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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”2 N0 e0 l' V5 t2 T) ~' |. O  W
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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。/ Z0 m! M3 t" q# e' A8 S+ {9 p: `

: X& q/ T$ |6 j! @) K/ M- I, K  诞生于奔三之前——寻找生活中的小甜蜜) M3 J9 o8 k& k

) {% C- M+ s: a8 ^  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。
# R6 S! i) x& g
2 Q, m. p5 D8 k  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。
8 Q5 m2 t' V6 n$ o
+ z; u9 m5 c: a) k4 r* e% X) Y  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。: E  v0 H) M' w# C
( ?* _1 F3 Q& R* A$ z4 R; _3 a& {
  成长在路上——手植之旅
  C- Z6 h" v' L$ i% Z0 D1 ?
1 a' p" m' Z4 b+ E$ ^# C) P3 _  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。2 L: C/ B/ G! K$ x) @8 Y

! s/ @( [: C: @" f1 v# a- i$ q  发展在方圆中——一屋不扫何以扫天下& l/ p7 |) V1 K* p4 u) Z

  j% u# |# c) K! D# V9 v  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:/ E, k4 E; T( d
  Y2 s; K! e1 u
  ①先有人物故事后有商品,说故事比商品和服务更重要
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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。/ H: I( \7 j. X
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  ②如何方法化最重要,借势和联合媒体的重要性& I1 r) V$ v: y4 Z0 P3 z' o

) X5 P$ c. S7 i8 U8 S! A( L. G  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。
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; R8 F2 u& y! S3 X% A$ x/ g% ]  ③极致创意设计,体验式营销塑造品牌, M1 u+ f6 h; M1 O9 u
3 a3 y4 d6 i; b* [9 d# a  L
  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。
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$ I, K7 [" l% R( J: m( ?# K  ④执行力,所有员工成就品牌, f& S- n" h* Y. `

7 d2 E- r$ S! o& k& _  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。
6 }+ x1 Q1 j, {' V
2 U  G& w* K8 s7 o. H1 l  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
8 e; s1 _: Y# Z) X8 m7 u- tTHE COMIC IN GENERAL--THE COMIC ELEMENT IN) i9 Y3 g/ F# Q# H
FORMS AND MOVEMENTS--: O- E: G5 J+ E
EXPANSIVE FORCE OF THE COMIC.
9 |) Z" T4 B" p; E2 V% nWhat does laughter mean? What is the basal element in the laughable?
) h4 J9 `6 z7 l6 _5 @: nWhat common ground can we find between the grimace of a merryandrew,
( |9 M8 w! j* X! w2 ga play upon words, an equivocal situation in a burlesque and
  O( g% ~; ~& s. s9 ta scene of high comedy? What method of distillation will yield us
5 j* Y1 b, P0 u( P8 d% I* ~invariably the same essence from which so many different products9 M; `0 x! K9 e/ p# F# _' T) M) q, j& L
borrow either their obtrusive odour or their delicate perfume? The/ G8 \: a/ b; d& {) d
greatest of thinkers, from Aristotle downwards, have tackled this
: r7 T0 f# |: ~: _0 s$ J& ^, flittle problem, which has a knack of baffling every effort, of8 _5 ?% n3 I9 Q& B
slipping away and escaping only to bob up again, a pert challenge% Z3 d2 _" N3 W7 q" n" K
flung at philosophic speculation. Our excuse for attacking the* v2 |" P  e# x2 Z/ d3 ~( `
problem in our turn must lie in the fact that we shall not aim at6 f& X1 ]6 @$ K$ n0 Z( C" n& ~
imprisoning the comic spirit within a definition. We regard it,
! t5 x4 x1 k# }  Dabove all, as a living thing. However trivial it may be, we shall' Y6 t8 H7 F) ^+ J6 E
treat it with the respect due to life. We shall confine ourselves to
9 W. U" `9 @2 I2 I6 ~6 B7 Twatching it grow and expand. Passing by imperceptible gradations
, U( g5 i1 h# Y; O- ffrom one form to another, it will be seen to achieve the strangest
2 C- k; ~. ^# v, Nmetamorphoses. We shall disdain nothing we have seen. Maybe we may
: y! u  h7 z) |* z! q% igain from this prolonged contact, for the matter of that, something
/ O; {0 u, j2 Z# X$ F, A" Nmore flexible than an abstract definition,--a practical, intimate4 E6 V. Z" A6 H: C" i; L
acquaintance, such as springs from a long companionship. And maybe
' D) O6 U: R& dwe may also find that, unintentionally, we have made an acquaintance+ G$ N4 _* `" O
that is useful. For the comic spirit has a logic of its own, even in
7 o8 P( M9 r4 G; xits wildest eccentricities. It has a method in its madness. It+ i6 u: k/ u! M) i* \* E
dreams, I admit, but it conjures up, in its dreams, visions that are, `* {% p, V# q1 q1 Q: v
at once accepted and understood by the whole of a social group. Can9 J- j$ c" C2 K$ ?
