opposite, thus causing considerable difficulty in the work of interpretation. In the case of any element capable of having an opposite it is impossible to tell whether it is to be taken negatively or positively in the dream-thoughts.

I must emphasize that as yet this fact has by no means been understood. Nevertheless, it seems to give indications of an important characteristic of unconscious thinking which in all probability results in a process comparable to “judging.” Instead of setting aside judgments the unconscious forms “repressions.” The repression may correctly be described as a stage intermediate between the defense reflex and condemnation.

The Unconscious as the Psychic Stage of the Wit-work

Nonsense, or absurdity, which occurs so often in dreams and which has made them the object of so much contempt, has never really come into being as the result of an accidental shuffling of conceptual elements, but may in every case be proven to have been purposely admitted by the dream-work. Nonsense and absurdity are intended to express embittered criticism and scornful contradiction within the dream-thoughts. Absurdity in the dream-content thus stands for the judgment: “It’s pure nonsense,” expressed in dream-thoughts. In my work on the Interpretation of Dreams, I have placed great emphasis on the demonstration of this fact because I thought that I could in this manner most strikingly controvert the error expressed by many that the dream is no psychic phenomenon at all—an error which bars the way to an understanding of the unconscious. Now we have learnt (in the analysis of certain tendency-witticisms on p. 73) that nonsense in wit is made to serve the same purposes of expression. We also know that a nonsensical façade of a witticism is peculiarly adapted to enhance the psychic expenditure in the hearer and hence also to increase the amount to be discharged through laughter. Moreover, we must not forget that nonsense in wit is an end in itself, since the purpose of reviving the old pleasure in nonsense is one of the motives of the wit-work. There are other ways to regain the feeling of nonsense in order to derive pleasure from it; caricature, exaggeration, parody, and travesty utilize the same and thus produce “comical nonsense.” If we subject these modes of expression to an analysis similar to the one used in studying wit, we shall find that there is no occasion in any of them for resorting to unconscious processes in our sense for the purpose of getting explanations. We are now also in a position to understand why the “witty” character may be added as an embellishment to caricature, exaggeration, and parody; it is the manifold character of the performance upon the “psychic stage” that makes this possible.

I am of the opinion that by transferring the wit-work into the system of the unconscious we have made a distinct gain, since it makes it possible for us to understand the fact that the various techniques to which wit admittedly adheres are on the other hand not its exclusive property. Many doubts, which have arisen in the beginning of our investigation of these techniques and which we were forced temporarily to leave, can now be conveniently cleared up. Hence we shall give due consideration to the doubt which expresses itself by asserting that the undeniable relation of wit to the unconscious is correct only for certain categories of tendency-wit, while we are ready to claim this relation for all forms and all the stages of development of wit. We may not shirk the duty of testing this objection.

We may assume that we deal with a sure case of wit-formation in the unconscious when it concerns witticisms that serve unconscious tendencies, or those strengthened by unconscious tendencies, as, for example, most “cynical” witticisms. For in such cases the unconscious tendency draws the foreconscious thought down into the unconscious in order to remodel it there; a process to which the study of the psychology of the neuroses has added many analogies with which we are acquainted. But in the case of tendency-wit of other varieties, namely, harmless wit and the jest, this power seems to fall away, and the relation of the wit to the unconscious is an open question.

But now let us consider the case of the witty expression of a thought that is not without value in itself and that comes to the surface in the course of the association of mental processes. In order that this thought may become a witticism, it is of course necessary that it make a choice among the possible forms of expression in order to find the exact form that will bring along the gain in word-pleasure. We know from self-observation that this choice is not made by conscious attention; but the selection will certainly be better if the occupation energy of the foreconscious thought is lowered to the unconscious. For in the unconscious, as we have learnt from the dream-work, the paths of association emanating from a word are treated on a par with associations from objects. The occupation energy from the unconscious presents by far the more favorable conditions for the selection of the expression. Moreover, we may assume without going farther that the possible expression which contains the gain in word-pleasure exerts a lowering effect on the still fluctuating self-command of the foreconscious, similar to that exerted in the first case by the unconscious tendency. As an explanation for the simpler case of the jest we may imagine that an ever watchful intention of attaining the gain in word-pleasure seizes the opportunity offered in the foreconscious of again drawing the investing energy down into the unconscious, according to the familiar scheme.

