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80后老去,情怀不死 农产品也有“韩寒范儿”

80后老去,情怀不死 农产品也有“韩寒范儿”

  80后老去,情怀不死 农产品也有“韩寒范儿”
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  罗曼罗兰曾说过:在认清生活的真相后依然热爱它。手植记的成功,正是因为这种热爱生活的态度和精神。
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. n7 o7 W1 v4 F  x  v2 q; i  诞生于奔三之前——寻找生活中的小甜蜜* D: E0 z4 W0 e3 b0 Z+ Y2 M; m9 B. ]

! W. |/ x& U5 W( M* b  手植记的诞生可以称得上是一次意外怀孕。由某文化创意公司CEO发起了一次,为自己的员工发放健康食材福利的旅行,却意外发现了原生态食材市场的大需求量。/ Y3 n4 c8 L! J; Y

* {& D0 L/ O7 ?6 G, B) x  Q9 A  光是活着就竭尽全力了,没错,世界复杂但这就是天朝HARD模式的生存法则,如果青春年少,这群创意人还大可趁年轻做个合格的浪子。但而立之年的他们,有了家庭的责任,青年不愤青,因为他们长大了,决定给自己和家人一份“健健康康”作为活至中年的礼物。  f$ e6 z# Y0 R* j% B
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  这段话是理解手植记精神的核心,顺应生活不是妥协而是为了更好地生活。就是这样积极态度催生出不一样的品牌思维。, l$ m8 o5 V& W2 ^6 B

7 m5 Q0 M1 @( Z+ z% R) s: g  成长在路上——手植之旅7 \1 E2 ?" i& n6 J5 n; T5 p- W

% }6 Z0 ?0 b3 o/ w. v$ F! Q% `% V, T  如今,手植之旅第二季刚刚结束。团队历时20天,途径蔚县-冀州-广灵-张北-凉城-岱海-斗泉乡-灵丘-沁县-红崖村-长治-娄烦-晋祠-晋中-社城-平遥-茌平等地。寻得天鹰椒、桃花米、口蘑、岱海葵花籽、红芸豆、仁用杏仁、核桃、黄小米、晋祠大米、娄烦蘑菇、黄豆、社城黑小米、茌平圆铃大枣等珍贵的原生食材。3680公里,1586张照片,20000文字,同时还找到了一批有共同爱好的人。
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& O# V9 ]! Z7 u0 V1 I: N  发展在方圆中——一屋不扫何以扫天下
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  手植记的诞生虽然任性,但发展却是步步为营的。将这五步总结便是:; [- S. ^. Y, P$ f) I$ w$ N
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  ①先有人物故事后有商品,说故事比商品和服务更重要; U( O% C4 ~' t; L: _$ l
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  房价,堵车,加班,雾霾和地沟油。这些标签是80的生活元素,一句光活着就已经竭尽全力能引起他们的共鸣。
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$ J5 T# N6 f7 Q3 _  ②如何方法化最重要,借势和联合媒体的重要性$ f2 e& G; p; S4 y' a
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  舌尖2在整个热播的期间,手植之旅同步宣传,加上媒体的关注,带来了不错的效果。5 c/ c1 S, ?, W9 {4 ^) L: Z
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  ③极致创意设计,体验式营销塑造品牌
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  包装设采用原生态纸,古朴现代相互融合的排版,标明手植记原生态的品牌个性。6 y9 T+ ~# f! |, V, w4 o
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  ④执行力,所有员工成就品牌
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" ]- Q3 W$ [; {  手植之旅第二季再次启程,团队始终保持着高效快速的执行力。为生活探寻原生态食材,共同的愿望为了家人的幸福。) d! @% b% B  Z8 X& l. G2 \; q
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  如今的手植记已经是拥有几十人的创意团队,这个以每年几倍增长的原生态品牌不断创造着电商的奇迹。我也相信,手植记会走得越来越远,因为他们一直懂得:不忘初心,方得始终。

CHAPTER I$ j! [: ~7 g: X9 `& x: C! z
THE COMIC IN GENERAL--THE COMIC ELEMENT IN
6 e) t2 E3 f! z. zFORMS AND MOVEMENTS--, v/ Y0 A" L: h
EXPANSIVE FORCE OF THE COMIC.
