nature. The peevish mouth and the fallen eye of the plaice, the helpless rotundity of the sunfish, the mournful gape and rolling glance of the goldfish, the furious and ineffective mien of the barndoor fowl, the wild grotesqueness of the babyroussa and the wart-hog, the crafty solemn eye of the parrot—if such things as these do not testify to a sense of humour in the Creative Spirit, it is hard to account for the fact that in man a perception is implanted which should find such sights pleasurably entertaining from infancy upwards. I suppose the root of the matter is that, insensibly comparing these facial attributes with the expression of humanity, one credits the animals above described with the emotions which they do not necessarily feel; yet even so it is hard to analyse, because grotesque exaggerations of human features, which are perfectly normal and natural, seem calculated to move the amusement of humanity quite instinctively. A child is apt to be alarmed at first by what is grotesque, and, when once reassured, to find in it a matter of delight. Perhaps the mistake we make is to credit the Creative Spirit with human emotions; but, on the other hand, it is difficult to see how complex emotions, not connected with any material needs and impulses, can be found existing in organisms, unless the same emotions exist in the mind of their Creator. If the thrush bursts into song on the bare bush at evening, if the child smiles to see the bulging hairy cactus, there must be, I think, something joyful and smiling at the heart, the inmost cell of nature, loving beauty and laughter; indeed, beauty and mirth must be the natural signs of health and content. And then there strike in upon the mind two thoughts. Is, perhaps, the basis of humour a kind of selfish security? Does one primarily laugh at all that is odd, grotesque, broken, ill at ease, fantastic, because such things heighten the sense of one's own health and security? I do not mean that this is the flower of modern humour; but is it not, perhaps, the root? Is not the basis of laughter perhaps the purely childish and selfish impulse to delight, not in the sufferings of others, but in the sense which all distorted things minister to one—that one is temporarily, at least, more blest than they? A child does not laugh for pure happiness—when it is happiest, it is most grave and solemn; but when the sense of its health and soundness is brought home to it poignantly, then it laughs aloud, just as it laughs at the pleasant pain of being tickled, because the tiny uneasiness throws into relief its sense of secure well-being.
And the further thought—a deep and strange one—is this: We see how all mortal things have a certain curve or cycle of life—youth, maturity, age. May not that law of being run deeper still? we think of nature being ever strong, ever young, ever joyful; but may not the very shadow of sorrow and suffering in the world be the sign that nature too grows old and weary? May there have been a dim age, far back beyond history or fable or scientific record, when she, too, was young and light-hearted? The sorrows of the world are at present not like the sorrows of age, but the sorrows of maturity. There is no decrepitude in the world: its heart is restless, vivid, and hopeful yet; its melancholy is as the melancholy of youth—a melancholy deeply tinged with beauty; it is full of boundless visions and eager dreams; though it is thwarted, it believes in its ultimate triumph; and the growth of humour in the world may be just the shadow of hard fact falling upon the generous vision, for that is where humour resides; youth believes glowingly that all things are possible, but maturity sees that to hope is not to execute, and acquiesces smilingly in the incongruity between the programme and the performance.
Humour resides in the perception of limitation, in discerning how often the conventional principle is belied by the actual practice. The old world was full of a youthful sense of its own importance; it held that all things were created for man—that the flower was designed to yield him colour and fragrance, that the beast of the earth was made to give him food and sport. This philosophy was summed up in the phrase that man was the measure of all things; but now we have learnt that man is but the most elaborate of created organisms, and that just as there was a time when man did not exist, so there may be a time to come when beings infinitely more elaborate may look back to man as we look back to trilobites—those strange creatures, like huge wood-lice, that were in their day the glory and crown of creation. Perhaps our dreams of supremacy and finality may be in reality the absurdest things in the world for their pomposity and pretentiousness. Who can say?
But to retrace our steps awhile. It seems that the essence of humour is a certain perception of incongruity. Let us take a single instance. There is a story of a drunken man who was observed to feel his way several times all round the railings of a London square, with the intention apparently of finding some way of getting in. At last he sat down, covered his face with his hands, and burst into tears, saying, with deep pathos, "I am shut in!" In a sense it was true: if the rest of the world was his prison, and the garden of the square represented liberty, he was undoubtedly incarcerated. Or, again, take the story of the Scotchman returning from a convivial occasion, who had jumped carefully over the shadows of the lamp-posts, but on coming to the shadow of the church-tower, ruefully took off his boots and stockings, and turned his trousers up, saying, "I'll ha'e to wade." The reason why the stories of drunken persons are often so indescribably humorous, though, no doubt, highly deplorable in a Christian country, is that the victim loses all sense of probability and proportion, and laments unduly over an altogether imaginary difficulty. The appreciation of such situations is in reality the same as the common and barbarous form of humour, of which we have already spoken, which consists in being amused at the disasters which befall others. The stage that is but slightly removed from the lowest stage is the theory of practical jokes, the humour of which is the pleasure of observing the actions of a person in a disagreeable predicament which is not so serious as the victim supposes. And thus we get to the region illustrated by the two stories I have told, where the humour lies in the observation of one in a predicament that appears to be of a tragic character, when the tragic element is purely imaginary. And so we pass into the region of intellectual humour, which may be roughly illustrated by such sayings as that of George Sand that nothing is such a restorative as rhetoric, or the claim advanced by a patriot that Shakespeare was undoubtedly a Scotchman, on the ground that his talents would justify the supposition. The humour of George Sand's epigram depends upon the perception that rhetoric, which ought to be based upon a profound conviction, an overwhelming passion, an intense enthusiasm, is often little more than the abandonment of a personality to a mood of intoxicating ebullience; while the humour of the Shakespeare story lies in a sense of the way in which a national predilection will override all reasonable evidence.
It will be recognised how much of our humour depends upon our keen perception of the weaknesses and imperfections of other nationalities. A great statesman once said that if a Scotchman applied for a post and was unsuccessful, his one object became to secure the post for another Scotchman; while if an Irishman made an unsuccessful application, his only aim was to prevent any other Irishman from obtaining the post. That is a humorous way of contrasting the jealous patriotism of the Scot with the passionate individualism of the Celt. The curious factor of this species of humour is that we are entirely unable to recognise the typicality of the caricatures which other nations draw of ourselves. A German fails to recognise the English idea of the German as a man who, after a meal of gigantic proportions and incredible potations, among the smoke of endless cigars, will discuss the terminology of the absolute, and burst into tears over a verse of poetry or a strain of music. Similarly the Englishman cannot divine what is meant by the Englishman of the French stage, with his long whiskers, his stiff pepper-and-salt clothes, walking arm-in-arm with a raw-boned wife, short-skirted and long-toothed, with a bevy of short-skirted and long-toothed daughters walking behind.
But if it requires a robust humorist to perceive the absurdity of his own nation, what intensity of humour is required for a man to see the absurdity of himself! To acquiesce in appearing ridiculous is the height of philosophy. We are glad enough to amuse other people intentionally, but how many men does one know who do not resent amusing other people unintentionally? Yet if one were a true philanthropist, how delighted we ought to be to afford to others a constant feast of innocent and joyful contemplation.
But the fact which emerges from all these considerations is the fact that we do not give humour its place of due dignity in the moral and emotional scale. The truth is that we in England have fallen into a certain groove of humour of late, the humour of paradox. The formula which lies at the base of our present output of humour is the formula, "Whatever is, is wrong." The method has been over-organised, and the result is that humour can be manufactured in unlimited quantities. The type of such humour is the saying