I earnestly wish that it were possible for me on the one hand to present one decisive point in my conception of wit more clearly, and on the other hand to fortify it with compelling arguments. But as a matter of fact it is not a question here of two failures, but of one and the same failure. I can give no clearer exposition because I have no further testimony on behalf of my conception. The latter has developed as the result of my study of the technique and of comparison with dream-work, and indeed from this one side only. I now find that the dream-work is altogether excellently adapted to the peculiarities of wit. This conception is now concluded; if the conclusion leads us not to a familiar province, but rather to one that is strange and novel to our modes of thought, the conclusion is called a “hypothesis,” and the relation of the hypothesis to the material from which it is drawn is justly not accepted as “proof.” The hypothesis is admitted as “proved” only if it can be reached by other ways and if it can be shown to be the junction point for other associations. But such proof, in view of the fact that our knowledge of unconscious processes has hardly begun, cannot be had. Realizing then that we are on soil still virgin, we shall be content to project from our viewpoint of observation one narrow slender plank into the unexplored region.

We shall not build a great structure on such a foundation as this. If we correlate the different stages of wit to the mental dispositions favorable to them we may say: The jest has its origin in the happy mood; what seems to be peculiar to it is an inclination to lower the psychic static energies (Besetzungen). The jest already makes use of all the characteristic techniques of wit and satisfies the fundamental conditions of the same through the choice of such an assortment of words or mental associations as will conform not only to the requirements for the production of pleasure, but also conform to the demands of the intelligent critic. We shall conclude that the sinking of the mental energy to the unconscious stage, a process facilitated by the happy mood, has already taken place in the case of the jest. The mood does away with this requirement in the case of harmless wit connected with the expression of a valuable thought; here we must assume a particular personal adaptation which finds it as easy to come to expression as it is for the foreconscious thought to sink for a moment into the unconscious. An ever watchful tendency to renew the original resultant pleasure of wit exerts thereby a lowering effect upon the still fluctuating foreconscious expression of the thought. Most people are probably capable of making jests when in a happy mood; aptitude for joking independent of the mood is found only in a few persons. Finally, the most powerful incentive for wit-work is the presence of strong tendencies which reach back into the unconscious and which indicate a particular fitness for witty productions; these tendencies might explain to us why the subjective conditions of wit are so frequently fulfilled in the case of neurotic persons. Even the most inapt person may become witty under the influence of strong tendencies.

Differences Between Wit and Dreams

This last contribution, the explanation of wit-work in the first person, though still hypothetical, strictly speaking, ends our interest in wit. There still remains a short comparison of wit to the more familiar dream and we may expect that, outside of the one agreement already considered, two such diverse mental activities should show nothing but differences. The most important difference lies in their social behavior. The dream is a perfectly asocial psychic product. It has nothing to tell to anyone else, having originated in an individual as a compromise between conflicting psychic forces it remains incomprehensible to the person himself and has therefore altogether no interest for anybody else. Not only does the dream find it unnecessary to place any value on intelligibleness, but it must even guard against being understood, as it would then be destroyed; it can only exist in disguised form. For this reason the dream may make use freely of the mechanism that controls unconscious thought processes to the extent of producing undecipherable disfigurements. Wit, on the other hand, is the most social of all those psychic functions whose aim is to gain pleasure. It often requires three persons, and the psychic process which it incites always requires the participation of at least one other person. It must therefore bind itself to the condition of intelligibleness; it may employ disfigurement made practicable in the unconscious through condensation and displacement, to no greater extent than can be deciphered by the intelligence of the third person. As for the rest, wit and dreams have developed in altogether different spheres of the psychic life, and are to be classed under widely separated categories of the psychological system. No matter how concealed the dream is still a wish, while wit is a developed play. Despite its apparent unreality the dream retains its relation to the great interests of life; it seeks to supply what is lacking through a regressive detour of hallucinations; and it owes its existence solely to the strong need for sleep during the night. Wit, on the other hand, seeks to draw a small amount of pleasure from the free and unencumbered activities of our psychic apparatus, and later to seize this pleasure as an incidental gain. It thus secondarily reaches to important functions relative to the outer world. The dream serves preponderately to guard from pain while wit serves to acquire pleasure; in these two aims all our psychic activities meet.