it then fail to throw light for us on the way that human imagination
9 }, I; R# u! Z( kworks, and more particularly social, collective, and popular
( s% A5 W+ Y) kimagination? Begotten of real life and akin to art, should it not
% S2 W  ?/ A: Z- h& B3 J( O* s. Zalso have something of its own to tell us about art and life?
* r0 y' T( h$ |5 W- |! [6 ~At the outset we shall put forward three observations which we look
3 o6 u0 Q7 r/ x" ]! R$ u1 pupon as fundamental. They have less bearing on the actually comic
6 N" k4 {& r; r% ]than on the field within which it must be sought.
) [9 u: _& X: M/ TI& z- t" B9 q( Q8 ?
The first point to which attention should be called is that the3 y! U3 j* O7 ]
comic does not exist outside the pale of what is strictly HUMAN. A
8 t. f7 \9 l7 B* W! rlandscape may be beautiful, charming and sublime, or insignificant- O) C0 `- g$ q
and ugly; it will never be laughable. You may laugh at an animal,
, _1 g( V/ y  e9 h9 b9 Zbut only because you have detected in it some human attitude or( ~8 d; u% U( B% ^" P
expression. You may laugh at a hat, but what you are making fun of,; J* `% b5 a( H, o. \4 A
in this case, is not the piece of felt or straw, but the shape that- K5 n& g! V1 ]3 _' Y- J6 B
men have given it,--the human caprice whose mould it has assumed. It$ M# F- d( o  f  ?2 e
is strange that so important a fact, and such a simple one too, has
) Y& U  ^$ h/ B$ J6 I7 qnot attracted to a greater degree the attention of philosophers.
