often used in autobiographies. Naturally “pegasus” is not the proper word to replace the words “the poet,” but it has thought associations to it and is a high-sounding word.
From Wippchen’s other numerous productions some examples can be shown which present the pure comic. As an example of comic disillusionment the following can be cited: “For hours the battle raged, finally it remained undecisive”; an example of comical unmasking (of ignorance) is the following: “Clio, the Medusa of history,” or quotations like the following: “Habent sua fata morgana.” But our interest is aroused more by the fusions and modifications because they recall familiar techniques of wit. We may compare them to such modification witticisms as the following: “He has a great future behind him,” and Lichtenberg’s modification witticisms such as: “New baths heal well,” etc. Should Wippchen’s productions having the same technique be called witticisms, or what distinguishes them from the latter?
It is surely not difficult to answer this. Let us remember that wit presents to the hearer a double face, and forces him to two different views. In nonsense-witticisms such as those mentioned last, one view, which considers