  ~. S1 u% p5 dWhat does laughter mean? What is the basal element in the laughable?& z* u" z  h$ e- r& g0 f1 E5 K1 D
What common ground can we find between the grimace of a merryandrew,
" O8 G& m% P0 K& @  s7 Ba play upon words, an equivocal situation in a burlesque and% ^2 V4 |+ `, Q- N2 C0 Y: x
a scene of high comedy? What method of distillation will yield us
( [; R) y' v! Y8 V3 j8 \3 B( Finvariably the same essence from which so many different products' g: n" [5 y8 [% v. _
borrow either their obtrusive odour or their delicate perfume? The
$ k, o6 R' Y4 }+ v9 [. C5 agreatest of thinkers, from Aristotle downwards, have tackled this
# g7 b( X5 W( Z9 Wlittle problem, which has a knack of baffling every effort, of2 w, u- C/ b/ m
slipping away and escaping only to bob up again, a pert challenge0 ]. s( e, R/ T; d
flung at philosophic speculation. Our excuse for attacking the
7 `7 ?3 ~8 D) [problem in our turn must lie in the fact that we shall not aim at
* v3 M2 w  ?# }" eimprisoning the comic spirit within a definition. We regard it,0 ^# U# r2 [+ V6 Q2 F* G
above all, as a living thing. However trivial it may be, we shall
! X/ E0 K- \' Z0 X3 T, N* @treat it with the respect due to life. We shall confine ourselves to
) }  s7 |2 b' Q% ?$ W9 C1 F5 dwatching it grow and expand. Passing by imperceptible gradations
8 V; o1 ~+ D7 f/ R& |from one form to another, it will be seen to achieve the strangest
3 a9 l/ i  p5 fmetamorphoses. We shall disdain nothing we have seen. Maybe we may
3 n# R9 S: Q+ O9 X  f: Fgain from this prolonged contact, for the matter of that, something( ?1 C% {  D' }& v5 I* k3 _
more flexible than an abstract definition,--a practical, intimate. l& _( ~* a( I6 W6 U% Z1 @
acquaintance, such as springs from a long companionship. And maybe
, i' B+ U# Q3 b' M* u" u1 b# Dwe may also find that, unintentionally, we have made an acquaintance3 B  u+ m! b$ c6 }( A$ A0 t
that is useful. For the comic spirit has a logic of its own, even in
' s* d5 X8 y: c& P% m, vits wildest eccentricities. It has a method in its madness. It. g) h8 r& Y5 l; R# B5 H. z% f* i9 Y) ^
dreams, I admit, but it conjures up, in its dreams, visions that are
% ]: I  Y: C2 s6 Rat once accepted and understood by the whole of a social group. Can) |) N" y/ |% m$ ^; {' F. L
it then fail to throw light for us on the way that human imagination
# E. S" ?' e* p0 S7 }works, and more particularly social, collective, and popular5 j6 h$ R. ^3 Y2 E
imagination? Begotten of real life and akin to art, should it not
3 v' r0 \4 W* X- Y2 q& _also have something of its own to tell us about art and life?5 f5 O; K# b& B( C: T0 g
At the outset we shall put forward three observations which we look
5 S( k* X, O: G* [: z; B# ?5 fupon as fundamental. They have less bearing on the actually comic
$ [9 J- k3 `0 U% q. i/ W, }; u7 rthan on the field within which it must be sought.' s, a5 q8 I5 E/ j6 I0 m% U" l$ ~. y
I
8 ^. `0 D! D+ C4 L3 {The first point to which attention should be called is that the
9 J8 z. O1 u( |: D3 n2 t6 B, ~comic does not exist outside the pale of what is strictly HUMAN. A
/ y9 J) m& h* A+ alandscape may be beautiful, charming and sublime, or insignificant
" C+ F# P# n2 s2 B& Cand ugly; it will never be laughable. You may laugh at an animal,
" B3 W' H  m! J) _1 dbut only because you have detected in it some human attitude or+ V+ p4 g; w/ m" q# a0 o  J
expression. You may laugh at a hat, but what you are making fun of,
# m- U" x8 T. _% |0 Cin this case, is not the piece of felt or straw, but the shape that
8 K. e) r  V0 u( f, Omen have given it,--the human caprice whose mould it has assumed. It" Q- Y: m3 [3 s' b* G
is strange that so important a fact, and such a simple one too, has( {$ N/ |* C% Q
not attracted to a greater degree the attention of philosophers.# m4 q7 ]0 Z% i# K& X
Several have defined man as "an animal which laughs." They might
7 _- n1 A8 `* U; S1 }equally well have defined him as an animal which is laughed at; for
! z$ T1 i1 H  E  }  Lif any other animal, or some lifeless object, produces the same. r: j; o& }% p6 c3 o
effect, it is always because of some resemblance to man, of the
" M  ^& e" G& t3 Q. Hstamp he gives it or the use he puts it to.