) v/ u" s% o% e" d3 QSeveral have defined man as "an animal which laughs." They might
  a3 `3 ]2 f+ Z) U! q2 B5 e7 p, requally well have defined him as an animal which is laughed at; for; @" B5 p: i- Q9 ^  Z, Z. D+ X7 D
if any other animal, or some lifeless object, produces the same
" O: D' F7 Z; Z! C# _effect, it is always because of some resemblance to man, of the6 `1 V" r0 f  G5 y
stamp he gives it or the use he puts it to.' `- X  P$ k( D1 D
Here I would point out, as a symptom equally worthy of notice, the
5 ?( `9 m1 H. Y6 tABSENCE OF FEELING which usually accompanies laughter. It seems as- S! K# e" B5 t: D2 x) u' Z
though the comic could not produce its disturbing effect unless it
: Y+ G" w- ]  |" rfell, so to say, on the surface of a soul that is thoroughly calm  C7 M( s" k2 F
and unruffled. Indifference is its natural environment, for laughter* @' k. K  N  b' E- A6 v
has no greater foe than emotion. I do not mean that we could not
% V9 S* k3 K9 H8 nlaugh at a person who inspires us with pity, for instance, or even
  ?" E. j1 {: A/ H8 H% W- y' Y% swith affection, but in such a case we must, for the moment, put our% Y9 P; ~& C/ h/ E- M, Z- U* K0 A: x
affection out of court and impose silence upon our pity. In a
* d  P6 U: t4 g) U+ ?4 K3 D" Tsociety composed of pure intelligences there would probably be no
! h/ Q' T/ Z% J6 A+ B! ]more tears, though perhaps there would still be laughter; whereas
" B( [0 U8 `! ^# Ihighly emotional souls, in tune and unison with life, in whom every
3 N5 j& o- Y: l' ~event would be sentimentally prolonged and re-echoed, would neither0 S2 R8 l. q/ Z; w- W0 y% B
know nor understand laughter. Try, for a moment, to become, t5 ?! |) u$ W/ G( z7 `
interested in everything that is being said and done; act, in
- R4 ~" [4 T& W6 Jimagination, with those who act, and feel with those who feel; in a
# r# x4 i# M! Xword, give your sympathy its widest expansion: as though at the2 u+ t! @4 ]* W8 v; N: u
touch of a fairy wand you will see the flimsiest of objects assume$ R8 A( m- ^) t0 A
importance, and a gloomy hue spread over everything. Now step aside,0 M- r. M: h  g5 f! T8 o
look upon life as a disinterested spectator: many a drama will turn0 Z" W; Y& Q* Q  g, b! G7 S! u
into a comedy. It is enough for us to stop our ears to the sound of
, P* M  i+ a/ U. mmusic, in a room where dancing is going on, for the dancers at once+ ]7 t  Z0 ?1 c# ?4 p' y, m) l$ h
to appear ridiculous. How many human actions would stand a similar2 i6 v. u% O+ J
test? Should we not see many of them suddenly pass from grave to
) z0 N3 ?: U  s$ }gay, on isolating them from the accompanying music of sentiment? To
# P! {- j" M* p4 pproduce the whole of its effect, then, the comic demands something" o$ ]( A, w9 i( d5 K
like a momentary anesthesia of the heart. Its appeal is to* v* C( V+ ^& h( k+ ]4 [
intelligence, pure and simple.
4 y0 G+ o4 P6 l  P' a- F5 \This intelligence, however, must always remain in touch with other$ E6 k2 A  X$ p2 o
intelligences. And here is the third fact to which attention should5 j* Z' h. h: S2 d! K
be drawn. You would hardly appreciate the comic if you felt yourself
8 ?' ^  v9 B1 ]isolated from others. Laughter appears to stand in need of an echo,4 [6 T4 c: F) [
Listen to it carefully: it is not an articulate, clear, well-defined
; j# B; y; t! d/ X/ }8 G+ M" D. v* p6 wsound; it is something which would fain be prolonged by$ o0 @/ S) |8 R. ?
reverberating from one to another, something beginning with a crash,' e; h( \  ?4 x! x
to continue in successive rumblings, like thunder in a mountain." w9 m# Z, h3 Y5 l
Still, this reverberation cannot go on for ever. It can travel
' x8 R. F* `+ }9 Z( W: d- k5 Wwithin as wide a circle as you please: the circle remains, none the
- x8 f* r! d1 f' Y7 K/ @& uless, a closed one. Our laughter is always the laughter of a group.
