AMERICAN HUMOUR
One of the most popular of American humorists has elicited from a member of an English audience, who did not quite hear him lecture, a remark of an amusing sort. The aggrieved listener proclaimed that he “had a right to hear.” This was one of the turbulent people who should read Mazzini, and learn that man has no rights worth mentioning – only duties, one of which is to hold his tongue in season. If Mr. Bret Harte’s words did not reach all his audience, his writings at least have come home to most English readers. They suggest a consideration of the many points of difference which distinguish American from English humour. The Americans are of our own stock, yet in their treatment of the ludicrous how unlike us they are! As far as fun goes, the race has certainly become “differentiated,” as the philosophers say, on the other side of the Atlantic. It does not seem probable that the infusion of alien blood has caused the difference. The native redskin can claim few descendants among the civilized Americans, and the native redskin had no sense of humour. We all remember Cooper’s Hawk-eye or Leather Stocking, with his “peculiar silent laugh.” He was obliged to laugh silently for fear of attracting the unfavourable notice of the Mingo, who might be hiding in the nearest bush. The red men found it simpler and safer not to laugh at all. No, it is not from the natives that the people of the States get their peculiar fun. As to the German emigrants – But why pursue the subject? The Abbé Bouhours told the bitter truth about German wit, though, in new conditions and on a fresh soil, the Teuton has helped to produce Hans Breitmann. We laugh at Hans, however, and with his creator. Hans does not make us laugh by conscious efforts of humour. Whence, then, come Artemus Ward, Mark Twain, and Mr. Bret Harte, who are probably the American humorists whose popularity is widest? Mr. Bret Harte’s own fun is much more English and less thoroughly Yankee than that of his contemporaries. He is a disciple of Thackeray and Dickens. Of all the pupils of Dickens he is perhaps the only one who has continued to be himself, who has not fallen into a trick of aping his master’s mannerisms. His mixture of the serious, the earnest, the pathetic, makes his humour not unlike the melancholy mirth of Thackeray and Sterne. He is almost the only American humorist with sentiment. It is only the air, not the spirit, that is changed — cœlum non animus.
The changed atmosphere, the new conditions, do, however, make an immense superficial difference between the humour even of Mr. Bret Harte and that of English writers. His fun is derived from the vagaries of huge, rough people, with the comic cruelty of the old Danes, and with the unexpected tenderness of a sentimental time. The characters of the great Texan and Californian drama are like our hackneyed friends, the Vikings, with a touch, if we may use the term, of spooniness. Their humour is often nothing more than a disdainful trifling with death; they seize the comic side of manslaughter very promptly, and enjoy all the mirth that can be got out of revolvers and grizzly bears. In Mr. Bret Harte’s poems of “The Spelling Bee” and of “The Break-up of the Society upon the Stanislaw,” the fun is of this practical sort. The innate mirthfulness of a chunk of old red sandstone is illustrated, and you are introduced to people who not only take delight of battle with their peers, but think the said battle the most killing joke in the world. The incongruities of these revels of wild men in a new world; their confusion when civilization meets them in the shape of a respectable woman or of a baby; their grotesque way of clinging to religion, as they understand it, make up the transatlantic element in this American humour. The rest of it is “European quite,” though none the worse for that. It is more humane, on the whole, than the laughable and amazing paradoxes of Mark Twain, or the naïvetés of Artemus Ward.
Two remarkable features in American humour, as it is shown in the great body of comic writers who are represented by Mark Twain and the “Genial Showman,” are its rusticity and its puritanism. The fun is the fun of rough villagers, who use quaint, straightforward words, and have developed, or carried over in the Mayflower, a slang of their own. They do not want anything too refined; they are not in the least like the farm-lad to whose shirt a serpent clung as he was dressing after bathing. Many people have read how he fled into the farm-yard, where the maidens were busy; how he did not dare to stop, and sought escape, not from woman’s help – he was too modest – but in running so fast that, obedient to the laws of centrifugal motion, the snake waved out behind him like a flag. The village wits are not so shy. The young ladies, like Betsy Ward, say, “If you mean getting hitched, I’m on.” The public is not above the most practical jokes, and a good deal of the amusement is derived from the extreme dryness, the countrified slowness of the narrative. The humorists are Puritans at bottom, as well as rustics. They have an amazing familiarity with certain religious ideas and certain Biblical terms. There is a kind of audacity in their use of the Scriptures, which reminds one of the freedom of mediæval mystery-plays. Probably this boldness began, not in scepticism or in irreverence, but in honest familiar faith. It certainly seems very odd to us in England, and probably expressions often get a laugh which would pass unnoticed in America. An astounding coolness and freedom of manners probably go for something in the effect produced by American humour. There is nothing of the social flunkeyism in it which too often marks our own satirists. Artemus Ward’s reports of his own conversations with the mighty of the earth were made highly ludicrous by the homely want of self-consciousness, displayed by the owner of the Kangaroo, that “amoosin’ little cuss,” and of the “two moral B’ars.” But it is vain to attempt to analyze the fun of Artemus Ward. Why did he make some people laugh till they cried, while others were all untouched? His secret probably was almost entirely one of manner, a trick of almost idiotic naïveté, like that of Lord Dundreary, covering real shrewdness. He had his rustic chaff, his Puritan profanity; his manner was the essence of his mirth. It was one of the ultimate constituents of the ludicrous, beyond which it is useless to inquire.
