made, especially such as show confusion or exaggeration, we often seem to detect some conditions of humour, and by a little change are able to make something, which has more or less the character of a jest.
There is in this investigation a very formidable "Dweller on the Threshold." We contend with great disadvantages in any attempts to examine our mental constitution. When we turn the mind in upon itself, and make it our object, the very act of earnest reflection obscures the idea, or destroys the emotion we desire to contemplate. This is especially the case in the present instance. The ludicrous, when we attempt to grasp it, shows off its gay and motley garb, and appears in grave attire. It is only by abstracting our mind from the inquiry, and throwing it into lighter considerations, that we can at all retain the illusion. A clever sally appears brilliant when it breaks suddenly upon the mental vision, but when it is brought forward for close examination it loses half its lustre, and seems to melt into unsubstantial air. Humour may be compared to a delicate scent, which we only perceive at the first moment, or to evanescent beauty—
"For every touch that wooed its stay
Has brushed its brightest hues away."
This last simile is especially in point here, and the quotations in this book will scarcely be found humorous, so long as they are regarded as mere illustrations of the nature of humour.
We need not—taking these matters into consideration—feel much surprised that some people say the ludicrous cannot be defined; as for instance, Buckingham,
"True wit is everlasting like the sun,
Describing all men, but described by none;"
and Addison:—"It is much easier to decide what is not humorous than what is, and very difficult to define it otherwise than Cowley has done, by negatives"—the only meaning of which is that the subject is surrounded with rather more than the usual difficulties attending moral and psychological researches. Similar obstacles would be encountered in answering the question, "What is poetry?" or "What is love?" We can only say that even here there must be some surroundings by which we can increase our knowledge.
Humour is the offspring of man—it comes forth like Minerva fully armed from the brain. Our sense of the ludicrous is produced by our peculiar mental constitution, and not by external objects, in which there is nothing either absurd or serious. As when the action of our mind is imperceptible—for instance, in hearing and seeing with our "bodily" senses—we think what we notice is something in the external world, although it is only so far dependent upon it that it could not exist without some kind of outer influence, so the result of our not recognising the amusing action of the mind in the ludicrous is that we regard it as a quality resident in the persons and things we contemplate.[1] But it does not belong to these things, and is totally different from them in kind. Thus, the rose is formed of certain combinations of earth, air, and water; yet none of these dull elements possess the fragrance or beauty of the flower. These properties come from some attractive and constructive power. Not only are there no types or patterns in things of our emotions, but there are none even of our sensations; heat and cold, red or blue, are such only for our constitution. This truth is beautifully set forth by Addison in a passage in which, as Dugald Stewart justly remarks, "We are at a loss whether most to admire the author's depth and refinement of thought, or the singular felicity of fancy displayed in its illustration." "Things," he observes, "would make but a poor appearance to the eye, if we saw them only in their proper figures and motions. And what reason can we assign for their exciting in us many of those ideas which are different from anything that exists in the objects themselves (for such are light and colours) were it not to add supernumerary ornaments to the universe, and make it more agreeable to the imagination? We are everywhere entertained with pleasing shows and apparitions. We discover imaginary glories in the heavens and on the earth, and see some of this visionary beauty poured out over the whole creation. But what a rough, unsightly sketch of Nature should we be entertained with, did all her colouring disappear, and the several distinctions of light and shade vanish! In short, our souls are delightfully lost and bewildered in a pleasing delusion, and we walk about like the enchanted hero of a romance, who sees beautiful castles, woods, and meadows, and at the same time hears the warbling of birds and the purling of streams; but upon the finishing of some secret spell, the fantastic scene breaks up, and the disconsolate knight finds himself on a barren heath, or in a solitary desert."
I have introduced these considerations, because it is very difficult for us to realize that what we behold is merely phenomenal, that
"Things are not what they seem;"
but that we are looking into the mirror of Nature at our own likeness. When we speak of a ludicrous occurrence, we cannot avoid thinking that the external events themselves contain something of that character. Thus, the ludicrous has come in our ideas and language to be separated from the sense in which alone it exists, and it is desirable that we should clearly understand that the distinction is only logical and not real.
When the cause of our laughter—be it mind, matter, or imaginary circumstance—is merely regarded as something incongruous and amusing, we name it the ludicrous, and a man is called ludicrous as faulty or contemptible. But when the cause of it is viewed as something more than this, as coming from some conscious power or tendency within us—a valuable gift and an element in our mental constitution—we call it humour, a term applied only to human beings and their productions; and a man is called humorous as worthy of commendation. Both are in truth feelings—we might say one feeling—and although we can conceive humour to exist apart from the ludicrous, and to be a power within us creating it, there is a difficulty in following out the distinction. The difference between them is in our regard.
As soon as in course of time it became plainly evident that gay creations might emanate from man, and not only from the outer world, the fact was marked by the formation of a distinctive name, and by degrees several names—among which the most comprehensive in English is Humour. This kind of gift became gradually known as more or less possessed by all, and when the operations of the mind came to be recognised, we were more enlightened on the subject, and acknowledged it to be a mental and creative power. Such admissions would not be made by men in general without some very strong evidence, and therefore a humorous man was not merely one who had an internal sense of the ludicrous, but one who employed it for the delectation of others. Hence, also, though there is no consciousness of being amusing in the man who is ludicrous, there is in one that is humorous. A wit must always be pleasant intentionally. A man who in sober seriousness recounts something which makes us laugh is not humorous, although his want of discrimination may not be sufficient to make him ludicrous. Children are not regarded as humorous, for, although they enjoy such simple humour as toys afford, they very seldom notice what is merely ludicrous, and do not reproduce it in any way; and the same may be said of many grown persons, who require to be fed as it were, and although they can enjoy what is embellished by others, have no original observation. Thus, although Herbert Mayo is substantially correct in saying that "humour is the sentiment of the ludicrous," he might have added that there is a difference between the two in our knowledge of them. In the former, the creative mind is more marked, and, a man though he laughs much, if he be dull in words is only considered to have mirth, i.e., joyousness or a sense of the ludicrous, not humour. The gift can only be brought prominently forward in speech or writing, and thus humour comes to be often regarded as a kind of ingredient or seasoning in a speech or book, if not actually synonymous with certain sentences or expressions. Still we always confine the name to human productions, as, for instance, gestures, sayings, writings, pictures, and plays.
The recognition of the mental character of humour did not necessarily imply any knowledge as to the authority, instability, or constancy of the feeling—that could only be acquired by philosophical investigation. Nor have we yet so far ascertained its character as to be able to form humorous fancies upon any fixed principle. We are guided by some sense of the ludicrous which we cannot analyse;