# s, G, X3 E; F+ m% v1 }) w% u& eHere I would point out, as a symptom equally worthy of notice, the& @( |1 N, a7 J3 L6 e% s0 J; O/ b
ABSENCE OF FEELING which usually accompanies laughter. It seems as
0 g& h. ^  Q- C1 {though the comic could not produce its disturbing effect unless it
' c) \$ P. F! U( Pfell, so to say, on the surface of a soul that is thoroughly calm
7 m; p" |" u( f' K; v5 C/ ], {and unruffled. Indifference is its natural environment, for laughter
% _; |6 O" ~. Q5 u/ H* F. t# uhas no greater foe than emotion. I do not mean that we could not! T6 ]5 `& V1 F; X. l
laugh at a person who inspires us with pity, for instance, or even0 g0 C) v4 h( r
with affection, but in such a case we must, for the moment, put our
2 y; A7 l+ S1 `# |affection out of court and impose silence upon our pity. In a% u' z9 y1 h& \5 h+ o
society composed of pure intelligences there would probably be no* x; m7 m) A! P' W: r( t3 ]4 M7 K
more tears, though perhaps there would still be laughter; whereas
  @. Q8 J3 |3 g2 S7 S1 Ehighly emotional souls, in tune and unison with life, in whom every( d6 E3 R/ r) J- c1 p  s/ a
event would be sentimentally prolonged and re-echoed, would neither# T0 z; ^# E. Z# ?+ I
know nor understand laughter. Try, for a moment, to become3 n5 K  e* |1 N$ j( h
interested in everything that is being said and done; act, in
" t6 @( Q& D: `4 F4 [- x3 i- Simagination, with those who act, and feel with those who feel; in a8 I0 M$ ^* w9 Y, Q0 T. l+ g, D
word, give your sympathy its widest expansion: as though at the
# Y- p4 H* K' D+ }6 N0 {' w( Jtouch of a fairy wand you will see the flimsiest of objects assume
4 f, g) \1 G. x7 pimportance, and a gloomy hue spread over everything. Now step aside,
/ F3 f) D# P( h& V9 ~$ dlook upon life as a disinterested spectator: many a drama will turn
# T; u4 Q0 o: E* o# Ainto a comedy. It is enough for us to stop our ears to the sound of
& O: `- \6 ]7 j2 y4 `music, in a room where dancing is going on, for the dancers at once
( v8 X2 n0 C6 }( _8 p3 pto appear ridiculous. How many human actions would stand a similar
5 c7 Y8 u- d4 j# T5 Ttest? Should we not see many of them suddenly pass from grave to. H, l# }! d4 Y. T( _' Z
gay, on isolating them from the accompanying music of sentiment? To
0 t" i9 F) `4 s4 S' L+ o" I. [: |+ V7 cproduce the whole of its effect, then, the comic demands something% s2 p8 g: x6 D+ ?4 i' }9 d
like a momentary anesthesia of the heart. Its appeal is to
. ]+ L. |9 E3 m+ ]  n6 nintelligence, pure and simple.( s4 J- H8 v( u# P& l/ J
This intelligence, however, must always remain in touch with other
. V: P4 B2 E: |) l7 z( ], gintelligences. And here is the third fact to which attention should2 G, `' a6 }2 T/ `/ M8 Q
be drawn. You would hardly appreciate the comic if you felt yourself" l: Q3 w8 Z+ b5 C2 g1 E# Q
isolated from others. Laughter appears to stand in need of an echo,0 h$ O1 S( c/ U! O! D. ~
Listen to it carefully: it is not an articulate, clear, well-defined
7 w' m4 K2 r/ [sound; it is something which would fain be prolonged by
" p  K8 Y4 v3 P8 B, freverberating from one to another, something beginning with a crash,
4 w' c3 X& _/ w8 O' b- N% nto continue in successive rumblings, like thunder in a mountain.
