CHAPTER XX.
Definition--Difficulties of forming one of Humour.
Some of the considerations towards the end of the last chapter may have led us to conclude that our sense[20] of the ludicrous is not a variety of emotions, but only one; and the possibility of our forming a definition of it depends, not only upon its unity, but upon our being able to trace some common attributes in the circ.u.mstances which awaken it. But in one of the leading periodicals of the day, I lately read the observation--made by a writer whose views should not be lightly regarded--that "all the most profound philosophers have p.r.o.nounced a definition of humour to be hopelessly impracticable." I think that such an important and fundamental statement as this may be suitably taken into consideration in commencing our examination of the question. As a matter of history, we shall find that it is erroneous, for several great philosophers have given us definitions of the sense of the ludicrous, and few have thought it indefinable. But those who took the former course might be charged with wandering into the province of literature; while the views of those who adopted the latter might be thought incorrect with regard to definition, or unwarranted with regard to humour. To suppose that a definition of humour would be of any great value, would be to think that it would unfold the nature of things, instead of merely giving the meaning of a term; nor is it correct to conclude that by employing a string of words we can reach the precise signification of one, any more than we can hit the mark by striking at each side of it. If the number and variety of our words and thoughts were increased, we could approximate more nearly; but as we know neither the boundaries of our conceptions, nor the natural limits of things, definition can never be perfect or final. Various standards have been sought for it--the common usage of society being generally adopted--but it must always to a certain extent vary, according to the knowledge and approval of the definer.
Scientific definitions are not intended to be complete, except for the study immediately in view. Who ever saw that ghostly line which is length without breadth--and how absurd it is to require of us to draw it! And would not a country-b.u.mpkin feel as much insulted, if we told him he was a "carnivorous ape," or a "mammiferous two-handed animal," as the French soldier did when his officer called him a biped? If we give man his old prerogative, a "rational animal," how many would refuse the t.i.tle to pretty women and spendthrift sons, while others would most willingly bestow it upon their poodles?
Definition cannot be formed without a.n.a.lysis and comparison, and as few people indulge much in either, they accomplish it very roughly, but it answers their purpose, and they are contented until they find themselves wrong. Hence we commonly consider that nearly everything can be defined.
We may then call the ludicrous "an element in things which tends to create laughter." This may be considered a fair definition, and although it is quite untrue, and founded on a superficial view of the ludicrous, it may give us the characteristics which men had in view in originally giving the name at a time when they had little consideration or experience. But if we require more, and ask for a definition which will stand the test of philosophical examination, we must reply that such only can be given as is dependent upon the satisfaction of the inquirer.
Progressive minds will find it difficult to circ.u.mscribe the meaning of words, especially on matters with which they are well acquainted.
Brown, in his "Lectures on the Philosophy of the Human Mind," observes that the ludicrous is a compound feeling of gladness and astonishment; not a very comprehensive view, for according to it, if a man were informed that he had been left a sum of money, he would regard his good fortune as highly absurd.
Beattie maintains, on the contrary, that the ludicrous is a simple feeling, and therefore indefinable, a statement in which the premise seems more correct than the conclusion. The opinion that it is simple and primary, although not admitting of proof, has some probability in its favour. It arose from a conviction that we had no means of reaching it, of taking it to pieces, and was derived from the unsatisfactory character of such attempts as that of Brown, or from a.n.a.logy with some other emotions, or with physical substances whose essence we cannot ascertain. If we can connect the ludicrous with certain acts of judgment, we cannot tell how far the emotion is modified by them, and even if we seem to have detected some elements in it, we were not conscious of them at the moment of our being amused. If they exist, they are then undiscernible.
As when we regard a work of art, we are not sensible of pleasure until all the several elements of beauty are blended together, so if the ludicrous be a compound, there is some power within us that fuses the several emotions into one, and evolves out of them a completely new and distinct feeling. The product has a different nature from its component parts, just as the union of the blue, yellow and red give the simple sensation of whiteness. Regard the elements as separate and the feeling vanishes.
