# Tongues of Fire and Other Sketches/The Laughter of Courage

Tongues of Fire and Other Sketches 23/11/1924
It was at a big cinema house. The lights were turned down and the general audience was a blur, faces at a few feet distance not clearly discernible. On the screen a comic story was being shown, some scenes very comic, and amusement was audible all over the crowded building. There was tittering, sniggering, gasps of surprise, and occasionally an exclamation. Everybody seemed sufficiently tickled to make a noise of one kind or another, when suddenly a new sound was heard, a sound that presently dominated the entire house. A man was⁠—laughing.
At first, so concentrated was attention on the screen, that his laughter did not attract attention. It merged in the general murmur of the crowd. But gradually it differentiated itself from this general murmur, and rose above it. It became a sound apart. More than mere amusement, more than a pleasant sense of the ludicrous made audible, it drew attention to itself. It was a genuine, hearty laughter.
And people turned their heads. First one, then another, looked away from the screen to see who was so unadulteratedly happy, enjoying himself with such spontaneous hilarity. One must be a child to laugh like that, felt many, with a touch of envy, perhaps, at the thought. No grownup could forget himself for so slight a cause. It certainly was unaffected laughter, the man was unselfconscious. He did not know he was making such a noise. And everybody looked at the rows behind them, peering eagerly to see his face; they made remarks to their neighbours; they waited, listening for the next outburst, then nudged each other again⁠—and finally began laughing themselves.
They laughed with the man, not at him, for it was such infectious laughter that bubbled from him in a ceaseless stream. Actors on the stage must have been seriously disconcerted, but the pictures, of course, showed no signs of injured vanity; for the fact was that, while the comic story lasted, the entire audience laughed with the man instead of with the moving photographs. The screen was neglected shamefully; its changes merely supplied the question from one moment to another:⁠—“Listen! That will set him off again! You see if it doesn’t!” And off he went⁠—the stream of delicious, unselfconscious, heartfelt laughter that it did one good to hear.
There was no marked peculiarity about it, the voice was not unusual in any way, there was nothing about it that made one inclined to laugh at instead of with him. It was the genuine, happy joy in the sound that caught so many hearts along. The desire to see the man became, apparently, universal; what was he like, what sort of fellow to look at, what age, what size, what type of man⁠—that he could laugh like this? People leaned forward, backwards, sideways, to discover him; but the semi-darkness screened him from their view; they could not see the shaking sides, the merry eyes, the jolly mouth and cheeks. He was audible only, not visible. The few in the back rows who sat near him had him to themselves.
But all listened with keen delight. Every few seconds the spontaneous laughter broke forth with what seemed new freshness. It cheered, it made the day seem brighter, there was more happiness in the world than one knew, evidently; life itself took on a gayer, and more careless aspect with such a proof of brave enjoyment in one’s ears. The screen amused, but this man’s laughter heartened. It was very good to hear. He must, indeed, be a jolly, reckless, lighthearted fellow, without a care or worry in the world. If only that laughter could be bottled up and delivered by cartloads in the unhappy houses of the world! There was such hope and courage in it. The man must be an optimist with confident outlook.
And everyone who heard it shared one longing⁠—for the story to end and the lights to be turned up that the laugher might be visible. For it seemed that no one cared any longer what happened on the screen; all wanted to see the jovial face of the jolly, happy man who had cheered them up without knowing that he did so. And at last the story ended, the lights began to rise. Hundreds of necks were craned.
I shall never forget him. He was still laughing, though not loudly now. He leaned over to a pal to talk about the pictures. He was utterly oblivious of the sensation that he caused⁠—this happy, cheerful, jolly man who was a wounded soldier, holding two crutches lightly against his shoulder. I saw his grim, determined face; I saw his bright blue eyes, laughter still in them; and, when the performance ended, I also saw him carried out tenderly by his two pals. He was young, perhaps twenty-six at most, and his body ended at the knees. And a sigh went through the great silent audience as, without watching, they yet saw⁠—a sigh of wonder and admiration, of gratitude, also, I think, of love. There was a feeling of reverence; there were certainly moistened eyes.
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1951, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 72 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
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