& m  u5 h% y% G9 J) uIt may, perchance, have happened to you, when seated in a railway4 \: g7 L( ^7 C, t4 _! y6 o( I
carriage or at table d'hote, to hear travellers relating to one; D' L$ i* a% q9 R* h$ n% L, q
another stories which must have been comic to them, for they laughed' E+ v8 m! }3 K9 k+ N) f% s$ ^' h
heartily. Had you been one of their company, you would have laughed5 B/ f7 s- k; e- d4 o* G
like them; but, as you were not, you had no desire whatever to do* q+ O5 W  ?  I
so. A man who was once asked why he did not weep at a sermon, when
' W  Y6 M5 [' f" A  severybody else was shedding tears, replied: "I don't belong to the
/ {# F6 R2 f; _8 V- Nparish!" What that man thought of tears would be still more true of7 S) h6 Y, d- N  \! h( G" M
laughter. However spontaneous it seems, laughter always implies a
9 g& W: Q% Q& L) B$ ekind of secret freemasonry, or even complicity, with other laughers,$ j/ m- D' q. w4 C8 N$ i' O1 Y
real or imaginary. How often has it been said that the fuller the
* c" G( s. b2 t, G+ ktheatre, the more uncontrolled the laughter of the audience! On the2 N+ q% ?6 H6 r) T) T7 n
other hand, how often has the remark been made that many comic3 e: U/ `& ]1 C+ T
effects are incapable of translation from one language to another,# G1 z" s' G7 t$ b7 u2 \  N- M
because they refer to the customs and ideas of a particular social4 q0 ~9 k, t$ }8 l! [
group! It is through not understanding the importance of this double# J4 P" c- s3 O9 e
fact that the comic has been looked upon as a mere curiosity in( }) m" _$ X# X# _" Y
which the mind finds amusement, and laughter itself as a strange,, n2 t, s6 S9 Q; H3 F
isolated phenomenon, without any bearing on the rest of human
5 z2 ?! J  ^4 Hactivity. Hence those definitions which tend to make the comic into3 F% H0 s5 d2 f
an abstract relation between ideas: "an intellectual contrast," "a2 h% D4 L9 G$ b0 {( f# j! v9 `
palpable absurdity," etc.,--definitions which, even were they really; w% q  H2 z, R" v$ m) x
suitable to every form of the comic, would not in the least explain
# |# H2 b8 F  V: ~* K6 Ywhy the comic makes us laugh. How, indeed, should it come about that
7 y! m7 y& C4 G1 wthis particular logical relation, as soon as it is perceived,
8 u; ~- S' l! ?) D" U3 i: tcontracts, expands and shakes our limbs, whilst all other relations
' Y; g3 T' F, h/ \. Mleave the body unaffected? It is not from this point of view that we
6 u* C& G: O* B) ?. w4 W. c( Vshall approach the problem. To understand laughter, we must put it
! L5 w# n$ T6 r- O( \back into its natural environment, which is society, and above all
% Z% v$ \1 {7 ?9 F5 F2 {must we determine the utility of its function, which is a social, ?9 H' w! u9 W/ x( @8 \# T
one. Such, let us say at once, will be the leading idea of all our, r- G1 s/ U+ ]/ O
investigations. Laughter must answer to certain requirements of life5 q) X2 h" M) G
in common. It must have a SOCIAL signification.