VII WIT AND THE VARIOUS FORMS OF THE COMIC

We have approached the problems of the comic in an unusual manner. It appeared to us that wit, which is usually regarded as a subspecies of the comic, offered enough peculiarities to warrant our taking it directly under consideration, and thus it came about that we avoided discussing its relation to the more comprehensive category of the comic as long as it was possible to do so, yet we did not proceed without picking up on the way some hints that might be valuable for studying the comic. We found it easy to ascertain that the comic differs from wit in its social behavior. The comic can be content with only two persons, one who finds the comical, and one in whom it is found. The third person to whom the comical may be imparted reinforces the comic process, but adds nothing new to it. In wit, however, this third person is indispensable for the completion of the pleasure-bearing process, while the second person may be omitted, especially when it is not a question of aggressive wit with a tendency. Wit is made, while the comical is found; it is found first of all in persons, and only later by transference may be seen also in objects, situations, and the like. We know, too, in the case of wit that it is not strange persons, but one’s own mental processes that contain the sources for the production of pleasure. In addition we have heard that wit occasionally reopens inaccessible sources of the comic, and that the comic often serves wit as a façade to replace the fore-pleasure usually produced by the well-known technique (p. 236). All of this does not really point to a very simple relationship between wit and the comic. On the other hand, the problems of the comic have shown themselves to be so complicated, and have until now so successfully defied all attempts made by the philosophers to solve them, that we have not been able to justify the expectation of mastering it by a sudden stroke, so to speak, even if we approach it along the paths of wit. Incidentally we came provided with an instrument for investigating wit that had not yet been made use of by others; namely, the knowledge of dream-work. We have no similar advantage at our disposal for comprehending the comic, and we may therefore expect that we shall learn nothing about the nature of the comic other than that which we have already become aware of in wit; in so far as wit belongs to the comic and retains certain features of the same unchanged or modified in its own nature.

The Naïve

The species of the comic that is most closely allied to wit is the naïve. Like the comic the naïve is found universally and is not made like in the case of wit. The naïve cannot be made at all, while in the case of the pure comic the question of making or evoking the comical may be taken into account. The naïve must result without our intervention from the speech and actions of other persons who take the place of the second person in the comic or in wit. The naïve originates when one puts himself completely outside of inhibition, because it does not exist for him; that is, if he seems to overcome it without any effort. What conditions the function of the naïve is the fact that we are aware that the person does not possess this inhibition, otherwise we should not call it naïve but impudent, and instead of laughing we should be indignant. The effect of the naïve, which is irresistible, seems easy to understand. An expenditure of that inhibition energy which is commonly already formed in us suddenly becomes inapplicable when we hear the naïve and is discharged through laughter; as the removal of the inhibition is direct, and not the result of an incited operation, there is no need for a suspension of attention. We behave like the hearer in wit, to whom the economy of inhibition is given without any effort on his part.

In view of the understanding about the genesis of inhibitions which we obtained while tracing the development of play into wit, it will not surprise us to learn that the naïve is mostly found in children, although it may also be observed in uneducated adults, whom we look on as children as far as their intellectual development is concerned. For the purposes of comparison with wit, naïve speech is naturally better adapted than naïve actions, for speech and not actions are the usual forms of expression employed by wit. It is significant, however, that naïve speeches, such as those of children, can without straining also be designated as “naïve witticisms.” The points of agreement as well as demonstration between wit and naïveté will become clear to us upon consideration of a few examples.