9 i- ?4 ?5 {* [5 K' G: Q; |Still, this reverberation cannot go on for ever. It can travel9 o5 K3 g& `: S: I6 q
within as wide a circle as you please: the circle remains, none the. y( ^# l. R+ a, e
less, a closed one. Our laughter is always the laughter of a group., m, Y4 W; T# l! r' u* N; {
It may, perchance, have happened to you, when seated in a railway
) ]6 y# q) a  _! {: Ncarriage or at table d'hote, to hear travellers relating to one
- _2 M! F# n! Danother stories which must have been comic to them, for they laughed
1 R: Y# A6 ]7 d% G3 o! U7 `heartily. Had you been one of their company, you would have laughed
+ Y! `. B: o! hlike them; but, as you were not, you had no desire whatever to do: o7 W, q: M" ~0 r
so. A man who was once asked why he did not weep at a sermon, when0 U: c5 }: L; g" d
everybody else was shedding tears, replied: "I don't belong to the
- P2 F* }" _! ~/ ]parish!" What that man thought of tears would be still more true of
4 Z; W% R1 X  f* zlaughter. However spontaneous it seems, laughter always implies a% @( V5 _% A! O4 w
kind of secret freemasonry, or even complicity, with other laughers,
* O0 G, o. a4 S/ h3 E, ~4 p* O+ oreal or imaginary. How often has it been said that the fuller the+ t. A. m' t2 w. y
theatre, the more uncontrolled the laughter of the audience! On the: `2 H5 D  K: a1 z
other hand, how often has the remark been made that many comic1 F6 Z; P) M. K& X
effects are incapable of translation from one language to another,
6 A3 t% D$ h3 a/ Y2 U' Rbecause they refer to the customs and ideas of a particular social. P/ {& q) O) D% S2 r
group! It is through not understanding the importance of this double! y% q3 @4 V: G1 J" l  I1 g
fact that the comic has been looked upon as a mere curiosity in
7 f7 ]7 X5 z- l# @which the mind finds amusement, and laughter itself as a strange,
4 v/ m/ E& j. h2 G" S* x. `isolated phenomenon, without any bearing on the rest of human1 ]+ I( y; N: h* s% h: x
activity. Hence those definitions which tend to make the comic into* \* w/ w4 s& I% P4 _; h) b/ I
an abstract relation between ideas: "an intellectual contrast," "a6 }: _+ O5 |( O: M
palpable absurdity," etc.,--definitions which, even were they really
! X5 _2 {) Z" S* x- ?$ Qsuitable to every form of the comic, would not in the least explain
5 r" O, e. i& l6 A- owhy the comic makes us laugh. How, indeed, should it come about that
5 A+ L/ w, t8 x8 z- j7 O0 bthis particular logical relation, as soon as it is perceived,
5 }9 F5 t- ^% h. ?& X5 M: `contracts, expands and shakes our limbs, whilst all other relations+ m9 N- `- s* `/ Q1 C$ D% z
leave the body unaffected? It is not from this point of view that we  T: d/ X- d. ?! `$ r
shall approach the problem. To understand laughter, we must put it% V. J3 m  c/ Z
back into its natural environment, which is society, and above all1 d5 s* G: B) c6 t; q6 Z6 W9 ?
must we determine the utility of its function, which is a social$ y/ G% @% l7 z6 f% k( k
one. Such, let us say at once, will be the leading idea of all our
( C1 x7 A; A0 [6 [" t- G9 Xinvestigations. Laughter must answer to certain requirements of life
; g5 U- I- K9 ^  n! f% A, Y% iin common. It must have a SOCIAL signification.
