Part 12 (1/2)

The first of his popular essays in amus.e.m.e.nt, the one by which--owing to an accident of music--he is still best known, though anonymously, to a large public, is _The Bad Child's Book of Beasts_. Successors in a similar manner are _More Beasts for Worse Children_ (delightful t.i.tle), _A Moral Alphabet_, and _Cautionary Tales for Children_. These are successful books for children, of a great popularity, and may be read with considerable pleasure by elder persons.

To define the particular quality which makes them good is more than a little difficult. It is much easier to a.n.a.lyse and expose the virtues of the most affecting poetry than to explain what moves us in the mildest piece of humour. This is amply proved by the fact that innumerable volumes exist on the origin of comedy and the cause of laughter, and there are more to come: while, roughly speaking, even philosophers are agreed as to the manner in which serious poetry touches us.

A great deal, too, of the appeal of these pieces is due to the ill.u.s.trations of B. T. B. which complement the text with an apt and grotesque commentary. The pleasure given by the verse, perhaps, if one may handle so delicate and trifling a thing, lies in a sort of inconsequence and unexpectedness. Witness the poem on the Yak:

Then tell your Papa where the Yak can be got, And if he is awfully rich He will buy you the creature--

(The reader now turns over the page.)

Or else he will _not_.

(I cannot be positive which.)

Or it may reside in mere genial idiocy, as in _The Dodo_:

The Dodo used to walk around And take the sun and air.

The Sun yet warms his native ground-- The Dodo is not there!

The voice which used to squawk and squeak Is now for ever dumb-- Yet may you see his bones and beak All in the Mu-se-um.

This is the quality which chiefly inspires the _Cautionary Tales_, that admirable series of biographies. ”_Matilda, Who told Lies and was Burned to Death_” is perhaps too well known to quote, but we may extract a pa.s.sage from ”_Lord Lundy, who was too Freely Moved to Tears, and thereby ruined his Political Career_”:

It happened to Lord Lundy then, As happens to so many men: Towards the age of twenty-six, They shoved him into politics; In which profession he commanded The income that his rank demanded In turn as Secretary for India, the Colonies and War.

But very soon his friends began To doubt if he were quite the man: Thus, if a member rose to say (As members do from day to day), ”Arising out of that reply...!”

Lord Lundy would begin to cry.

A hint at harmless little jobs Would shake him with convulsive sobs, While as for Revelations, these Would simply bring him to his knees And leave him whimpering like a child.

This genial idiocy, this unexpectedness and inconsequence, are perhaps the most characteristic qualities of his freest humour elsewhere. Take, for example, the flavour of this singular remark from _The Four Men_.

Grizzlebeard is telling, according to his oath, in a most serious fas.h.i.+on the story of his first love. He says:

”I learnt ... that she had married a man whose fame had long been familiar to me, a politician, a patriot, and a most capable manufacturer.... Then strong, and at last (at such a price) mature, I noted the hour and went towards the doors through which she had entered perhaps an hour ago in the company of the man with whose name she had mingled her own.”

_Myself._ ”What did he manufacture?”

_Grizzlebeard._ ”Rectified lard; and so well, let me tell you, that no one could compete with him.”

Let the reader explain, if he can, the comic effect of that startling irrelevance; we cannot, but it is characteristic.

It is some effect of dexterity with words, some happy spring of inconsequence, which produces this particular kind of joke. A certain exuberance in writing which plainly intoxicates the writer and carries the reader with it, is at the bottom of humour of this sort. What is it that causes us to smile at the following pa.s.sage, a disquisition on the apt.i.tude of the word ”surprising”?

An elephant escapes from a circus and puts his head in at your window while you are writing and thinking of a word. You look up.

You may be alarmed, you may be astonished, you may be moved to sudden processes of thought; but one thing you will find about it, and you will find out quite quickly, and it will dominate all your other emotions of the time: the elephant's head will be surprising.

You are caught. Your soul says loudly to its Creator: ”Oh, this is something new!”

One might suggest that psychological a.n.a.lysis with an example so absurd provokes the sense of the comic, but it is not quite that. It is not Heinesque irony, the concealment of an insult, nor Wilde's paradox, the burlesque of a truth. It is merely comic: a humorous facility in the use of words, though not barren as such things are apt to be, but quite common and human. The philosophical rules of laughter do not explain it: but it is funny.

Something of the same attraction rests in a quite absurd essay, wherein Mr. Belloc describes how he was waylaid by an inventor and, having suffered the explanations of the man, retaliated with advice as to the means to pursue to get the new machine adopted. The technical terms invented for both parties to the dialogue are deliciously idiotic, a sort of exalted abstract play with the dictionary of technology.

In descriptions of persons we are on safer ground, and the reader, if he still care, after all we have said, for such-like foolishness, may explain these jokes by the incongruity of teleological beings acting in an ateleological manner. We are determined to be content in picking out pa.s.sages that amuse us and in commenting on them but by no means explaining them.