A little girl of three years was accustomed to hear from her German nurse the exclamatory word “Gesundheit” (God bless you!; literally, may you be healthy!) whenever she happened to sneeze. While suffering from a severe cold during which the profuse coughing and sneezing caused her considerable pain, she pointed to her chest and said to her father, “Daddy, Gesundheit hurts.”

Another little girl of four years heard her parents refer to a Jewish acquaintance as a Hebrew, and on later hearing the latter’s wife referred to as Mrs. X, she corrected her mother, saying, “No, that is not her name; if her husband is a Hebrew she is a Shebrew.”

In the first example the wit is produced through the use of a contiguous association in the form of an abstract thought for the concrete action. The child so often heard the word “Gesundheit” associated with sneezing that she took it for the act itself. While the second example may be designated as word-wit formed by the technique of sound similarity. The child divided the word Hebrew into He-brew and having been taught the genders of the personal pronouns, she naturally imagined that if the man is a He-brew his wife must be a She-brew. Both examples could have originated as real witticisms upon which we would have unwillingly bestowed a little mild laughter. But as examples of naïveté they seem excellent and cause loud laughter. But what is it here that produces the difference between wit and naïveté? Apparently it is neither the wording nor the technique, which is the same for both wit and the naïve, but a factor which at first sight seems remote from both. It is simply a question whether we assume that the speakers had the intention of making a witticism or whether we assume that they—the children—wished to draw an earnest conclusion, a conclusion held in good faith though based on uncorrected knowledge. Only the latter case is one of naïveté. It is here that our attention is first called to the mechanism in which the second person places himself into the psychic process of the person who produces the wit.

The investigation of a third example will confirm this opinion. A brother and a sister, the former ten and the latter twelve years old, produce a play of their own composition before an audience of uncles and aunts. The scene represents a hut on the seashore. In the first act the two dramatist-actors, a poor fisherman and his devoted wife, complain about the hard times and the difficulty of getting a livelihood. The man decides to sail over the wide ocean in his boat in order to seek wealth elsewhere, and after a touching farewell the curtain is drawn. The second act takes place several years later. The fisherman has come home rich with a big bag of money and tells his wife, whom he finds waiting in front of the hut, what good luck he has had in the far countries. His wife interrupts him proudly, saying: “Nor have I been idle in the meanwhile,” and opens the hut, on whose floor the fisherman sees twelve large dolls representing children asleep. At this point of the drama the performers were interrupted by an outburst of laughter on the part of the audience, a thing which they could not understand. They stared dumfounded at their dear relatives, who had thus far behaved respectably and had listened attentively. The explanation of this laughter lies in the assumption on the part of the audience that the young dramatists know nothing as yet about the origin of children, and were therefore in a position to believe that a wife would actually boast of bearing offspring during the prolonged absence of her husband, and that the husband would rejoice with her over it. But the results achieved by the dramatists on the basis of this ignorance may be designated as nonsense or absurdity.

These examples show that the naïve occupies a position midway between wit and the comic. As far as wording and contents are concerned, the naïve speech is identical with wit; it produces a misuse of words, a bit of nonsense, or an obscenity. But the psychic process of the first person or producer which, in the case of wit, offered us so much that was interesting and puzzling, is here entirely absent. The naïve person imagines that he is using his thoughts and expressions in a simple and normal manner; he has no other purpose in view, and receives no pleasure from his naïve production. All the characteristics of the naïve lie in the conception of the hearer, who corresponds to the third person in the case of wit. The producing person creates the naïve without any effort. The complicated technique, which in wit serves to paralyze the inhibition produced by the critical reason, does not exist here, because the person does not possess this inhibition, and he can therefore readily produce the senseless and the obscene without any compromise. The naïve may be added to the realm of wit if it comes into existence after the important function of the censor, as observed in the formula for wit-formation, has been reduced to zero.