" g$ j+ ?' s* v3 d+ j2 }  xLet us clearly mark the point towards which our three preliminary3 R: ~! |* T/ w( ?$ \3 [& X& a
observations are converging. The comic will come into being, it
& O% F: {: Y3 Pappears, whenever a group of men concentrate their attention on one
$ \3 C% F( B! q  s4 e( ^) Wof their number, imposing silence on their emotions and calling into
# \: Y. k8 P- n$ _play nothing but their intelligence. What, now, is the particular' I8 l( |8 V  \3 C
point on which their attention will have to be concentrated, and
( z" j( B5 F0 _. C! x: z! Xwhat will here be the function of intelligence? To reply to these
& ]  ~8 x9 ~+ D% _questions will be at once to come to closer grips with the problem.
$ O: m( a1 z1 }- u# z) j* vBut here a few examples have become indispensable.) ]. u. P  |0 `7 y' r
II7 i3 @0 n* p1 }* b# f
A man, running along the street, stumbles and falls; the passers-by
/ ]+ Z* A0 Y* h, G5 vburst out laughing. They would not laugh at him, I imagine, could
0 g2 L# v5 d- p' K. Dthey suppose that the whim had suddenly seized him to sit down on) F9 |; X& P  N% e
the ground. They laugh because his sitting down is involuntary.
9 ~) |; Y- b% ~6 o- j6 s2 WConsequently, it is not his sudden change of attitude that raises a
- h# w" n& d- l* F* a8 s9 x' dlaugh, but rather the involuntary element in this change,--his
" K5 b4 q0 H; Z; pclumsiness, in fact. Perhaps there was a stone on the road. He6 [! V4 c  V6 j2 W' S: n) S9 V; v
should have altered his pace or avoided the obstacle. Instead of$ w: g  J% s2 b+ ~5 @& J
that, through lack of elasticity, through absentmindedness and a. U2 l2 m8 b$ B5 ~- p7 e
kind of physical obstinacy, AS A RESULT, IN FACT, OF RIGIDITY OR OF
9 L# e1 O/ M: b5 dMOMENTUM, the muscles continued to perform the same movement
$ ]+ L; ?0 t# u1 h" qwhen
( {* s. t' ?: x; Lthe circumstances of the case called for something else. That is the
3 k5 K/ {4 p9 c% b7 k) y) S* ]. freason of the man's fall, and also of the people's laughter.
4 b1 }2 g. E& H$ E9 ~Now, take the case of a person who attends to the petty occupations
$ l. v% P; X9 O- i2 M7 fof his everyday life with mathematical precision. The objects around
: B, ^; x! A3 r/ B" p; D3 p! @him, however, have all been tampered with by a mischievous wag, the
6 F( H3 I2 @9 A! fresult being that when he dips his pen into the inkstand he draws it" F- S- {7 m6 h8 c; z9 [. w
out all covered with mud, when he fancies he is sitting down on a
  b& H3 s: S5 U4 U( bsolid chair he finds himself sprawling on the floor, in a word his9 f5 E! V) Q5 [7 m# |, ]
actions are all topsy-turvy or mere beating the air, while in every
( A% q; ?7 {- M  q& dcase the effect is invariably one of momentum. Habit has given the
. _7 G- J# ~. ?% R, {impulse: what was wanted was to check the movement or deflect it. He
9 a6 E& g2 d8 d' ]4 e& {" }6 e" adid nothing of the sort, but continued like a machine in the same
: B! d# L' w( R) ystraight line. The victim, then, of a practical joke is in a
* @3 @- z* V' h( t0 M. h1 \7 r5 G  F9 uposition similar to that of a runner who falls,--he is comic for the
5 X8 f7 p% Q8 L7 b/ y0 D7 g) xsame reason. The laughable element in both cases consists of a, c5 Z% q% f/ c7 S1 G
certain MECHANICAL INELASTICITY, just where one would expect to find
* s' U4 W' U5 }9 e* M3 X+ c, ]the wide-awake adaptability and the living pliableness of a human8 `, x$ q  E1 ~
being. The only difference in the two cases is that the former
8 g9 G; [4 C' C& b& A$ e0 thappened of itself, whilst the latter was obtained artificially. In
+ Y) v- f0 H( |: C1 l$ ?) T& dthe first instance, the passer-by does nothing but look on, but in
0 ~1 x" O1 S! I2 Fthe second the mischievous wag intervenes.
