All the types of laughter analysed so far have been directly or indirectly associated with real or imaginary, major or minor flaws in those who cause it. Though there are other types of laughter that, in philosophical terms, do not correlate with any flaws in people. The comic does not cause these types of laughter, nor are they connected with the comic. They represent a psychological rather than an aesthetic problem; they can cause laughter or ridicule but do not contain any themselves. Since these types of laughter are not directly related to the comic, I will examine them only briefly. First of all, there is the optimistic and merry laughter of joy that is sometimes absolutely groundless or that is set off by insignificant trifles. ‘Laughter for no reason is the best laughter in the world,’ Turgenev writes in ‘Asya’ (1980, 152). Chekhov wrote to Su-vorin: ‘Natasha Lintvareva has arrived – you know her already – she has brought joy of life and good laughter from the south’ (1974–82, 71).
A baby’s first smile pleases not only her mother but also the people around it. When children grow a little they laugh joyfully at anything they find bright and pleasant, be it a New Year’s tree, a new toy, or raindrops falling on them. Some people maintain the ability to laugh in this way their entire lives. People who are joyful and cheerful from birth, who are kind and disposed to humour, laugh this way. Trying to prove that this healthy laughter is useful in all respects, even socially, would be like forcing an open door. This type of laughter belongs to the domain of aesthetics only to the extent that it can be represented in art.
Some theories of aesthetics divide laughter into subjective and objective categories, which makes it very hard to distinguish between them. But if this division is correct, any kind of simple, cheerful laughter can be referred to as subjective laughter. This does not mean that there are no objective causes for laughter, but rather that they are often no more than pretexts. Kant calls this laughter ‘a play of vital forces’ (1987, §54, 333, 203), as it banishes any negative feelings and even makes them impossible. It quells anger and vexation; it overcomes a sullen mood; it increases vitality, the desire to live and to participate in life. All of this is evident enough and does not warrant any particular arguments.