# Impressions of Theophrastus Such (2nd ed., 1879)/Chapter X

"Il ne faut pas mettre un ridicule oy il n'y en a point: c'est se gbter le goût, c'est corrompre son jugement et celui des autres. Mais le ridicule qui est quelque part, il faut l'y voir, l'en tirer avec grbce et d'une manihre qui plaise et qui instruise."
I am fond of quoting this passage from La Bruyhre, because the subject is one where I like to show a Frenchman on my side, to save my sentiments from being set down to my peculiar dulness and deficient sense of the ludicrous, and also that they may profit by that enhancement of ideas when presented in a foreign tongue, that glamour of unfamiliarity conferring a dignity on the foreign names of very common things, of which even a philosopher like Dugald Stewart confesses the influence. I remember hearing a fervid woman attempt to recite in English the narrative of a begging Frenchman who described the violent death of his father in the July days. The narrative had impressed her, through the mists of her flushed anxiety to understand it, as something quite grandly pathetic; but finding the facts turn out meagre, and her audience cold, she broke off, saying, "It sounded so much finer in French—j'ai vu le sang de mon phre, and so on—I wish I could repeat it in French." This was a pardonable illusion in an old-fashioned lady who had not received the polyglot education of the present day; but I observe that even now much nonsense and bad taste win admiring acceptance solely by virtue of the French language, and one may fairly desire that what seems a just discrimination should profit by the fashionable prejudice in favour of La Bruyhre's idiom. But I wish he had added that the habit of dragging the ludicrous into topics where the chief interest is of a different or even opposite kind is a sign not of endowment, but of deficiency. The art of spoiling is within reach of the dullest faculty: the coarsest clown with a hammer in his hand might chip the nose off every statue and bust in the Vatican, and stand grinning at the effect of his work. Because wit is an exquisite product of high powers, we are not therefore forced to admit the sadly confused inference of the monotonous jester that he is establishing his superiority over every less facetious person, and over every topic on which he is ignorant or insensible, by being uneasy until he has distorted it in the small cracked mirror which he carries about with him as a joking apparatus. Some high authority is needed to give many worthy and timid persons the freedom of muscular repose under the growing demand on them to laugh when they have no other reason than the peril of being taken for dullards; still more to inspire them with the courage to say that they object to the theatrical spoiling for themselves and their children of all affecting themes, all the grander deeds and aims of men, by burlesque associations adapted to the taste of rich fishmongers in the stalls and their assistants in the gallery. The English people in the present generation are falsely reputed to know Shakspere (as, by some innocent persons, the Florentine mule-drivers are believed to have known the Divina Commedia, not, perhaps, excluding all the subtle discourses in the Purgatorio and Paradiso); but there seems a clear prospect that in the coming generation he will be known to them through burlesques, and that his plays will find a new life as pantomimes. A bottle-nosed Lear will come on with a monstrous corpulence from which he will frantically dance himself free during the midnight storm; Rosalind and Celia will join in a grotesque ballet with shepherds and shepherdesses; Ophelia in fleshings and a voluminous brevity of grenadine will dance through the mad scene, finishing with the famous "attitude of the scissors" in the arms of Laertes; and all the speeches in "Hamlet" will be so ingeniously parodied that the originals will be reduced to a mere memoria technica of the improver's puns—premonitory signs of a hideous millennium, in which the lion will have to lie down with the lascivious monkeys whom (if we may trust Pliny) his soul naturally abhors.
I have been amazed to find that some artists whose own works have the ideal stamp, are quite insensible to the damaging tendency of the burlesquing spirit which ranges to and fro and up and down on the earth, seeing no reason (except a precarious censorship) why it should not appropriate every sacred, heroic, and pathetic theme which serves to make up the treasure of human admiration, hope, and love. One would have thought that their own half-despairing efforts to invest in worthy outward shape the vague inward impressions of sublimity, and the consciousness of an implicit ideal in the commonest scenes, might have made them susceptible of some disgust or alarm at a species of burlesque which is likely to render their compositions no better than a dissolving view, where every noble form is seen melting into its preposterous caricature. It used to be imagined of the unhappy medieval Jews that they parodied Calvary by crucifying dogs; if they had been guilty they would at least have had the excuse of the hatred and rage begotten by persecution. Are we on the way to a parody which shall have no other excuse than the reckless search after fodder for degraded appetites—after the pay to be earned by pasturing Circe's herd where they may defile every monument of that growing life which should have kept them human?
The world seems to me well supplied with what is genuinely ridiculous: wit and humour may play as harmlessly or beneficently round the changing facets of egoism, absurdity, and vice, as the sunshine over the rippling sea or the dewy meadows. Why should we make our delicious sense of the ludicrous, with its invigorating shocks of laughter and its irrepressible smiles which are the outglow of an inward radiation as gentle and cheering as the warmth of morning, flourish like a brigand on the robbery of our mental wealth?—or let it take its exercise as a madman might, if allowed a free nightly promenade, by drawing the populace with bonfires which leave some venerable structure a blackened ruin or send a scorching smoke across the portraits of the past, at which we once looked with a loving recognition of fellowship, and disfigure them into butts of mockery?—nay, worse—use it to degrade the healthy appetites and affections of our nature as they are seen to be degraded in insane patients whose system, all out of joint, finds matter for screaming laughter in mere topsy-turvy, makes every passion preposterous or obscene, and turns the hard-won order of life into a second chaos hideous enough to make one wail that the first was ever thrilled with light?