It has probably been owing to reflections of the above kind that some philosophers have stated that the ludicrous is a simple feeling, awakened by certain means, and not a compound or acquired feeling formed of certain elements. But although it is more comfortable to have questions settled and at rest, it is often safer to leave them open, especially where we have neither sufficient knowledge nor power of investigation to bring our inquiries to an issue. It is not, however, correct to say that because feelings are primary or single they cannot be defined. As we cannot take them to pieces or a.n.a.lyse them, we are ignorant with regard to their real nature, and of some we cannot form any definition whatever, the only account we can give of them being to enumerate every object in which they appear; but in the case of others, we are enabled to form a definition by means of attributes observed in the objects or circ.u.mstances which awaken them. We cannot trace any common elements in sugar and scent, or in leaves and emeralds, by which to define sweetness and viridity; but we think we can discern some in the ludicrous. The mere grouping of certain things under one head seems to show that mankind notices some similarity between them. But definition requires more than this; attributes must be observed, and such as are common to all the instances, and where it has been attempted there has been a conviction that such would be found, for without them it would be impossible. When this belief is entertained, a definition is practicable, regarding it not as a perfect or final, but as a possible and approximate limitation. To define accurately, we should summon before us every real circ.u.mstance which does, or imaginary one which could, awaken the feeling, and every real and imaginary circ.u.mstance which, though very similar, has not this effect. The greater the variety of these instances which have the power, the fewer are the qualities which appear to possess it; and the greater the variety of instances which have it not, the greater the number of the qualities we attribute to it.
It follows that the more numerous are the particulars to be considered, the more difficult it is to form a definition, and this may have led some to say that the ludicrous, which covers such a vast and varied field, lies entirely beyond it. We might think that we could add and subtract attributes until words and faculties failed us, until, in the one direction, we were reduced to a single point, in fact, to the ludicrous itself--while in the other we are lost in a boundless expanse.
To be satisfied with our definition, we must form a narrower estimate of the number of instances, and a higher one of our powers of discrimination.
But there is an alternative--although amusing objects and circ.u.mstances are almost innumerable, as we may have gathered from the last chapter, we may claim a license, frequently allowed in other cases, of drawing conclusions from a considerable number of promiscuous examples, and regarding them as a fair sample of the whole. Such a view has no doubt been taken by many able men, who have attempted to define the ludicrous.
An eminent German philosopher even said that he did not despair of discovering its real essence.
It must be admitted that we have no actual proof that the provocatives of the ludicrous are innumerable or utterly heterogeneous, nor any greater presumption that they are so than in many cases of physical phenomena which we are accustomed to define. The difficulty is at the most only that of degree, but we are unusually conscious of it owing to the nature of the subject. Every day, if not every hour, brings ludicrous objects of different kinds before us, whereas the number and variety of plants, animals, and minerals are only known to botanists and zoologists and other scientific men.
As the members of a cla.s.s are infinitely less numerous than the somewhat similar things which lie outside it, the course commonly adopted has been to examine a few members of it and try to find some of the properties a cla.s.s possesses, without aspiring to ascertain them all.
Our conclusions will thus be coextensive with our knowledge, rather than with our wishes, incomplete and overwide rather than illogical. How far easier is it, with regard to our present subject, to decide that the circ.u.mstances which awaken the ludicrous possess certain elements, than that it requires nothing more! the chemist may a.n.a.lyse the bright water of a natural spring which he can never manufacture. We can sometimes form what is humorous by imitation, but not by following any rules or directions; we even seem to be led more to it by accident than by design.
Our safest plan, therefore, will be to search for some possible elements, and to endeavour to establish some probabilities on a subject which must always be somewhat surrounded with uncertainty. The constant tillage of the soil, the investigations made, and definitions attempted, have not been unproductive of fruit, and we may feel a tolerable degree of a.s.surance on some points in question, while admitting that, however a.s.siduously we labour, there will always be something beyond our reach.
We will proceed then to examine and compare the stores of our predecessors, and if possible add a grain to the heap. Knowledge is progressive, and although it is not the lot of man to be a.s.sured of absolute truth, still the acquisition of what is relative or approximate is not valueless. This consideration, which has cheered many on the road of physical philosophy, may afford some encouragement to those who follow the equally obscure indications of our mental phenomena.
CHAPTER XXI.
Charm of Mystery--Complication--Poetry and Humour compared--Exaggeration.
