Chapter 6 also investigates physical humor and the ways in which physical humor works. The physical deformities and sufferings that comprise Harry's clown act are echoed in Tod's description of Homer's gestures and physical habits. Homer's reflex to mop his dry forehead, his fidgety hands, and his habit of hiding behind the palm tree and running away when approached could all, in a different setting, occur as part of a comedy act. The key to both Harry's and Homer's physical behavior is abuse—Tod identifies Harry's continuous clowning as self defense, because "most people won't go out of their way to punish a clown," and Homer's habits seem a symptom of his larger fear that he will be noticed or even attacked. The old Times newspaper review that Harry keeps around makes it clear that audiences who do not respond to verbal humor do in fact laugh hysterically at his brand of physical humor: "The pain that almost crumples his stiff little figure would be unbearable if it were not obviously make-believe. It is gloriously funny." Violence done to another, then, is funny, and not dismaying, when it is received as part of an act. Yet the determination of whether or not something is an act rests partly on setting and context. As we see with Tod's lithograph series, "The Dancers," it can be hard to distinguish between ecstatic performance and pain in a freeze-frame image, without the clues offered on a stage. In Tod's lithographs, the audience can be imagined instead as eager witnesses of real violence, rather than performance.