Yet one must not draw a picture of the rich in colours altogether gloomy. There are cases among them of genuine, light-hearted happiness.

I have observed this is especially the case among those of the rich who have the good fortune to get ruined, absolutely and completely ruined. They may do this on the Stock Exchange or by banking or in a dozen other ways. The business side of getting ruined is not difficult.

Once the rich are ruined, they are, as far as my observation goes, all right. They can then have anything they want.

I saw this point illustrated again just recently. I was walking with a friend of mine and a motor passed bearing a neatly dressed young man, chatting gaily with a pretty woman. My friend raised his hat and gave it a jaunty and cheery swing in the air as if to wave goodwill and happiness.

"Poor old Edward Overjoy!" he said, as the motor moved out of sight.

"What's wrong with him?" I asked.

"Hadn't you heard?" said my friend. "He's ruined—absolutely cleaned out—not a cent left."

"Dear me!" I said. "That's awfully hard. I suppose he'll have to sell that beautiful motor?"

My friend shook his head.

"Oh, no," he said. "He'll hardly do that. I don't think his wife would care to sell that."

My friend was right. The Overjoys have not sold their motor. Neither have they sold their magnificent sandstone residence. They are too much attached to it, I believe, to sell it. Some people thought they would have given up their box at the opera. But it appears not. They are too musical to care to do that. Meantime it is a matter of general notoriety that the Overjoys are absolutely ruined; in fact, they haven't a single cent. You could buy Overjoy—so I am informed—for ten dollars.

But I observe that he still wears a seal-lined coat worth at least five hundred.



XVII. Humour as I See It

It is only fair that at the back of this book I should be allowed a few pages to myself to put down some things that I really think.

Until two weeks ago I might have taken my pen in hand to write about humour with the confident air of an acknowledged professional.

But that time is past. Such claim as I had has been taken from me. In fact I stand unmasked. An English reviewer writing in a literary journal, the very name of which is enough to put contradiction to sleep, has said of my writing, "What is there, after all, in Professor Leacock's humour but a rather ingenious mixture of hyperbole and myosis?"

The man was right. How he stumbled upon this trade secret I do not know. But I am willing to admit, since the truth is out, that it has long been my custom in preparing an article of a humorous nature to go down to the cellar and mix up half a gallon of myosis with a pint of hyperbole. If I want to give the article a decidedly literary character, I find it well to put in about half a pint of paresis. The whole thing is amazingly simple.

But I only mention this by way of introduction and to dispel any idea that I am conceited enough to write about humour, with the professional authority of Ella Wheeler Wilcox writing about love, or Eva Tanguay talking about dancing.

All that I dare claim is that I have as much sense of humour as other people. And, oddly enough, I notice that everybody else makes this same claim. Any man will admit, if need be, that his sight is not good, or that he cannot swim, or shoots badly with a rifle, but to touch upon his sense of humour is to give him a mortal affront.

"No," said a friend of mine the other day, "I never go to Grand Opera," and then he added with an air of pride, "You see, I have absolutely no ear for music."

"You don't say so!" I exclaimed.

"None!" he went on. "I can't tell one tune from another. I don't know Home, Sweet Home from God Save the King. I can't tell whether a man is tuning a violin or playing a sonata."

He seemed to get prouder and prouder over each item of his own deficiency. He ended by saying that he had a dog at his house that had a far better ear for music than he had. As soon as his wife or any visitor started to play the piano the dog always began to howl—plaintively, he said—as if it were hurt. He himself never did this.

When he had finished I made what I thought a harmless comment.

"I suppose," I said, "that you find your sense of humour deficient in the same way: the two generally go together."

My friend was livid with rage in a moment.

"Sense of humour!" he said. "My sense of humour! Me without a sense of humour! Why, I suppose I've a keener sense of humour than any man, or any two men, in this city!"

From that he turned to bitter personal attack. He said that my sense of humour seemed to have withered altogether.

He left me, still quivering with indignation.

Personally, however, I do not mind making the admission, however damaging it may be, that there are certain forms of so-called humour, or, at least, fun, which I am quite unable to appreciate. Chief among these is that ancient thing called the Practical Joke.

"You never knew McGann, did you?" a friend of mine asked me the other day.