With Mark Twain we are on smoother ground. An almost Mephistophilean coolness, an unwearying search after the comic sides of serious subjects, after the mean possibilities of the sublime, – these, with a native sense of incongruities and a glorious vein of exaggeration, make up his stock-in-trade. The colossal exaggeration is, of course, natural to a land of ocean-like rivers and almighty tall pumpkins. No one has made such charming use of the trick as Mark Twain. The dryness of the story of a greenhorn’s sufferings who had purchased “a genuine Mexican plug,” is one of the funniest things in literature. The intense gravity and self-pity of the sufferer, the enormous and Gargantuan feats of his steed, the extreme distress of body thence resulting, make up a passage more moving than anything in Rabelais. The same contrast, between an innocent style of narrative and the huge palpable nonsense of the story told, marks the tale of the agricultural newspaper which Mr. Twain edited. To a joker of jokes of this sort, a tour through Palestine presented irresistible attractions. It is when we read of the “Innocents Abroad” that we discern the weak point of American humour when carried to its extreme. Here, indeed, is the place where the most peculiarly American fun has always failed. It has lacked reverence and sympathy, and so, when it was most itself, never approached the masterpieces of Thackeray and Dickens. To balance its defect by its merit, American humour has always dared to speak out, and Mark Twain especially has hit hard the errors of public opinion and the dishonest compromises of custom.
SUSPENDED ANIMATION
It used to be thought that a man who said he liked dry champagne would say anything. In the same way, some persons may hold that a person who could believe in the recurrent Australian story of “suspended animation” – artificially produced in animals, and prolonged for months – could believe in anything. It does not do, however, to be too dogmatic about matters of opinion in this world. Perhaps the Australian tale of an invention by which sheep and oxen are first made lifeless, then rendered “stiff ones” by freezing, and then restored to life, and reproduced with gravy, may be like the genius of Beethoven. Very few persons (and these artists) believed in Beethoven at first, but now he is often considered to be the greatest of composers. Perhaps great discoveries, like the works of men of original genius, are certain to be received at first with incredulity and mockery. We will not, therefore, take up a dogmatic position, either about the painting or the preserved meats of the future; but will hope for the best. The ideally best, of course, is that the tale from Australia may prove true. In that case the poorest will be able to earn “three square meals a day,” like the Australians themselves; and while English butchers suffer (for some one must suffer in all great revolutions), smiling Plenty will walk through our land studying a cookery-book. There are optimistic thinkers, who gravely argue that the serious desires of humanity are the pledges of their own future fulfilment. If that be correct, the Australian myth may be founded on fact. There is no desire more deep-rooted in our perishable nature than that which asks for plenty of beef and mutton at low prices. Again, humanity has so often turned over the idea of conveniently suspended animation before, that there must be something in that conception. If we examine the history of ideas we shall find that they at first exist “in the air.” They float about, beautiful alluring visions, ready to be caught and made to serve mortal needs by the right man at the right moment. Thus Empedocles, Lucretius, and the author of “Vestiges of Creation,” all found out Darwinism before Mr. Darwin. They spied the idea, but they left it floating; they did not trap it, and break it into scientific harness. Solomon De Caus, as all the world has heard, was put into a lunatic asylum for inventing the steam-engine, though no one would have doubted his sanity if he had offered to raise the devil, or to produce the philosopher’s stone, or the elixir vitæ. Now, these precious possessions have not been more in men’s minds than a system of conveniently suspended animation. There is scarcely a peasantry in Europe that does not sing the ballad of the dead bride. This lady, in the legends, always loves the cavalier not selected by her parents, the detrimental cavalier. To avoid the wedding which is thrust on her, she gets an old witch to do what the Australian romancer professes to do – to suspend her animation, and so she is carried on an open bier to a chapel on the border of her lover’s lands. There he rides, the right lover, with his men-at-arms, the bride revives just in time, is lifted on to his saddle-bow, and “they need swift steeds that follow” the fugitive pair. The sleeping beauty, who is thrown into so long a swoon by the prick of the fairy thorn, is another very old example, while “Snow-white,” in her glass coffin, in the German nursery tale, is a third instance.