All who are accustomed to novel reading or writing, are aware of the fascinating power of mystery. They even consider it a princ.i.p.al test of a good story that the plot should be impenetrable, and the final result concealed up to the last page. Tension and excitement are agreeable, even when the subject itself is somewhat painful. We observe this in a tragedy, and it is a common saying some people are never happy except when they are miserable. Such is the const.i.tution of the mind; and the fact that enjoyment can be obtained when we should expect the reverse, is noteworthy with reference to the ludicrous. All mystery causes a certain disquietude, but if the problem seems to us capable of being solved, it begets an agreeable curiosity. On its resolution the excitement ceases, and we only feel a kind of satisfaction, which, though more unalloyed, gives less enjoyment than mystery, inasmuch as it produces less mental and physical commotion. This tendency in the mind to find pleasure in complexity was observed even by Aristotle.
Experience teaches us that no literary style is attractive without a certain interlacing of thoughts and feelings. The sentiments which are most treasured and survive longest, are those which are conveyed rather in a complex than simple form--emotion is thus most quickened, and memory impressed. The beauty and charm of form lie greatly in its bringing ideas closer together, and succinctness implies fulness of thought. Thus a vast number of paradoxical expressions have been generated, which are far more agreeable than plain language. We speak of "blushing honours," "liquid music," "dry wine," "loud" or "tender colours," "round flavour," "cold hearts," "trembling stars," "storms in tea-cups," and a thousand similar combinations, putting the abstract for the concrete, transferring the perception of one sense to another, intermingling the nomenclature of arts, and using a great variety of metaphorical and even ungrammatical phrases. Poets owe much of their power to such combinations, and we find that allusions, which are confessedly the reverse of true, are often the most beautiful, touch the heart deepest, and live longest in the memory. Thus the lover delights to sing--
"Why does azure deck the sky?
"Tis to be like thine eyes of blue."
Poetry has been called "the conflict of the elements of our being," and it is a mark of genius to leave much to the imagination of the reader.
The higher we soar in poetry and the nearer we approach the sublime, the more the distance between the intertwined ideas increases. But we are scarcely conscious of any contradiction or discordance, as there is always something to resolve and explain it. Thus in "Il Penseroso," when we read of "the rugged brow of Night," we think of emblematic representations of Nox, and of the dark contraction of the brow in frowning. There is no breach of harmony, and we always find in poetry stepping stones which enable us to pa.s.s over difficulties. Often, too, we are a.s.sisted in this direction by the intention or tone of the writer or speaker.
Athenaeus exhibits well, in a story fict.i.tious or traditional, the contradictory elements to be found in poetry, and shows how easily metaphorical language may become ludicrous when interpreted according to the letter rather than the spirit. He makes Sophocles say to an Erythraean schoolmaster who wanted to take poetical things literally,
"Then this of Simonides does not please you, I suppose, though it seems to the Greeks very well spoken--
"The maid sends her voice From out her purple mouth!"
"Nor the poet speaking of the golden-haired Apollo, for if the painter had made the hair of the G.o.d golden and not black, the painting would be all the worse. Nor the poet speaking of the rosy-fingered Aurora, for if anyone were to dip his fingers into rose-coloured paint, he would make his hands like those of a purple dyer, not of a beautiful woman."
The praise of women is so common, and we so often compare them to everything beautiful, that the harsh lines in the above similes are coloured over and almost disappear. Such language seems as suitable in poetry, as commonplace information would be tedious, and being the scaffolding by which the ideal rises, the complexity is not prominent as in humour, though it adds to the pleasure afforded. But whenever the verge of harmony is not only reached, but transgressed, the connection of opposite ideas produces a different effect upon us, and we admit that from the sublime to the ridiculous is but a step. When we go beyond the natural we may, if, we heed not, enter the unnatural. In such cases we have an additional incentive to mirth--a double complication as it were, from the failure of the original intention.
If there were nothing in the world but what is plain and self-evident, where would be the romance and wit which form the greatest charm of life. Poetry recognises this; and in comic songs, especially of the Ethiopian cla.s.s lately so popular, there is rather too prominent an aim to obtain complexity of ideas--sometimes to the verge of nonsense.
Humorous sayings are largely manufactured on this plan.
