Pictured is Charles Lamb
Charles Lamb once said that when he was about to leave this world, his greatest wish was to take one last breath with his pipe and then exhale it in puns. He's really a great pun.
Once, a friend of his was about to introduce the shy, famous English essayist to a group of strangers, and the friend said to him, "Promise me, Lamb, don't be so shy anymore." ”
He replied, "I wool." (Note: In English, lamb means lamb, and wool means cashmere.) ）
Lamb and his friend Coleridge shared a penn for puns. They not only use puns as after-dinner fireside entertainment, but also as a model of imaginative thinking.
Coleridge declared:
"All people who have both active fantasy, imagination and philosophical spirit prefer puns."
Coleridge argues that puns are essentially a poetic act, a sensitivity to the subtlest, most distant relationships, and an intellectual acrobatic performance that connects things that are not otherwise relevant. He interpreted it as "a discovery of a true analogy triggered by a ridiculous similarity."
The novelist and cultural critic Arthur Kesterler inherited Coleridge's ideas as the basis for his theories of creativity in the fields of science, the humanities, and the arts.
Kesterler argues that puns are "two strands of thought bound together by a single voice," one of the strongest pieces of evidence for "heterogeneous associations," and he feels that the process of stripping similarities from differences is the foundation of all creativity.
Kesterler argues:
Puns force us to recognize two self-contained but incompatible frames of reference at the same time.
While this unusual situation will continue, unlike in the past, the situation is no longer related to a single frame of reference, but is inseparable from both frames of reference.
As Newton sat in the garden contemplating, he saw an apple fall to the ground, and he understood that this was both the most mundane fate of a ripe fruit and the astonishing proof of the law of universal gravitation. This is what Newton was making outlier associations.
Cézanne presents the wonderful apple as both a carefully arranged real fruit and an incredible work that exists only between his brushstrokes and in the paint, and he is also making outlier associations.
When Saint Jerome translated the Old Latin Bible into a simple and easy-to-understand plain Latin translation in the fourth century, he noticed that the adjective form of the word malus, which meant "evil," happened to be the word mallum, which also meant "apple," so he chose "apple" as the name of the unknown fruit that Adam and Eve had previously stolen, which was also an outlier association.
There is no clear line between the alien associative experiences of scientists and the heterogeneous associative experiences of artists, saints, or ordinary people. From the scientific discovery of the "Aha! ", to the aesthetic "Ah! To the pun and the witty "haha," these creative acts proceed seamlessly.
Kesterler even found a place for comedy in the ingenious realm of heterogeneous associations: "The discovery of comedy is to propose paradoxes, and the discoveries of science solve paradoxes." Kesterler believes that heterogeneous associations are at the heart of creative thinking because "the conscious and unconscious processes underlying creativity are essentially combinatorial activities, i.e., the bringing together previously separated fields of knowledge and experience." ”
Heterogeneous associations are improvised, recombinant forms of intelligence that bring together knowledge and experience, fuse divided worlds, and connect similarities with different things. It is a model and metaphor for the discovery process itself. Puns are the most profound but also common example of heterogeneous associations.
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