It is not only the early fancy of the ballad-mongers and fairy tale-tellers that has dwelt longingly on the idea of suspended animation. All the mystics, who all follow the same dim track that leads to nothing, have believed in various forms of the imaginary Australian experiment. The seers of most tribes, from Kamschatka to Zululand, and thence to Australia, are feigned to be able to send their souls away, while their bodies lie passive in the magical tent. The soul wanders over the earthly world, and even to the home of the dead, and returns, in the shape of a butterfly or of a serpent, to the body which has been lying motionless, but uncorruptible, in apparent death. The Indian Yogis can attain that third state of being, all three being unknown to Brahma, which is neither sleeping nor waking, but trance. To produce this ecstasy, to do for themselves what some people at the Antipodes pretend to do to sheep and cattle, is the ideal aim of the existence of the Yogi. The Neoplatonists were no wiser, and Greek legend tells a well-known story of a married mystic whose suspended animation began at last to bore his wife. “Dear Hermotimus” – that was his name, if we have not forgotten it – “is quite the most absent of men,” his spouse would say, when her husband’s soul left his body and took its walks abroad. On one occasion the philosopher’s spiritual part remained abroad so long that his lady ceased to expect its return. She therefore went through the usual mourning, cut her hair, cried, and finally burned the body on the funeral-pyre. “We can do no more for miserable mortals, when once the spirit has left their bones,” says Homer.
At that very moment the spirit returned, and found its uninsured tenement of clay reduced to ashes. The sequel may be found in a poem of the late Professor Aytoun’s, and in the same volume occurs the wondrous tale of Colonel Townsend, who could suspend his animation at pleasure.
There is certainly a good deal of risk, as well as of convenience, in suspended animation. People do not always welcome Rip Van Winkle when he returns to life, as we would all welcome Mr. Jefferson if he revisited the glimpses of the footlights,
“The hard heir strides about the lands,
And will not yield them for a day.”
There is the horrible chance of being buried alive, which was always present to the mind of Edgar Poe. It occurs in one of his half-humorous stories, where a cataleptic man, suddenly waking in a narrow bed, in the smell of earthy mould, believes he has been interred, but finds himself mistaken. In the “Fall of The House of Usher” the wretched brother, with his nervous intensity of sensation, hears his sister for four days stirring in her vault before she makes her escape. In the “Strange Effects of Mesmerism on a Dying Man,” the animation is mesmerically suspended at the very instant when it was about naturally to cease. The results, when the passes were reversed, and the half fled life was half restored, are described in a passage not to be recommended to sensitive readers. M. About, uses the same general idea in the fantastic plot of his “L’Homme à l’Oreille Cassée,” and the risk of breakage was insisted on by M. About as well as by the inventive Australian reporter. Mr. Clarke Russell has also frozen a Pirate. Thus the idea of suspended animation is “in the air,” is floating among the visions of men of genius. It is, perhaps, for the great continent beneath the Southern Cross to realize the dreams of savages, of seers, of novelists, of poets, of Yogis, of Plotinus, of M. About, and of Swedenborg. Swedenborg, too, was a suspended animationist, if we may use the term. What else than suspension of outer life was his “internal breathing,” by which his body existed while his soul was in heaven, hell, or the ends of the earth? When the Australian discovery is universally believed in (and acted on), then, and perhaps not till then, will be the time for the great unappreciated. They will go quietly to sleep, to waken a hundred years hence, and learn how posterity likes their pictures and poems. They may not always be satisfied with the results, but no artist will disbelieve in the favourable verdict of posterity till the supposed Australian method is applied to men as well as to sheep and kangaroos.
BREAKING UP
The schools have by this time all “broken up,” if that is still the term which expresses the beginning of their vacation. “Breaking up” is no longer the festival that it was in the good old coaching days – nothing is what it was in the good old coaching days. Boys can no longer pass a whole happy day driving through the country and firing peas at the wayfaring man. They have to travel by railway, and other voyagers may well pray that their flight be not on breaking-up day. The untrammelled spirits of boyhood are very much what they have always been. Boys fill the carriages to overflowing. They sing, they shout, they devour extraordinary quantities of refreshment, they buy whole libraries of railway novels, and, generally speaking, behave as if the earth and the fulness of it were their own. This is trying to the mature traveller, who has plenty of luggage on his mind, and who wishes to sleep or to read the newspaper. Boys have an extraordinary knack of losing their own luggage, and of appearing at home, like the companions of Ulysses, “bearing with them only empty hands.” This is usually their first exploit in the holidays. Their arrival causes great excitement among their little sisters, and in the breasts of their fathers wakens a presentiment of woe. When a little boy comes home his first idea is to indulge in harmless swagger. When Tom Tulliver went to school, he took some percussion caps with him that the other lads might suppose him to be familiar with the use of guns. The schoolboy has other devices for keeping up the manly character in the family circle. The younger ones gather round him while he narrates the adventures of himself, and Smith minor, and Walker (of Briggs’s house), in a truly epic spirit. He has made unheard-of expeditions up the river, has chaffed a farmer almost into apoplexy, has come in fifth in the house paper-chase, has put the French master to open shame, and has got his twenty-two colours. These are the things that make a boy respected by his younger brothers, and admired by his still younger sisters. They of course have a good deal to tell him. The setter puppies must be inspected. A match is being got up with the village eleven, who are boastful and confident in the possession of a bowling curate. To this the family hero rejoins that “he will crump the parson,” a threat not so awful as it sounds. There is a wasps’ nest which has been carefully preserved for this eventful hour, and which is to be besieged with boiling water, gunpowder, and other engines of warfare. Thus the schoolboy’s first days at home are a glorious hour of crowded sport.
