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meanings at the same time, the one merely plausible, which is put forward by the actors, the other a real one, which is given by the public. We see the real meaning of the situation, because care has been taken to show us every aspect of it; but each of the actors knows only one of these aspects: hence the mistakes they make and the erroneous judgments they pass both on what is going on around them and on what they are doing themselves. We proceed from this erroneous judgment to the correct one, we waver between the possible meaning and the real, and it is this mental seesaw between two contrary interpretations which is at first apparent in the enjoyment we derive from an equivocal situation. It is natural that certain philosophers should have been specially struck by this mental instability, and that some of them should regard the very essence of the ludicrous as consisting in the collision or coincidence of two judgments that contradict each other. Their definition, however, is far from meeting every case, and even when it does, it defines—not the principle of the ludicrous, but only one of its more or less distant consequences. Indeed, it is easy