This is what I call debasing the moral currency: lowering the value of every inspiring fact and tradition so that it will command less and less of the spiritual products, the generous motives which sustain the charm and elevation of our social existence—the something besides bread by which man saves his soul alive. The bread-winner of the family may demand more and more coppery shillings, or assignats, or greenbacks for his day's work, and so get the needful quantum of food; but let that moral currency be emptied of its value—let a greedy buffoonery debase all historic beauty, majesty, and pathos, and the more you heap up the desecrated symbols the greater will be the lack of the ennobling emotions which subdue the tyranny of suffering, and make ambition one with social virtue.
And yet, it seems, parents will put into the hands of their children ridiculous parodies (perhaps with more ridiculous "illustrations") of the poems which stirred their own tenderness or filial piety, and carry them to make their first acquaintance with great men, great works, or solemn crises through the medium of some miscellaneous burlesque which, with its idiotic puns and farcical attitudes, will remain among their primary associations, and reduce them throughout their time of studious preparation for life to the moral imbecility of an inward giggle at what might have stimulated their high emulation or fed the fountains of compassion, trust, and constancy. One wonders where these parents have deposited that stock of morally educating stimuli which is to be independent of poetic tradition, and to subsist in spite of the finest images being degraded and the finest words of genius being poisoned as with some befooling drug.
Will fine wit, will exquisite humour prosper the more through this turning of all things indiscriminately into food for a gluttonous laughter, an idle craving without sense of flavours? On the contrary. That delightful power which La Bruyhre points to—"le ridicule qui est quelque part, il faut l'y voir, l'en tirer avec grbce et d'une manihre qui plaise et qui instruise"—depends on a discrimination only compatible with the varied sensibilities which give sympathetic insight, and with the justice of perception which is another name for grave knowledge. Such a result is no more to be expected from faculties on the strain to find some small hook by which they may attach the lowest incongruity to the most momentous subject, than it is to be expected of a sharper, watching for gulls in a great political assemblage, that he will notice the blundering logic of partisan speakers, or season his observation with the salt of historical parallels. But after all our psychological teaching, and in the midst of our zeal for education, we are still, most of us, at the stage of believing that mental powers and habits have somehow, not perhaps in the general statement, but in any particular case, a kind of spiritual glaze against conditions which we are continually applying to them. We soak our children in habits of contempt and exultant gibing, and yet are confident that—as Clarissa one day said to me—"We can always teach them to be reverent in the right place, you know." And doubtless if she were to take her boys to see a burlesque Socrates, with swollen legs, dying in the utterance of cockney puns, and were to hang up a sketch of this comic scene among their bedroom prints, she would think this preparation not at all to the prejudice of their emotions on hearing their tutor read that narrative of the Apology which has been consecrated by the reverent gratitude of ages. This is the impoverishment that threatens our posterity:—a new Famine, a meagre fiend with lewd grin and clumsy hoof, is breathing a moral mildew over the harvest of our human sentiments. These are the most delicate elements of our too easily perishable civilisation. And here again I like to quote a French testimony. Sainte Beuve, referring to a time of insurrectionary disturbance, says: "Rien de plus prompt ` baisser que la civilisation dans des crises comme celle-ci; on perd en trois semaines le risultat de plusieurs sihcles. La civilisation, la vie est une chose apprise et inventie, qu'on le sache bien: 'Inventas aut qui vitam excoluere per artes.' Les hommes aprhs quelques annies de paix oublient trop cette veriti: ils arrivent ` croire que la culture est chose innie, qu'elle est la mjme chose que la nature. La sauvagerie est toujours l` ` deux pas, et, dhs qu'on lbche pied, elle recommence." We have been severely enough taught (if we were willing to learn) that our civilisation, considered as a splendid material fabric, is helplessly in peril without the spiritual police of sentiments or ideal feelings. And it is this invisible police which we had need, as a community, strive to maintain in efficient force. How if a dangerous "Swing" were sometimes disguised in a versatile entertainer devoted to the amusement of mixed audiences? And I confess that sometimes when I see a certain style of young lady, who checks our tender admiration with rouge and henna and all the blazonry of an extravagant expenditure, with slang and bold brusquerie intended to signify her emancipated view of things, and with cynical mockery which she mistakes for penetration, I am sorely tempted to hiss out "Pitroleuse!" It is a small matter to have our palaces set aflame compared with the misery of having our sense of a noble womanhood, which is the inspiration of a purifying shame, the promise of life—penetrating affection, stained and blotted out by images of repulsiveness. These things come—not of higher education, but—of dull ignorance fostered into pertness by the greedy vulgarity which reverses Peter's visionary lesson and learns to call all things common and unclean. It comes of debasing the moral currency.
The Tirynthians, according to an ancient story reported by Athenaeus, becoming conscious that their trick of laughter at everything and nothing was making them unfit for the conduct of serious affairs, appealed to the Delphic oracle for some means of cure. The god prescribed a peculiar form of sacrifice, which would be effective if they could carry it through without laughing. They did their best; but the flimsy joke of a boy upset their unaccustomed gravity, and in this way the oracle taught them that even the gods could not prescribe a quick cure for a long vitiation, or give power and dignity to a people who in a crisis of the public wellbeing were at the mercy of a poor jest.