When I said I had never known McGann, he shook his head with a sigh, and said:

"Ah, you should have known McGann. He had the greatest sense of humour of any man I ever knew—always full of jokes. I remember one night at the boarding-house where we were, he stretched a string across the passage-way and then rang the dinner bell. One of the boarders broke his leg. We nearly died laughing."

"Dear me!" I said. "What a humorist! Did he often do things like that?"

"Oh, yes, he was at them all the time. He used to put tar in the tomato soup, and beeswax and tin-tacks on the chairs. He was full of ideas. They seemed to come to him without any trouble."

McGann, I understand, is dead. I am not sorry for it. Indeed, I think that for most of us the time has gone by when we can see the fun of putting tacks on chairs, or thistles in beds, or live snakes in people's boots.

To me it has always seemed that the very essence of good humour is that it must be without harm and without malice. I admit that there is in all of us a certain vein of the old original demoniacal humour or joy in the misfortune of another which sticks to us like our original sin. It ought not to be funny to see a man, especially a fat and pompous man, slip suddenly on a banana skin. But it is. When a skater on a pond who is describing graceful circles, and showing off before the crowd, breaks through the ice and gets a ducking, everybody shouts with joy. To the original savage, the cream of the joke in such cases was found if the man who slipped broke his neck, or the man who went through the ice never came up again. I can imagine a group of prehistoric men standing round the ice-hole where he had disappeared and laughing till their sides split. If there had been such a thing as a prehistoric newspaper, the affair would have headed up: "Amusing Incident. Unknown Gentleman Breaks Through Ice and Is Drowned."

But our sense of humour under civilisation has been weakened. Much of the fun of this sort of thing has been lost on us.

Children, however, still retain a large share of this primitive sense of enjoyment.

I remember once watching two little boys making snow-balls at the side of the street and getting ready a little store of them to use. As they worked, there came along an old man wearing a silk hat, and belonging by appearance to the class of "jolly old gentlemen." When he saw the boys his gold spectacles gleamed with kindly enjoyment. He began waving his arms and calling, "Now, then, boys, free shot at me! free shot!" In his gaiety he had, without noticing it, edged himself over the sidewalk on to the street. An express cart collided with him and knocked him over on his back in a heap of snow. He lay there gasping and trying to get the snow off his face and spectacles. The boys gathered up their snow-balls and took a run toward him. "Free shot!" they yelled. "Soak him! Soak him!"

I repeat, however, that for me, as I suppose for most of us, it is a prime condition of humour that it must be without harm or malice, nor should it convey incidentally any real picture of sorrow or suffering or death. There is a great deal in the humour of Scotland (I admit its general merit) which seems to me not being a Scotchman, to sin in this respect. Take this familiar story (I quote it as something already known and not for the sake of telling it).

A Scotchman had a sister-in-law—his wife's sister—with whom he could never agree. He always objected to going anywhere with her, and in spite of his wife's entreaties always refused to do so. The wife was taken mortally ill and as she lay dying, she whispered, "John, ye'll drive Janet with you to the funeral, will ye no?" The Scotchman, after an internal struggle, answered, "Margaret, I'll do it for ye, but it'll spoil my day."

Whatever humour there may be in this is lost for me by the actual and vivid picture that it conjures up—the dying wife, the darkened room and the last whispered request.

No doubt the Scotch see things differently. That wonderful people—whom personally I cannot too much admire—always seem to me to prefer adversity to sunshine, to welcome the prospect of a pretty general damnation, and to live with grim cheerfulness within the very shadow of death. Alone among the nations they have converted the devil —under such names as Old Horny—into a familiar acquaintance not without a certain grim charm of his own. No doubt also there enters into their humour something of the original barbaric attitude towards things. For a primitive people who saw death often and at first hand, and for whom the future world was a vivid reality that could be felt, as it were, in the midnight forest and heard in the roaring storm, it was no doubt natural to turn the flank of terror by forcing a merry and jovial acquaintance with the unseen world. Such a practice as a wake, and the merry-making about the corpse, carry us back to the twilight of the world, with the poor savage in his bewildered misery, pretending that his dead still lived. Our funeral with its black trappings and its elaborate ceremonies is the lineal descendant of a merry-making. Our undertaker is, by evolution, a genial master of ceremonies, keeping things lively at the death-dance. Thus have the ceremonies and the trappings of death been transformed in the course of ages till the forced gaiety is gone, and the black hearse and the gloomy mutes betoken the cold dignity of our despair.

