 This version of the Incongruity Theory is an improvement on theories which describe amusement as the perception of incongruity, but it still seems not specific enough. Amusement is one way of enjoying incongruity, but not the only way. Mike W. Martin offers several examples from the arts (in Morreall, 1987, 176). Sophocles’ Oedipus the King has many lines in which Oedipus vows to do whatever it takes to bring King Laius’ killer to justice. We in the audience, knowing that Oedipus is himself that killer, may enjoy the incongruity of a king threatening himself, but that enjoyment need not be humorous amusement. John Morreall (1987, 204–205) argues that a number of aesthetic categories— the grotesque, the macabre, the horrible, the bizarre, and the fantastic—involve a non-humorous enjoyment of some violation of our mental patterns and expectations.