The ideas in humour, although in one respect distant, must be brought close together. Protraction in relating a story will cause it to fail, and this is one reason why jokes in a foreign language seldom make us laugh.
Locke speaks of wit as the a.s.semblage of ideas. Most philosophers acknowledge the existence of some conflict in humour, and in many instances of the ludicrous it seems to lie between the real and ideal.
External circ.u.mstances appear different from what we should expect them to be, and think they ought to be. Thus we have seen a dignified man walking about quite unconscious that a wag has chalked his back, or fastened a "tail" on his coat behind.
Some have attempted to explain all humour on this basis, but the complication in it does not seem capable of being brought under this head. Weiss and Arnold Ruge say it is "the ideal captive by the real"--an opinion similar to that of Schopenhauer, who calls it "the triumph of intuition over reflection." Of course, this cannot be taken as a definition, for in that case every mistake we make, such as thinking a mountain higher than it is, or a right action wrong, would be laughable. We contemplate acts of injustice or oppression, and failures in art and manufacture, and still feel no inclination to laugh. But we may accept the opinion as an admission of the principle of complication.
The ideal and real often meet without any spark being struck, and in some cases the conflict in humour can scarcely be said to lie between them. It is often dependent upon a breach of a.s.sociation, or of some primary ideas or laws of nature. Necessary principles of mind or matter are often violated where things, true under one condition, are represented as being so universally. Our American cousins supply us with many ill.u.s.trative instances. "A man is so tall that he has to go up a ladder to shave himself." Generally we require to mount, to reach anything in a very high position, but if it were our own head, however lofty we carried it, we should not require a ladder. Somewhat similar is the observation "that a young lady"s head-dress is now so high, that she requires to stand on a stool to put it on."
We have heard of a soldier surprising and surrounding a body of the enemy; and of a man coming downstairs in the morning, thinking himself someone else. "One man is as good as another," said Thackeray to the Irishman. "No, but much better," was the sharp reply. A somewhat similar breach takes place when something is spoken of under a metaphor, and then expressions applicable to that thing are transferred to that to which it is compared. Pa.s.sages in literature and oratory thus become unintentionally ludicrous. A dignitary, well known for his conversational and anecdotal powers, told me that he once heard a very flowery preacher exclaim, when alluding to the destruction of the a.s.syrian host. "Death, that mighty archer, mowed them all down with the besom of destruction." Another clergyman, equally fond of metaphor, enforced the consideration of the shortness of life in the words, "Remember, my brethren, we are fast sailing down the stream of life, and shall speedily be landed in the ocean of eternity."
Johnson says that wit is "a _discordia concors_, a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike." Many have considered that humour consists of contrast or comparison, and it is true that a large portion of it owes much to attributes of relation. This kind of humorous complication is generally under the form of saying that a thing is _like_ something--from which it is essentially different--merely because of the existence of some accidental similitude. There are many kinds and degrees of this, and some points of resemblance may be found in all things. We say "one man is like another," "a man may make himself like a brute," &c. Similitudes in minute detail may be pointed out in things widely different; and from this range of significations the word _like_ has been most prolific of humour. It properly means, a real and essential likeness, and to use it in any other sense, is to employ it falsely. But our amus.e.m.e.nt is greatly increased when a.s.sociations are violated, and much amus.e.m.e.nt may by made by showing there is some considerable likeness between two objects we have been accustomed to regard as very far apart. The smaller the similarity pointed out the slighter is the chain which connects the distant objects, and the less we are inclined to laugh. But the more we draw the objects together, the greater is the complication and the humour. We are then inclined to a.s.sociate the qualities of the one with the other, and a succession of grotesque images is suggested backwards and forwards, before the amus.e.m.e.nt ceases. One princ.i.p.al reason why the mention of a drunken man, a tailor, or a lover, inclines us to mirth, is that they are a.s.sociated in our minds with absurd actions. Laughter is generally greatest when we are intimately acquainted with the person against whom it is directed.