But I fear this article is getting serious. I must apologise.

I was about to say, when I wandered from the point, that there is another form of humour which I am also quite unable to appreciate. This is that particular form of story which may be called, par excellence, the English Anecdote. It always deals with persons of rank and birth, and, except for the exalted nature of the subject itself, is, as far as I can see, absolutely pointless.

This is the kind of thing that I mean.

"His Grace the Fourth Duke of Marlborough was noted for the open-handed hospitality which reigned at Blenheim, the family seat, during his regime. One day on going in to luncheon it was discovered that there were thirty guests present, whereas the table only held covers for twenty-one. 'Oh, well,' said the Duke, not a whit abashed, 'some of us will have to eat standing up.' Everybody, of course, roared with laughter."

My only wonder is that they didn't kill themselves with it. A mere roar doesn't seem enough to do justice to such a story as this.

The Duke of Wellington has been made the storm-centre of three generations of wit of this sort. In fact the typical Duke of Wellington story has been reduced to a thin skeleton such as this:

"A young subaltern once met the Duke of Wellington coming out of Westminster Abbey. 'Good morning, your Grace,' he said, 'rather a wet morning.' 'Yes' said the Duke, with a very rigid bow, 'but it was a damn sight wetter, sir, on the morning of Waterloo.' The young subaltern, rightly rebuked, hung his head."

Nor is it only the English who sin in regard to anecdotes.

One can indeed make the sweeping assertion that the telling of stories as a mode of amusing others ought to be kept within strict limits. Few people realise how extremely difficult it is to tell a story so as to reproduce the real fun of it—to "get it over" as the actors say. The mere "facts" of a story seldom make it funny. It needs the right words, with every word in its proper place. Here and there, perhaps once in a hundred times, a story turns up which needs no telling. The humour of it turns so completely on a sudden twist or incongruity in the denouement of it that no narrator, however clumsy, can altogether fumble it.

Take, for example, this well-known instance—a story which, in one form or other, everybody has heard.

"George Grossmith, the famous comedian, was once badly run down and went to consult a doctor. It happened that the doctor, though, like everybody else, he had often seen Grossmith on the stage, had never seen him without his make-up and did not know him by sight. He examined his patient, looked at his tongue, felt his pulse and tapped his lungs. Then he shook his head. 'There's nothing wrong with you, sir,' he said, 'except that you're run down from overwork and worry. You need rest and amusement. Take a night off and go and see George Grossmith at the Savoy.' 'Thank you,' said the patient, 'I am George Grossmith.'"

Let the reader please observe that I have purposely told this story all wrongly, just as wrongly as could be, and yet there is something left of it. Will the reader kindly look back to the beginning of it and see for himself just how it ought to be narrated and what obvious error has been made? If he has any particle of the artist in his make-up, he will see at once that the story ought to begin:

"One day a very haggard and nervous-looking patient called at the house of a fashionable doctor, etc. etc."

In other words, the chief point of the joke lies in keeping it concealed till the moment when the patient says, "Thank you, I am George Grossmith." But the story is such a good one that it cannot be completely spoiled even when told wrongly. This particular anecdote has been variously told of George Grossmith, Coquelin, Joe Jefferson, John Hare, Cyril Maude, and about sixty others. And I have noticed that there is a certain type of man who, on hearing this story about Grossmith, immediately tells it all back again, putting in the name of somebody else, and goes into new fits of laughter over it, as if the change of name made it brand new.

But few people, I repeat, realise the difficulty of reproducing a humorous or comic effect in its original spirit.

"I saw Harry Lauder last night," said Griggs, a Stock Exchange friend of mine, as we walked up town together the other day. "He came on to the stage in kilts" (here Grigg started to chuckle) "and he had a slate under his arm" (here Griggs began to laugh quite heartily), "and he said, 'I always like to carry a slate with me' (of course he said it in Scotch but I can't do the Scotch the way he does it) 'just in case there might be any figures I'd be wanting to put down'" (by this time, Griggs was almost suffocated with laughter)—"and he took a little bit-of chalk out of his pocket, and he said" (Griggs was now almost hysterical), "'I like to carry a wee bit chalk along because I find the slate is'" (Griggs was now faint with laughter) "'the slate is—is—not much good without the chalk.'"

