The Ironeïst is one thing or another, according to his caprice. Irony is the humour of satire; it may be savage as in Swift, with a moral object, or sedate, as in Gibbon, with a malicious. The foppish irony fretting to be seen, and the irony which leers, that you shall not mistake its intention, are failures in satiric effort pretending to the treasures of ambiguity.
The Humourist of mean order is a refreshing laugher, giving tone to the feelings and sometimes allowing the feelings to be too much for him. But the humourist of high has an embrace of contrasts beyond the scope of the Comic poet.
Heart and mind laugh out at Don Quixote, and still you brood on him. The juxtaposition of the knight and squire is a Comic conception, the opposition of their natures most humorous. They are as different as the two hemispheres in the time of Columbus, yet they touch and are bound in one by laughter. The knight’s great aims and constant mishaps, his chivalrous valiancy exercised on absurd objects, his good sense along the highroad of the craziest of expeditions; the compassion he plucks out of derision, and the admirable figure he preserves while stalking through the frantically grotesque and burlesque assailing him, are in the loftiest moods of humour, fusing the Tragic sentiment with the Comic narrative.
The stroke of the great humourist is world-wide, with lights of Tragedy in his laughter.
Taking a living great, though not creative, humourist to guide our description: the skull of Yorick is in his hands in our seasons of festival; he sees visions of primitive man capering preposterously under the gorgeous robes of ceremonial. Our souls must be on fire when we wear solemnity, if we would not press upon his shrewdest nerve. Finite and infinite flash from one to the other with him, lending him a two-edged thought that peeps out of his peacefullest lines by fits, like the lantern of the fire-watcher at windows, going the rounds at night. The comportment and performances of men in society are to him, by the vivid comparison with their mortality, more grotesque than respectable. But ask yourself, Is he always to be relied on for justness? He will fly straight as the emissary eagle back to Jove at the true Hero. He will also make as determined a swift descent upon the man of his wilful choice, whom we cannot distinguish as a true one. This vast power of his, built up of the feelings and the intellect in union, is often wanting in proportion and in discretion. Humourists touching upon History or Society are given to be capricious. They are, as in the case of Sterne, given to be sentimental; for with them the feelings are primary, as with singers. Comedy, on the other hand, is an interpretation of the general mind, and is for that reason of necessity kept in restraint. The French lay marked stress onmesure et goût, and they own how much they owe to Molière for leading them in simple justness and taste. We can teach them many things; they can teach us in this.
The Comic poet is in the narrow field, or enclosed square, of the society he depicts; and he addresses the still narrower enclosure of men’s intellects, with reference to the operation of the social world upon their characters. He is not concerned with beginnings or endings or surroundings, but with what you are now weaving. To understand his work and value it, you must have a sober liking of your kind and a sober estimate of our civilized qualities. The aim and business of the Comic poet are misunderstood, his meaning is not seized nor his point of view taken, when he is accused of dishonouring our nature and being hostile to sentiment, tending to spitefulness and making an unfair use of laughter. Those who detect irony in Comedy do so because they choose to see it in life. Poverty, says the satirist, has nothing harder in itself than that it makes men ridiculous. But poverty is never ridiculous to Comic perception until it attempts to make its rags conceal its bareness in a forlorn attempt at decency, or foolishly to rival ostentation. Caleb Balderstone, in his endeavour to keep up the honour of a noble household in a state of beggary, is an exquisitely comic character. In the case of ‘poor relatives,’ on the other hand, it is the rich, whom they perplex, that are really comic; and to laugh at the former, not seeing the comedy of the latter, is to betray dulness of vision. Humourist and Satirist frequently hunt together as Ironeïsts in pursuit of the grotesque, to the exclusion of the Comic. That was an affecting moment in the history of the Prince Regent, when the First Gentleman of Europe burst into tears at a sarcastic remark of Beau Brummell’s on the cut of his coat. Humour, Satire, Irony, pounce on it altogether as their common prey. The Comic spirit eyes but does not touch it. Put into action, it would be farcical. It is too gross for Comedy.