It cannot be denied that, as the holidays go on, a biggish boy sometimes finds time hang heavy on his hands, while his father and mother find him hang heavy on theirs. The first excitement rubs off. The fun of getting up handicap races among children under twelve years of age wears away. One cannot always be taking wasps’ nests. Of course there are many happy boys who live in the country, and pursue the pleasures of manhood with the zest of extreme youth. Before they are fourteen, they have a rod on a salmon river, a gun on a moor, horses and yachts, and boats at their will, with keepers and gillies to do their bidding. Others, not so much indulged by fortune and fond parents, live at least among hills and streams, or by the sea. They are never “in the way,” for they are always in the open air. Their summer holidays may be things to look back upon all through life. Natural history, and the beauty of solitary nature; the joys of the swimmer in deep river pools shut in with cool grey walls of rock, and fringed with fern; the loveliness of the high table lands, and the intense hush that follows sunset by the trout stream – these things are theirs, and become a part of their consciousness. In later and wearier years these spectacles will flash before their eyes unbidden, they will see the water dimpled by rising trout, and watch the cattle stealing through the ford, and disappearing, grey shapes, in the grey of the hills.
In boyhood, the legends that cling to ancient castles where only a shell of stone is standing, and to the ash-trees that grow by the feudal gateway, and supplied the wood for spear shafts – these and all the stories of red men that haunt the moors, and of kelpies that make their dwelling in the waters, become very real to us when standing in the dusk by a moorland loch. If some otter or great fish breaks the water and the stillness with a sudden splash, a boy feels a romantic thrill, a pause of expectation, that later he will never experience. “The thoughts of a boy are long, long thoughts,” says the poet; he thinks them out by himself on the downs, or the hills, and tells them to nobody.
If we all lived in the country, the advent of boys would not be a thing to contemplate with secret dread. It is rather a terrible thing, a houseful of boys in a town, or in a pretty thickly populated district. Boys, it is true, are always a source of pleasure to the humorist and the scientific observer of mankind. They are scarcely our fellow-creatures, so to speak; they live in a world of their own, ruled by eccentric traditional laws. They have their own heroes, and are much more interested in Mr. Alan Steel or Lohmann than in persons like Mr. Arthur Balfour, whose cricket is only middling. They have rules of conduct which cannot be called immoral, but which are certainly relics of a very ancient state of tribal morality. The humour of it is that the modern boy is so grave, so self-assured, and has such abundance of aplomb. He has acquired an air of mysterious sagacity, and occasionally seems to smile at the petty interests with which men divert themselves. In a suburban or city home, he can find very little that he thinks worth doing, and then he becomes discontented and disagreeable. It is better that he should do that, perhaps, than that he should aim at being a dandy. The boy-dandy is an odd, and at bottom a slovenly, creature. He is fond of varnished boots, of pink neckties, of lavender-coloured gloves, and, above all, of scent. The quantity of scent that a lad of sixteen will pour on his handkerchief is something perfectly astounding. In this stage of his development he is addicted to falling into love, or rather into flirtation. He keeps up a correspondence with a young lady in Miss Pinkerton’s establishment. They see each other in church, when he looks unutterable things from the gallery. This kind of boy is not unlikely to interest himself, speculatively, in horse-races. He has communications with a bookmaker who finds Boulogne a salubrious residence. He would like to know the officers, if his home is in a garrison town, and he humbly imitates these warriors at an immense distance. He passes much time in trying to colour a pipe. This is not a nice sort of boy to have at home for the holidays, nor is it likely that he does much good when he is at school. It is pleasanter to think of the countless jolly little fellows of twelve, who are happily busy all day with lawn-tennis, cricket, and general diversion in the open air. Their appearance, their manly frankness, their modesty and good temper, make their homes happier in the holidays than in the quieter nine months of the year. Let us hope that they will not put off their holiday tasks to be learned in the train on their way back to school. This, alas, is the manner of boyhood.