We have often noticed the absurd effect produced in literature when words are used which, although suitable to the subject literally, are remote from it in a.s.sociation. The extreme subtlety of these feelings render it impossible sometimes to give any explanation of the ideas upon which a humorous saying is founded, and may be noticed in many words, the bearings of which we can feel, but not specify. A vast number of thoughts and emotions are always pa.s.sing through the mind, many of them being so fine that we cannot detect them. The results of some of them can be traced as we have before observed in the proficiency which is acquired by practice but can never be imparted by mere verbal instruction.
If things compared together are given too slight a connection, the a.s.sociations will not be transferred from one to the other, and the wit fails, as in Cowley"s extravagant fancy work on the basis of his mistress" eyes, being like burning-gla.s.ses. The objects must also be far enough apart for contrast--the farther the better, provided the distance be not so great as to change humour into the ludicrous.
Referring to the desirability of a good literal translation of Homer, Beattie makes the following amusing comparisons.
"Something of this kind the world had reason to expect from Madame Dacier, but was disappointed. Homer, as dressed out by that lady, has more of the Frenchman in his appearance than of the old Grecian. His beard is close shaved, his hair powdered, and there is even a little _rouge_ on his cheek. To speak more intelligibly, his simple and nervous diction is often wire-drawn into a flashy and feeble paraphrase, and his imagery as well as humour, sometimes annihilated by abbreviation. Nay, to make him the more modish, the good lady is at pains to patch up his style with unnecessary phrases and flourishes in the French taste, which have just such an effect in a translation of Homer, as a bag-wig, and snuff-box would have in a picture of Achilles."
In parody a slight likeness in form and expression brings together ideas with very different a.s.sociations. Several instances of this may be found in a preceding chapter. By increasing points of similarity between distant objects, poetry may be changed into humour. Addison remarks that "If a lover declare that his mistress" breast is as white as snow, he makes a commonplace observation, but when he adds with a sigh, that it is as cold too, he approaches to wit." The former simile is only poetical, but the latter draws the comparison too close, the complication becomes too strong, and we feel inclined to laugh. Addison merely notices the number of points of similitude, but the reason they produce or augment humour, is that they make the solution difficult.
When it is easy to limit and disentangle the likeness and unlikeness, the pleasantry is small, as where Butler says--
"The sun had long since, in the lap Of Thetis, taken out his nap, And, like a lobster boiled, the moon From black to red began to turn."
Here there is no element of truth--the things are too far apart. A humorous comparison should not be entirely fanciful, and without basis; otherwise we should have no complication.
Many humorous sayings, especially those found in comic papers, fail for want of foundation. That would-be wit which has no element of truth is always a failure, and may appear romantic, dull or ludicrous--or simply nonsensical. As in a novel, the more pure invention there is the duller we find it, so here the more like truth, the error appears the better.
The finer the balance, the nearer doubt is approached, provided it be not reached, the more excellent and artistic the humour. Gross exaggeration is not humorous. There is too much of this extravagant and spurious humour in the comic literature of the day. "Many men," writes Addison, "if they speak nonsense believe they are talking humour; and when they have drawn together a scheme of absurd inconsistant ideas are not able to read it over to themselves without laughing. These poor gentlemen endeavour to gain themselves the reputation of wits and humorists by such monstrous conceits as almost qualify them for Bedlam, not considering that humour should be always under the check of reason."
There is nothing pleasant in nonsense. In both humour and the ludicrous the imperfection must refer to some kind of right or truth, and revolve, as it were, round a fixed axis. "To laugh heartily we must have reality," writes Marmontel, and it is remarkable that most good comic situations have been taken from the author"s own experience. The best kind of humour is the most artistic embellishment of the ludicrous.
The fact that humour is often found in comparisons, probably led Leon Dumont to consider that it arose from the meeting of two opposite ideas in the mind. But often there is no contrast. It does not always strike us that the state of things present before us is different from some other clearly defined condition. We do not necessarily see that a thing is wrong as differing from something else, but as opposing some standard in our minds which it is often difficult to determine. We sometimes laugh at another person"s costume, though it does not occur to us that he should be dressed as ourselves, or according to some particular fashion, nor could we point out at what precise point it diverges from the code of propriety. But by reflecting we could probably mark the deviation. The ludicrous often suggests comparisons; when we see something absurd we often try to find a resemblance to something else, but this is after we have been amused, and we sometimes say of a very ridiculous man, that we "do not know what he is like."