Incidents of a kind casting ridicule on our unfortunate nature instead of our conventional life, provoke derisive laughter, which thwarts the Comic idea. But derision is foiled by the play of the intellect. Most of doubtful causes in contest are open to Comic interpretation, and any intellectual pleading of a doubtful cause contains germs of an Idea of Comedy.
The laughter of satire is a blow in the back or the face. The laughter of Comedy is impersonal and of unrivalled politeness, nearer a smile; often no more than a smile. It laughs through the mind, for the mind directs it; and it might be called the humour of the mind.
One excellent test of the civilization of a country, as I have said, I take to be the flourishing of the Comic idea and Comedy; and the test of true Comedy is that it shall awaken thoughtful laughter.
If you believe that our civilization is founded in common-sense (and it is the first condition of sanity to believe it), you will, when contemplating men, discern a Spirit overhead; not more heavenly than the light flashed upward from glassy surfaces, but luminous and watchful; never shooting beyond them, nor lagging in the rear; so closely attached to them that it may be taken for a slavish reflex, until its features are studied. It has the sage’s brows, and the sunny malice of a faun lurks at the corners of the half-closed lips drawn in an idle wariness of half tension. That slim feasting smile, shaped like the long-bow, was once a big round satyr’s laugh, that flung up the brows like a fortress lifted by gunpowder. The laugh will come again, but it will be of the order of the smile, finely tempered, showing sunlight of the mind, mental richness rather than noisy enormity. Its common aspect is one of unsolicitous observation, as if surveying a full field and having leisure to dart on its chosen morsels, without any fluttering eagerness. Men’s future upon earth does not attract it; their honesty and shapeliness in the present does; and whenever they wax out of proportion, overblown, affected, pretentious, bombastical, hypocritical, pedantic, fantastically delicate; whenever it sees them self-deceived or hoodwinked, given to run riot in idolatries, drifting into vanities, congregating in absurdities, planning short-sightedly, plotting dementedly; whenever they are at variance with their professions, and violate the unwritten but perceptible laws binding them in consideration one to another; whenever they offend sound reason, fair justice; are false in humility or mined with conceit, individually, or in the bulk—the Spirit overhead will look humanely malign and cast an oblique light on them, followed by volleys of silvery laughter. That is the Comic Spirit.
Not to distinguish it is to be bull-blind to the spiritual, and to deny the existence of a mind of man where minds of men are in working conjunction.
You must, as I have said, believe that our state of society is founded in common-sense, otherwise you will not be struck by the contrasts the Comic Spirit perceives, or have it to look to for your consolation. You will, in fact, be standing in that peculiar oblique beam of light, yourself illuminated to the general eye as the very object of chase and doomed quarry of the thing obscure to you. But to feel its presence and to see it is your assurance that many sane and solid minds are with you in what you are experiencing: and this of itself spares you the pain of satirical heat, and the bitter craving to strike heavy blows. You share the sublime of wrath, that would not have hurt the foolish, but merely demonstrate their foolishness. Molière was contented to revenge himself on the critics of the École des Femmes, by writing the Critique de l’École des Femmes, one of the wisest as well as the playfullest of studies in criticism. A perception of the comic spirit gives high fellowship. You become a citizen of the selecter world, the highest we know of in connection with our old world, which is not supermundane. Look there for your unchallengeable upper class! You feel that you are one of this our civilized community, that you cannot escape from it, and would not if you could. Good hope sustains you; weariness does not overwhelm you; in isolation you see no charms for vanity; personal pride is greatly moderated. Nor shall your title of citizenship exclude you from worlds of imagination or of devotion. The Comic spirit is not hostile to the sweetest songfully poetic. Chaucer bubbles with it: Shakespeare overflows: there is a mild moon’s ray of it (pale with super-refinement through distance from our flesh and blood planet) in Comus. Pope has it, and it is the daylight side of the night half obscuring Cowper. It is only hostile to the priestly element, when that, by baleful swelling, transcends and overlaps the bounds of its office: and then, in extreme cases, it is too true to itself to speak, and veils the lamp: as, for example, the spectacle of Bossuet over the dead body of Molière: at which the dark angels may, but men do not laugh.