7 d; y9 q2 |' Y$ |- W" n% mLet us clearly mark the point towards which our three preliminary/ Z8 Y" X* A3 R: r$ c9 x
observations are converging. The comic will come into being, it
: i3 ]( W) Q' H9 Lappears, whenever a group of men concentrate their attention on one
/ f8 i0 R: q: I1 u+ wof their number, imposing silence on their emotions and calling into2 A' w9 k2 _, P/ v
play nothing but their intelligence. What, now, is the particular
7 T5 f% y! s2 j+ @point on which their attention will have to be concentrated, and8 ~: _7 K7 V6 G: M* P
what will here be the function of intelligence? To reply to these5 o5 D$ M% F- q, h# w/ `9 f
questions will be at once to come to closer grips with the problem.( J* `9 Z/ Q3 O: o+ O5 Z. I  \
But here a few examples have become indispensable., u0 p4 }! @! S
II# ^( e( C. c- @0 a. U
A man, running along the street, stumbles and falls; the passers-by
9 S3 S+ G' A8 p1 Y! x7 c8 Oburst out laughing. They would not laugh at him, I imagine, could
, r6 W8 v3 W+ b6 P) s  s! J( S  uthey suppose that the whim had suddenly seized him to sit down on. l- b- `% H. S  E- d8 T1 u6 r0 q
the ground. They laugh because his sitting down is involuntary.% [1 j$ k. a  p/ R5 k5 `
Consequently, it is not his sudden change of attitude that raises a
9 p' V) O9 h2 l( o! r" {2 Elaugh, but rather the involuntary element in this change,--his+ l: }! h6 c! _4 V$ p
clumsiness, in fact. Perhaps there was a stone on the road. He: s5 W8 W  i- a
should have altered his pace or avoided the obstacle. Instead of
: H  R& u" _0 x* V# q  z  U/ vthat, through lack of elasticity, through absentmindedness and a
* H: @) z* S5 Z9 ~2 E6 bkind of physical obstinacy, AS A RESULT, IN FACT, OF RIGIDITY OR OF: l7 |, Z: T# B  ?5 {$ g  d" l2 j8 H
MOMENTUM, the muscles continued to perform the same movement8 W: \0 k, P3 [! |% K& H! ~
when; F6 @; D) ~4 G6 B3 e7 X/ e
the circumstances of the case called for something else. That is the
; A$ a. k. P: a4 ^( {reason of the man's fall, and also of the people's laughter.
5 m; S  f- X- `/ G% C- ONow, take the case of a person who attends to the petty occupations
9 t: u" G7 O- c6 |, ~of his everyday life with mathematical precision. The objects around+ h5 Q. m" i, X, O
him, however, have all been tampered with by a mischievous wag, the1 ^7 R% P# w+ `5 @5 Z( {
result being that when he dips his pen into the inkstand he draws it( B. M" [2 s2 w$ @% q  h7 [; f
out all covered with mud, when he fancies he is sitting down on a1 Y% e7 Y, Z- i' i2 p! C, j
solid chair he finds himself sprawling on the floor, in a word his
- Z9 H4 ]* C) q2 c. ]* Jactions are all topsy-turvy or mere beating the air, while in every2 T- b: ^: r0 s0 c& F
case the effect is invariably one of momentum. Habit has given the
8 Z% |$ b4 _  x3 I% fimpulse: what was wanted was to check the movement or deflect it. He; M6 K" T9 P/ Y: V  p
did nothing of the sort, but continued like a machine in the same
" X- k/ c# @: d0 o3 A+ S- g9 sstraight line. The victim, then, of a practical joke is in a$ b  B; U: d6 w. E# ?
position similar to that of a runner who falls,--he is comic for the
2 v  a$ M: A0 Z, Psame reason. The laughable element in both cases consists of a4 e, W" m. r: W8 {) T
certain MECHANICAL INELASTICITY, just where one would expect to find5 U% Y8 w5 O6 ^4 N' v2 H
the wide-awake adaptability and the living pliableness of a human
) V) u% N( v- e- J# Y4 D# tbeing. The only difference in the two cases is that the former/ K. m' S( B4 C- D+ O3 D, c
happened of itself, whilst the latter was obtained artificially. In
3 ~3 |8 l$ a8 r% F6 Ethe first instance, the passer-by does nothing but look on, but in
* R: y1 Y+ Y  N' y0 c0 F% Q) y6 X- Vthe second the mischievous wag intervenes.
