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overtaking him, we make comfortably sure that religion lends itself as
deftly as journalism to the light-hearted drolleries of the cruel.
Novelists, who understand how easy a thing it is to gratify our
humorous susceptibilities, venture upon doubtful jests. Mr.
Tarkington knows very well that the spectacle of a boy dismembering
an insect calls for reprobation; but that if the boy’s experiments can
be described as “infringing upon the domain of Dr. Carrell,” they
make a bid for laughter. “Penrod’s efforts—with the aid of a pin—to
effect a transference of living organism were unsuccessful; but he
convinced himself forever that a spider cannot walk with a beetle’s
legs.” It is funny to those who relish the fun. If it does not, as Mr.
Pater advises, make suffering ridiculous, it makes sympathy
ridiculous, as being a thing more serious than the occasion warrants.
The reader who is not amused tries to forget the incident, and
hurries cheerfully on.
A more finished example of callous gaiety, and one which has
been more widely appreciated, may be found in a story called
“Crocker’s Hole,” by Blackmore. It tells how a young man named
Pike, whom “Providence” had created for angling (the author is
comfortably sure on this point), caught an old and wary trout by the
help of a new and seductive bait. The over-wrought, over-coloured
beauty of Blackmore’s style is in accord with his highly sophisticated
sense of humour:
“The lover of the rose knows well a gay, voluptuous beetle, whose
pleasure it is to lie embedded in a fount of beauty. Deep among the
incurving petals of the blushing fragrance he loses himself in his joys
till a breezy waft reveals him. And when the sunlight breaks upon his
luscious dissipation, few would have the heart to oust such a gem
from such a setting. All his back is emerald sparkles; all his front, red
Indian gold, and here and there he grows white spots to save the
eye from aching. Pike slipped in his finger, fetched him out, and gave
him a little change of joys by putting a Limerick hook through his
thorax, and bringing it out between his elytra. Cetonia aurata liked it
not, but pawed the air very naturally, fluttered his wings, and trod
prettily upon the water under a lively vibration. He looked quite as
happy, and considerably more active than when he had been cradled
in the anthers of a rose.”
The story is an angling story, and it would be unreasonable to spoil
it by sympathizing with the bait. But there is something in the
painting of the little beetle’s beauty, and in the amused description of
its pain, which would sicken a donkey-beating costermonger, if he
were cultivated enough to know what the author was driving at. It
takes education and an unswerving reverence for sport to save us
from the costermonger’s point of view.
There are times when it is easier to mock than to pity; there are
occasions when we may be seduced from blame, even if we are not
won all the way to approval. Mrs. Pennell tells us in her very
interesting and very candid life of Whistler that the artist gratified a
grudge against his Venetian landlady by angling for her goldfish
(placed temptingly on a ledge beneath his window-sill); that he
caught them, fried them, and dropped them dexterously back into
their bowl. It is a highly illustrative anecdote, and we are more
amused than we have any business to be. Mr. Whistler’s method of
revenge was the method of the Irish tenants who hocked their
landlord’s cattle; but the adroitness of his malice, and the whimsical
picture it presents, disarms sober criticism. A sympathetic setting for
such an episode would have been a comedy played in the streets of
Mantua, under the gay rule of Francesco Gonzaga, and before the
eyes of that fair Isabella d’Este who bore tranquilly the misfortunes of
others.
We hear so much about the sanitary qualities of laughter, we have
been taught so seriously the gospel of amusement, that any writer,
preacher, or lecturer, whose smile is broad enough to be infectious,
finds himself a prophet in the market-place. Laughter, we are told,
freshens our exhausted spirits and disposes us to good-will,—which
is true. It is also true that laughter quiets our uneasy scruples and
disposes us to simple savagery. Whatever we laugh at, we condone,
and the echo of man’s malicious merriment rings pitilessly through
the centuries. Humour which has no scorn, wit which has no sting,
jests which have no victim, these are not the pleasantries which
have provoked mirth, or fed the comic sense of a conventionalized
rather than a civilized world. “Our being,” says Montaigne, “is
cemented with sickly qualities; and whoever should divest man of the
seeds of those qualities would destroy the fundamental conditions of
life.”
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