We have had comic pulpits, for a sign that the laughter-moving and the worshipful may be in alliance: I know not how far comic, or how much assisted in seeming so by the unexpectedness and the relief of its appearance: at least they are popular, they are said to win the ear. Laughter is open to perversion, like other good things; the scornful and the brutal sorts are not unknown to us; but the laughter directed by the Comic spirit is a harmless wine, conducing to sobriety in the degree that it enlivens. It enters you like fresh air into a study; as when one of the sudden contrasts of the comic idea floods the brain like reassuring daylight. You are cognizant of the true kind by feeling that you take it in, savour it, and have what flowers live on, natural air for food. That which you give out—the joyful roar—is not the better part; let that go to good fellowship and the benefit of the lungs. Aristophanes promises his auditors that if they will retain the ideas of the comic poet carefully, as they keep dried fruits in boxes, their garments shall smell odoriferous of wisdom throughout the year. The boast will not be thought an empty one by those who have choice friends that have stocked themselves according to his directions. Such treasuries of sparkling laughter are wells in our desert. Sensitiveness to the comic laugh is a step in civilization. To shrink from being an object of it is a step in cultivation. We know the degree of refinement in men by the matter they will laugh at, and the ring of the laugh; but we know likewise that the larger natures are distinguished by the great breadth of their power of laughter, and no one really loving Molière is refined by that love to despise or be dense to Aristophanes, though it may be that the lover of Aristophanes will not have risen to the height of Molière. Embrace them both, and you have the whole scale of laughter in your breast. Nothing in the world surpasses in stormy fun the scene in The Frogs, when Bacchus and Xanthias receive their thrashings from the hands of businesslike Œacus, to discover which is the divinity of the two, by his imperviousness to the mortal condition of pain, and each, under the obligation of not crying out, makes believe that his horrible bellow—the god’siou ioubeing the lustier—means only the stopping of a sneeze, or horseman sighted, or the prelude to an invocation to some deity: and the slave contrives that the god shall get the bigger lot of blows. Passages of Rabelais, one or two in Don Quixote, and the Supper in the Manner of the Ancients, in Peregrine Pickle, are of a similar cataract of laughter. But it is not illuminating; it is not the laughter of the mind. Molière’s laughter, in his purest comedies, is ethereal, as light to our nature, as colour to our thoughts. The Misanthrope and the Tartuffe have no audible laughter; but the characters are steeped in the comic spirit. They quicken the mind through laughter, from coming out of the mind; and the mind accepts them because they are clear interpretations of certain chapters of the Book lying open before us all. Between these two stand Shakespeare and Cervantes, with the richer laugh of heart and mind in one; with much of the Aristophanic robustness, something of Molière’s delicacy.
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The laughter heard in circles not pervaded by the Comic idea, will sound harsh and soulless, like versified prose, if you step into them with a sense of the distinction. You will fancy you have changed your habitation to a planet remoter from the sun. You may be among powerful brains too. You will not find poets—or but a stray one, over-worshipped. You will find learned men undoubtedly, professors, reputed philosophers, and illustrious dilettanti. They have in them, perhaps, every element composing light, except the Comic. They read verse, they discourse of art; but their eminent faculties are not under that vigilant sense of a collective supervision, spiritual and present, which we have taken note of. They build a temple of arrogance; they speak much in the voice of oracles; their hilarity, if it does not dip in grossness, is usually a form of pugnacity.
Insufficiency of sight in the eye looking outward has deprived them of the eye that should look inward. They have never weighed themselves in the delicate balance of the Comic idea so as to obtain a suspicion of the rights and dues of the world; and they have, in consequence, an irritable personality. A very learned English professor crushed an argument in a political discussion, by asking his adversary angrily: ‘Are you aware, sir, that I am a philologer?’