Griggs had to stop, with his hand to his side, and lean against a lamp-post. "I can't, of course, do the Scotch the way Harry Lauder does it," he repeated.

Exactly. He couldn't do the Scotch and he couldn't do the rich mellow voice of Mr. Lauder and the face beaming with merriment, and the spectacles glittering with amusement, and he couldn't do the slate, nor the "wee bit chalk"—in fact he couldn't do any of it. He ought merely to have said, "Harry Lauder," and leaned up against a post and laughed till he had got over it.

Yet in spite of everything, people insist on spoiling conversation by telling stories. I know nothing more dreadful at a dinner table than one of these amateur raconteurs—except perhaps, two of them. After about three stories have been told, there falls on the dinner table an uncomfortable silence, in which everybody is aware that everybody else is trying hard to think of another story, and is failing to find it. There is no peace in the gathering again till some man of firm and quiet mind turns to his neighbour and says, "But after all there is no doubt that whether we like it or not prohibition is coming." Then everybody in his heart says, "Thank heaven!" and the whole tableful are happy and contented again, till one of the story-tellers "thinks of another," and breaks loose.

Worst of all perhaps is the modest story-teller who is haunted by the idea that one has heard this story before. He attacks you after this fashion:

"I heard a very good story the other day on the steamer going to Bermuda"—then he pauses with a certain doubt in his face—"but perhaps you've heard this?"

"No, no, I've never been to Bermuda. Go ahead."

"Well, this is a story that they tell about a man who went down to Bermuda one winter to get cured of rheumatism —but you've heard this?"

"No, no."

"Well he had rheumatism pretty bad and he went to Bermuda to get cured of it. And so when he went into the hotel he said to the clerk at the desk—but, perhaps you know this."

"No, no, go right ahead."

"Well, he said to the clerk, 'I want a room that looks out over the sea'—but perhaps—"

Now the sensible thing to do is to stop the narrator right at this point. Say to him quietly and firmly, "Yes, I have heard that story. I always liked it ever since it came out in Tit Bits in 1878, and I read it every time I see it. Go on and tell it to me and I'll sit back with my eyes closed and enjoy it."

No doubt the story-telling habit owes much to the fact that ordinary people, quite unconsciously, rate humour very low: I mean, they underestimate the difficulty of "making humour." It would never occur to them that the thing is hard, meritorious and dignified. Because the result is gay and light, they think the process must be. Few people would realise that it is much harder to write one of Owen Seaman's "funny" poems in Punch than to write one of the Archbishop of Canterbury's sermons. Mark Twain's Huckleberry Finn is a greater work than Kant's Critique of Pure Reason, and Charles Dickens's creation of Mr. Pickwick did more for the elevation of the human race—I say it in all seriousness—than Cardinal Newman's Lead, Kindly Light, Amid the Encircling Gloom. Newman only cried out for light in the gloom of a sad world. Dickens gave it.

But the deep background that lies behind and beyond what we call humour is revealed only to the few who, by instinct or by effort, have given thought to it. The world's humour, in its best and greatest sense, is perhaps the highest product of our civilisation. One thinks here not of the mere spasmodic effects of the comic artist or the blackface expert of the vaudeville show, but of the really great humour which, once or twice in a generation at best, illuminates and elevates our literature. It is no longer dependent upon the mere trick and quibble of words, or the odd and meaningless incongruities in things that strike us as "funny." Its basis lies in the deeper contrasts offered by life itself: the strange incongruity between our aspiration and our achievement, the eager and fretful anxieties of to-day that fade into nothingness to-morrow, the burning pain and the sharp sorrow that are softened in the gentle retrospect of time, till as we look back upon the course that has been traversed we pass in view the panorama of our lives, as people in old age may recall, with mingled tears and smiles, the angry quarrels of their childhood. And here, in its larger aspect, humour is blended with pathos till the two are one, and represent, as they have in every age, the mingled heritage of tears and laughter that is our lot on earth.

END