. g& M  L: ?* d* \$ mAll the same, in both cases the result has been brought about by an7 U6 E( |& |. _) O
external circumstance. The comic is therefore accidental: it
: b; U( v1 _9 @( _/ I- h. ^remains, so to speak, in superficial contact with the person. How is; Q" A8 z$ k1 j+ m
it to penetrate within? The necessary conditions will be fulfilled
; h2 \" a( B/ y$ \' E2 I4 ?0 @when mechanical rigidity no longer requires for its manifestation a
5 ^9 J; N( m9 W# M' e; O0 w% Sstumbling-block which either the hazard of circumstance or human4 d. G7 D% E& `1 z1 |" w( ^. L% Y( B
knavery has set in its way, but extracts by natural processes, from, \+ P5 K/ s( x% p
its own store, an inexhaustible series of opportunities for
+ a5 }( _* z" D+ Z- D; Aexternally revealing its presence. Suppose, then, we imagine a mind$ m2 W5 S, m% {; p" }, ?& `6 P
always thinking of what it has just done and never of what it is, h1 M7 i3 h/ n( H/ A: G! i6 S
doing, like a song which lags behind its accompaniment. Let us try
% A1 X% ]+ v3 Rto picture to ourselves a certain inborn lack of elasticity of both4 X' T) f6 T' @( U# m. @+ z
senses and intelligence, which brings it to pass that we continue to- P2 N; r1 I3 q- ]
see what is no longer visible, to hear what is no longer audible, to
4 [5 ]8 s3 Q+ d& [; H1 @6 s0 msay what is no longer to the point: in short, to adapt ourselves to
* j( {% B5 N( L/ Z( Ka past and therefore imaginary situation, when we ought to be
6 L* [1 z# h! U+ eshaping our conduct in accordance with the reality which is present.
8 y( ?; O6 y' `! P/ R, pThis time the comic will take up its abode in the person himself; it
/ j) ^1 j! G, P# Cis the person who will supply it with everything--matter and form,1 c  Z6 T7 F7 A
cause and opportunity. Is it then surprising that the absent-minded
' Y4 {1 y  Q( y/ g# O. }& P; Kindividual--for this is the character we have just been describing--6 O0 Y; h+ N8 F4 n0 k
has usually fired the imagination of comic authors? When La Bruyere
; a: s4 f; c# {" Z; gcame across this particular type, he realised, on analysing it, that5 y! G* W. J' y3 Q
he had got hold of a recipe for the wholesale manufacture of comic
( ]4 r3 N  G, Q1 x# S% aeffects. As a matter of fact he overdid it, and gave us far too
, G0 W4 {& y6 U+ b! i6 rlengthy and detailed a description of Menalque, coming back to his! l. m% C0 V: M9 ~/ C; ]. c1 Z
subject, dwelling and expatiating on it beyond all bounds. The very+ \5 @+ g- d( c5 Z, `( U
facility of the subject fascinated him. Absentmindedness, indeed, is
6 I  r9 _0 O* i3 @! A4 o4 `% Dnot perhaps the actual fountain-head of the comic, but surely it is' y2 S$ X& I- O  k9 Z% v
contiguous to a certain stream of facts and fancies which flows' W/ k2 c! i% J. p9 O& I1 \; m
straight from the fountain-head. It is situated, so to say, on one
# H7 b' m6 E+ W( yof the great natural watersheds of laughter.
' K0 m0 V, E+ W6 ^5 ?Now, the effect of absentmindedness may gather strength in its turn.
7 }' W4 r" C  {7 kThere is a general law, the first example of which we have just
6 }' }% i" C0 y8 L$ W& R: yencountered, and which we will formulate in the following terms:0 U5 U) c2 f9 Z" ~8 Y# j" M
when a certain comic effect has its origin in a certain cause, the' T" h- n0 H/ E+ n2 }
more natural we regard the cause to be, the more comic shall we find
9 Q/ T0 \7 }# N& Ythe effect. Even now we laugh at absentmindedness when presented to
; Y7 ~2 F0 V5 S- y9 S2 }' @us as a simple fact. Still more laughable will be the
8 q8 f/ R" {( |9 c. v" mabsentmindedness we have seen springing up and growing before our
+ x% o- K6 o8 ]" L9 gvery eyes, with whose origin we are acquainted and whose lifehistory0 m# M. {7 E% j
we can reconstruct. To choose a definite example: suppose a9 P/ _" P  e9 T- G) E1 _; |
man has taken to reading nothing but romances of love and chivalry.