The practice of polite society will help in training them, and the professor on a sofa with beautiful ladies on each side of him, may become their pupil and a scholar in manners without knowing it: he is at least a fair and pleasing spectacle to the Comic Muse. But the society named polite is volatile in its adorations, and to-morrow will be petting a bronzed soldier, or a black African, or a prince, or a spiritualist: ideas cannot take root in its ever-shifting soil. It is besides addicted in self-defence to gabble exclusively of the affairs of its rapidly revolving world, as children on a whirligoround bestow their attention on the wooden horse or cradle ahead of them, to escape from giddiness and preserve a notion of identity. The professor is better out of a circle that often confounds by lionizing, sometimes annoys by abandoning, and always confuses. The school that teaches gently what peril there is lest a cultivated head should still be coxcomb’s, and the collisions which may befall high-soaring minds, empty or full, is more to be recommended than the sphere of incessant motion supplying it with material.
Lands where the Comic spirit is obscure overhead are rank with raw crops of matter. The traveller accustomed to smooth highways and people not covered with burrs and prickles is amazed, amid so much that is fair and cherishable, to come upon such curious barbarism. An Englishman paid a visit of admiration to a professor in the Land of Culture, and was introduced by him to another distinguished professor, to whom he took so cordially as to walk out with him alone one afternoon. The first professor, an erudite entirely worthy of the sentiment of scholarly esteem prompting the visit, behaved (if we exclude the dagger) with the vindictive jealousy of an injured Spanish beauty. After a short prelude of gloom and obscure explosions, he discharged upon his faithless admirer the bolts of passionate logic familiar to the ears of flighty caballeros:—‘Either I am a fit object of your admiration, or I am not. Of these things one—either you are competent to judge, in which case I stand condemned by you; or you are incompetent, and therefore impertinent, and you may betake yourself to your country again, hypocrite!’ The admirer was for persuading the wounded scholar that it is given to us to be able to admire two professors at a time. He was driven forth.
Perhaps this might have occurred in any country, and a comedy of The Pedant, discovering the greedy humanity within the dusty scholar, would not bring it home to one in particular. I am mindful that it was in Germany, when I observe that the Germans have gone through no comic training to warn them of the sly, wise emanation eyeing them from aloft, nor much of satirical. Heinrich Heine has not been enough to cause them to smart and meditate. Nationally, as well as individually, when they are excited they are in danger of the grotesque, as when, for instance, they decline to listen to evidence, and raise a national outcry because one of German blood has been convicted of crime in a foreign country. They are acute critics, yet they still wield clubs in controversy. Compare them in this respect with the people schooled in La Bruyère, La Fontaine, Molière; with the people who have the figures of a Trissotin and a Vadius before them for a comic warning of the personal vanities of the caressed professor. It is more than difference of race. It is the difference of traditions, temper, and style, which comes of schooling.
The French controversialist is a polished swordsman, to be dreaded in his graces and courtesies. The German is Orson, or the mob, or a marching army, in defence of a good case or a bad—a big or a little. His irony is a missile of terrific tonnage: sarcasm he emits like a blast from a dragon’s mouth. He must and will be Titan. He stamps his foe underfoot, and is astonished that the creature is not dead, but stinging; for, in truth, the Titan is contending, by comparison, with a god.
When the Germans lie on their arms, looking across the Alsatian frontier at the crowds of Frenchmen rushing to applaud L’ami Fritz at the Théâtre Français, looking and considering the meaning of that applause, which is grimly comic in its political response to the domestic moral of the play—when the Germans watch and are silent, their force of character tells. They are kings in music, we may say princes in poetry, good speculators in philosophy, and our leaders in scholarship. That so gifted a race, possessed moreover of the stern good sense which collects the waters of laughter to make the wells, should show at a disadvantage, I hold for a proof, instructive to us, that the discipline of the comic spirit is needful to their growth. We see what they can reach to in that great figure of modern manhood, Goethe. They are a growing people; they are conversable as well; and when their men, as in France, and at intervals at Berlin tea-tables, consent to talk on equal terms with their women, and to listen to them, their growth will be accelerated and be shapelier. Comedy, or in any form the Comic spirit, will then come to them to cut some figures out of the block, show them the mirror, enliven and irradiate the social intelligence.