" x% j. t/ t# Z2 g0 C# WAll the same, in both cases the result has been brought about by an
5 o; A8 T! ?" d' n0 e' _external circumstance. The comic is therefore accidental: it5 |+ ^0 W) u: ~  C3 H4 U
remains, so to speak, in superficial contact with the person. How is
& Y" R# i# o, t6 `- ]$ z; Uit to penetrate within? The necessary conditions will be fulfilled
* s/ d9 L2 U4 D$ Zwhen mechanical rigidity no longer requires for its manifestation a5 h5 g; R: Y3 L
stumbling-block which either the hazard of circumstance or human. k' W( n( I% `( n  \* e" Z3 s4 x
knavery has set in its way, but extracts by natural processes, from
4 W- c9 \; a( U5 \# O8 I' Yits own store, an inexhaustible series of opportunities for
4 ~+ C4 l3 V" E4 L% Uexternally revealing its presence. Suppose, then, we imagine a mind
2 a1 Y3 |, J8 I$ V# I% |% Ealways thinking of what it has just done and never of what it is
! ^" k& J* [& w+ X5 edoing, like a song which lags behind its accompaniment. Let us try! `6 d0 ?0 U; t+ h3 M; \1 h. ~
to picture to ourselves a certain inborn lack of elasticity of both
3 C7 g& ]1 I: V6 |" [9 jsenses and intelligence, which brings it to pass that we continue to  ?: d% m' |" M8 f" ^; r6 m
see what is no longer visible, to hear what is no longer audible, to
" O4 Y) y2 j9 ^3 Fsay what is no longer to the point: in short, to adapt ourselves to
7 ?. D+ J1 I* t* ~a past and therefore imaginary situation, when we ought to be
! \5 ]+ R* i* ]! k/ J% Dshaping our conduct in accordance with the reality which is present.
3 c" w: ]( a0 bThis time the comic will take up its abode in the person himself; it: |3 E4 T/ N6 f: `1 F$ ^* y
is the person who will supply it with everything--matter and form,
7 h$ ]; c9 Z  h# J0 Mcause and opportunity. Is it then surprising that the absent-minded- @$ _9 x6 S* K3 i' D  C; o4 v
individual--for this is the character we have just been describing--
2 ?6 X' w+ z" q3 V& Yhas usually fired the imagination of comic authors? When La Bruyere! ^+ A! Q. n" y5 [3 W. h% X
came across this particular type, he realised, on analysing it, that1 {: j7 ?6 E# V# D
he had got hold of a recipe for the wholesale manufacture of comic
. m* {6 P" S4 }) o/ x' \  D+ keffects. As a matter of fact he overdid it, and gave us far too
. Y3 V8 I; l3 S# o" j+ Slengthy and detailed a description of Menalque, coming back to his
4 @' F/ h4 E# E, E7 Psubject, dwelling and expatiating on it beyond all bounds. The very2 M  D  v/ G" C4 f
facility of the subject fascinated him. Absentmindedness, indeed, is
( E0 U' W' t/ m0 Jnot perhaps the actual fountain-head of the comic, but surely it is
2 J- H6 p* k3 mcontiguous to a certain stream of facts and fancies which flows* I8 V" U, f  _9 @
straight from the fountain-head. It is situated, so to say, on one
. u% D& P9 E* ?of the great natural watersheds of laughter.- J: K% J$ c% D
Now, the effect of absentmindedness may gather strength in its turn.9 F: p! N. ^: N) a, K
There is a general law, the first example of which we have just
. y3 P, e0 [1 e9 Hencountered, and which we will formulate in the following terms:
4 }3 u: \5 t, x8 A, awhen a certain comic effect has its origin in a certain cause, the, B% Q. K; K( x7 @0 R" r+ {. L5 H
more natural we regard the cause to be, the more comic shall we find
2 T8 k% D" F$ l5 J0 g* t  I! ?$ F* b# qthe effect. Even now we laugh at absentmindedness when presented to: G' R8 g3 N  u2 n( @
us as a simple fact. Still more laughable will be the2 i0 n4 W& ^* G: i
absentmindedness we have seen springing up and growing before our. l: u7 k" D: T. w* t