6 z4 x9 W% ]. B  j, l. pAttracted and fascinated by his heroes, his thoughts and intentions5 z8 I  l) b+ }
gradually turn more and more towards them, till one fine day we find& |5 M* n0 u3 D- h
him walking among us like a somnambulist. His actions are6 E- d% ~8 J) d- r" u
distractions. But then his distractions can be traced back to a1 A8 u+ N* q* h/ Y6 o' `
definite, positive cause. They are no longer cases of ABSENCE of
" J/ b9 ^/ K/ zmind, pure and simple; they find their explanation in the PRESENCE
, U/ F# `6 t" c5 ~: `' ?- a1 cof the individual in quite definite, though imaginary, surroundings.
  w3 ^  H. S& U" V: fDoubtless a fall is always a fall, but it is one thing to tumble
' Q: z: \  d9 u$ t& linto a well because you were looking anywhere but in front of you,
3 X7 c1 z/ R7 W2 Bit is quite another thing to fall into it because you were intent
! v$ z* X2 ]  k. F+ \upon a star. It was certainly a star at which Don Quixote was3 \! O" V' o& |) a3 N( u7 o
gazing. How profound is the comic element in the over-romantic,
1 p$ S. X1 ]" V) xUtopian bent of mind! And yet, if you reintroduce the idea of4 d7 K6 T+ j* i- o' I$ W7 c: r% ^5 U
absentmindedness, which acts as a go-between, you will see this; R5 x6 w+ F6 k  b9 W
profound comic element uniting with the most superficial type. Yes,
% D" m4 h. U6 O' mindeed, these whimsical wild enthusiasts, these madmen who are yet2 N# H6 A( {8 C8 K+ K  j8 S
so strangely reasonable, excite us to laughter by playing on the/ o5 t% Q1 C* P  u) Y+ [/ S
same chords within ourselves, by setting in motion the same inner- z- \$ k8 f9 E8 ?- J7 D
mechanism, as does the victim of a practical joke or the passer-by7 l; {7 F# z+ ?2 \
who slips down in the street. They, too, are runners who fall and: F$ c+ Q, m+ W8 h  V0 b* O: u
simple souls who are being hoaxed--runners after the ideal who
0 {6 u* b6 I/ U- X: L' `stumble over realities, child-like dreamers for whom life delights& M& V2 ]7 X( ~9 z" G" n, a
to lie in wait. But, above all, they are past-masters in9 W$ {/ y+ M1 Q: G$ i& w# J4 A, [
absentmindedness, with this superiority over their fellows that! i" K" A9 ^( U: D+ @; i& y0 j. a
their absentmindedness is systematic and organised around one
7 J2 }- F1 |: }  O* n' x: vcentral idea, and that their mishaps are also quite coherent, thanks
8 z! y3 }7 f! b9 yto the inexorable logic which reality applies to the correction of' U9 S: b" ~8 ^5 d. M/ a& C
dreams, so that they kindle in those around them, by a series of9 ]' S/ p1 I/ g8 z
cumulative effects, a hilarity capable of unlimited expansion.( I+ c8 Z" n& r
Now, let us go a little further. Might not certain vices have the
/ I  s0 A' W5 R" K8 W' Bsame relation to character that the rigidity of a fixed idea has to
7 S' e0 N1 L. t/ n# r9 r0 ^intellect? Whether as a moral kink or a crooked twist given to the7 L5 g0 b4 w- n
will, vice has often the appearance of a curvature of the soul.
; T# q! x/ T* \! Z  NDoubtless there are vices into which the soul plunges deeply with8 \8 k0 ^7 U8 U$ o& \
all its pregnant potency, which it rejuvenates and drags along with( e9 h; M; t+ }( z; i- m, |5 l
it into a moving circle of reincarnations. Those are tragic vices.
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