If the affective determination of wit consists in the fact that both persons should be subject to about the same inhibitions or inner resistances, we may say now that the determination of the naïve consists in the fact that one person should have inhibitions which the other lacks. It is the person provided with inhibitions who understands the naïve, and it is he alone who gains the pleasure produced by the naïve. We can easily understand that this pleasure is due to the removal of inhibitions. Since the pleasure of wit is of the same origin—a kernel of word-pleasure and nonsense-pleasure, and a shell of removal- and release-pleasure,—the similarity of this connection to the inhibition thus determines the inner relationship between the naïve and wit. In both cases pleasure results from the removal of inner inhibitions. But the psychic process of the recipient person (which in the naïve regularly corresponds with our ego, whereas in wit we may also put ourselves in place of the producing person) is by as much more complicated in the case of the naïve as it is simpler in the producing person in wit. For one thing, the naïve must produce the same effect upon the receiving person as wit does, this may be fully confirmed by our examples, for just as in wit the removal of the censor has been made possible by the mere effort of hearing the naïve. But only a part of the pleasure created by the naïve admits of this explanation, in other cases of naïve utterances, even this portion would be endangered, as, for example, while listening to naïve obscenities. We would react to a naïve obscenity with the same indignation felt toward a real obscenity, were it not for the fact that another factor saves us from this indignation and at the same time furnishes the more important part of the pleasure derived from the naïve.

This other factor is the result of the condition mentioned before, namely, that in order to recognize the naïve we have to be cognizant of the fact that there are no inner inhibitions in the producing person. It is only when this is assured that we laugh instead of being indignant. Hence we take into consideration the psychic state of the producing person; we imagine ourselves in this same psychic state and endeavor to understand it by comparing it to our own. This putting ourselves into the psychic state of the producing person and comparing it with our own results in an economy of expenditure which we discharge through laughing.

We might prefer the simpler explanation, namely, that when we reflect that the person has no inhibition to overcome our indignation becomes superfluous; the laughing therefore results at the cost of economized indignation. In order to avoid this conception, which is, in general, misleading, I shall distinguish more sharply between two cases that I had treated as one in the above discussion. The naïve, as it appears to us, may either be in the nature of a witticism, as in our example, or an obscenity, or of anything generally objectionable; which becomes especially evident if the naïve is expressed not in speech but in action. This latter case is really misleading; for it might lead one to assume that the pleasure originated from the economized and transformed indignation. The first case is the illuminating one. The naïve speech in the example “Hebrew” can produce the effect of a light witticism and give no cause for indignation; it is certainly the more rare, or the more pure and by far the more instructive case. In so far as we think that the child took the syllable “he” in “Hebrew” seriously, and without any additional reason identified it with the masculine personal pronoun, the increase in pleasure as a result of hearing it has no longer anything to do with the pleasure of the wit. We shall now consider what has been said from two viewpoints, first how it came into existence in the mind of the child, and secondly, how it would occur to us. In following this comparison we find that the child has discovered an identity and has overcome barriers which exist in us, and by continuing still further it may express itself as follows: “If you wish to understand what you have heard, you may save yourself the expenditure necessary for holding these barriers in place.” The expenditure which became freed by this comparison is the source of pleasure in the naïve, and is discharged through laughter; to be sure, it is the same expenditure which we would have converted into indignation if our understanding of the producing person, and in this case the nature of his utterance, had not precluded it. But if we take the case of the naïve joke as a model for the second case, viz., the objectionable naïve, we shall see that here, too, the economy in inhibition may originate directly from the comparison. That is, it is unnecessary for us to assume an incipient and then a strangulated indignation, an indignation corresponding to a different application of the freed expenditure, against which, in the case of wit, complicated defensive mechanisms were required.

Source of Comic Pleasure in the Naïve