very eyes, with whose origin we are acquainted and whose lifehistory
% k) k' G, O! S% n* F8 i4 @we can reconstruct. To choose a definite example: suppose a
" S1 h8 E( e3 l5 Tman has taken to reading nothing but romances of love and chivalry.. f% Z, l: n& k/ i7 B6 A& P( P
Attracted and fascinated by his heroes, his thoughts and intentions
+ n( i- _3 U4 G4 f, x9 I( i  Hgradually turn more and more towards them, till one fine day we find7 y. }8 i6 X% H& `% M; n
him walking among us like a somnambulist. His actions are; R8 u& j2 A8 k: b* u5 D! ~" e+ H
distractions. But then his distractions can be traced back to a, L9 w; E7 q, U, i
definite, positive cause. They are no longer cases of ABSENCE of' T9 X% t5 `; F
mind, pure and simple; they find their explanation in the PRESENCE& i8 Q+ d- m( ^( [. q: V4 R1 K
of the individual in quite definite, though imaginary, surroundings.- S5 a9 i. Q. P( h& ^* p
Doubtless a fall is always a fall, but it is one thing to tumble
! _1 l% i" G, `" L5 G8 ~, Ninto a well because you were looking anywhere but in front of you,
: k# S8 F2 Q# rit is quite another thing to fall into it because you were intent
; A1 ^5 Q# h/ E1 w! f% z+ u9 nupon a star. It was certainly a star at which Don Quixote was
! k: O. }8 H7 f, ?1 |1 Ngazing. How profound is the comic element in the over-romantic,6 d' ?4 D" j$ x  I& [9 E
Utopian bent of mind! And yet, if you reintroduce the idea of' ^; r; v: m+ A# e; i' U9 z
absentmindedness, which acts as a go-between, you will see this: d2 g+ C! L1 \: V  ]" M
profound comic element uniting with the most superficial type. Yes,( i4 I: O- V/ ?$ c2 p
indeed, these whimsical wild enthusiasts, these madmen who are yet- o; @, ]3 F/ U5 L' M$ K7 S( ~8 h
so strangely reasonable, excite us to laughter by playing on the* F  p4 r) e0 R! K$ }7 y  g
same chords within ourselves, by setting in motion the same inner
' ^: `. _( K3 C- y# r. [6 [mechanism, as does the victim of a practical joke or the passer-by9 i2 t7 U* p8 t* _
who slips down in the street. They, too, are runners who fall and1 c' R8 L' `# x1 L5 U3 z
simple souls who are being hoaxed--runners after the ideal who* L: o. S: l/ _5 q
stumble over realities, child-like dreamers for whom life delights$ o5 o  |/ r: {! o1 d6 u" a; y
to lie in wait. But, above all, they are past-masters in9 b+ T! Z7 X/ J0 ~4 P3 S
absentmindedness, with this superiority over their fellows that8 U7 O& G9 G0 c+ m  |
their absentmindedness is systematic and organised around one9 K  W* F/ M' e
central idea, and that their mishaps are also quite coherent, thanks
6 x4 d! q. T: Z# v9 y% k9 Tto the inexorable logic which reality applies to the correction of  Y) {2 _! o! R$ Q# @+ I
dreams, so that they kindle in those around them, by a series of
$ d3 e2 F; a0 a8 Xcumulative effects, a hilarity capable of unlimited expansion.; w3 y' g+ Z# @8 {2 h0 \/ b
Now, let us go a little further. Might not certain vices have the1 K4 `8 w% s. I0 z  f% T$ C
same relation to character that the rigidity of a fixed idea has to. z" r9 D, ~  @5 \) L' z( u4 G
intellect? Whether as a moral kink or a crooked twist given to the
6 b% R! `2 R% e. Nwill, vice has often the appearance of a curvature of the soul.
' V+ k' Z5 u# pDoubtless there are vices into which the soul plunges deeply with
/ |+ A8 g; C( b7 L) Ball its pregnant potency, which it rejuvenates and drags along with- {& V% o; o3 F  `* L2 X" E
it into a moving circle of reincarnations. Those are tragic vices.
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