Modern French comedy is commendable for the directness of the study of actual life, as far as that, which is but the early step in such a scholarship, can be of service in composing and colouring the picture. A consequence of this crude, though well-meant, realism is the collision of the writers in their scenes and incidents, and in their characters. The Muse of most of them is anAventurière. She is clever, and a certain diversion exists in the united scheme for confounding her. The object of this person is to reinstate herself in the decorous world; and either, having accomplished this purpose through deceit, she has anostalgie de la boue, that eventually casts her back into it, or she is exposed in her course of deception when she is about to gain her end. A very good, innocent young man is her victim, or a very astute, goodish young man obstructs her path. This latter is enabled to be the champion of the decorous world by knowing the indecorous well. He has assisted in the progress of Aventurières downward; he will not help them to ascend. The world is with him; and certainly it is not much of an ascension they aspire to; but what sort of a figure is he? The triumph of a candid realism is to show him no hero. You are to admire him (for it must be supposed that realism pretends to waken some admiration) as a credibly living young man; no better, only a little firmer and shrewder, than the rest. If, however, you think at all, after the curtain has fallen, you are likely to think that the Aventurières have a case to plead against him. True, and the author has not said anything to the contrary; he has but painted from the life; he leaves his audience to the reflections of unphilosophic minds upon life, from the specimen he has presented in the bright and narrow circle of a spy-glass.
I do not know that the fly in amber is of any particular use, but the Comic idea enclosed in a comedy makes it more generally perceptible and portable, and that is an advantage. There is a benefit to men in taking the lessons of Comedy in congregations, for it enlivens the wits; and to writers it is beneficial, for they must have a clear scheme, and even if they have no idea to present, they must prove that they have made the public sit to them before the sitting to see the picture. And writing for the stage would be a corrective of a too-incrusted scholarly style, into which some great ones fall at times. It keeps minor writers to a definite plan, and to English. Many of them now swelling a plethoric market, in the composition of novels, in pun-manufactories and in journalism; attached to the machinery forcing perishable matter on a public that swallows voraciously and groans; might, with encouragement, be attending to the study of art in literature. Our critics appear to be fascinated by the quaintness of our public, as the world is when our beast-garden has a new importation of magnitude, and the creatures appetite is reverently consulted. They stipulate for a writer’s popularity before they will do much more than take the position of umpires to record his failure or success. Now the pig supplies the most popular of dishes, but it is not accounted the most honoured of animals, unless it be by the cottager. Our public might surely be led to try other, perhaps finer, meat. It has good taste in song. It might be taught as justly, on the whole, and the sooner when the cottager’s view of the feast shall cease to be the humble one of our literary critics, to extend this capacity for delicate choosing in the direction of the matter arousing laughter.
{1}A lecture delivered at the London Institution, February 1st, 1877.
{2}Realism in the writing is carried to such a pitch in THE OLD BACHELOR, that husband and wife use imbecile connubial epithets to one another.
{3}Tallemant des Réaux, in his rough portrait of the Duke, shows the foundation of the character of Alceste.
{4}See Tom Jones, book viii. chapter I, for Fielding’s opinion of our Comedy. But he puts it simply; not as an exercise in the quasi-philosophical bathetic.
{5}Femmes Savantes:
BÉLISE: Veux-tu toute la vie offenser la grammaire?
MARTINE: Qui parle d’offenser grand’mère ni grand-père?’
The pun is delivered in all sincerity, from the mouth of a rustic.
{6}Maskwell seems to have been carved on the model of Iago, as by the hand of an enterprising urchin. He apostrophizes his ‘invention’ repeatedly. ‘Thanks, my invention.’ He hits on an invention, to say: ‘Was it my brain or Providence? no matter which.’ It is no matter which, but it was not his brain.
{7}Imaginary Conversations: Alfieri and the Jew Salomon.
{8}Terence did not please the rough old conservative Romans; they liked Plautus better, and the recurring mention of thevetus poetain his prologues, who plagued him with the crusty critical view of his productions, has in the end a comic effect on the reader.
{9}The exclamation of Lady Booby, when Joseph defends himself: ‘Your virtue! I shall never survive it!’ etc., is another instance.—Joseph Andrews. Also that of Miss Mathews in her narrative to Booth: ‘But such are the friendships of women.’—Amelia.