New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-04-21
Where British and French
Humor Differs
The One Avoids Vital and Serious
Themes, Whereas the Other
Delights in Them
TT AVELOCK ELLIS, writing in "The
l. New Statesman" says:

~~~~~O3
IL New Statesman" says:
"There is no opposition between serious
ness and gayety. 1t may not be possible
to be at once melancholy and gay, but it is
quite possible to be at once serious and
gay.
"This may seem an elementary distinc-
ton to dwell on. Yet it is so fundamental,
and has been so often overlooked by Eng
lish critics of the French national charac-
ter-unable to see that English melancholy
is not necessarily serious and French seri-
BUSINESS not necessarily acknowledgement
we cannot too carefully bear it in mind
The distinction is really plain to see, even
in the most familiar comic journals of the
two countries. We have but to compare
punch with LIE Rire' at any time during
the last thirty years. 1t is the method of
Punch always to avoid vital spots, to 90
round, searching for humor and whimsical
tiles, provided they are safely to be found
in the sphere of triviality; when Punch
desires to be serious it is merely solemn
and dull. These characteristics are ex-
pressed in the qualities of English design,
IN the nlggling methods, the profusion of
petty and meaningless touches, the failure
to reach bold and beautiful and significant
line.
Zone seems to see, indeed, as one looks
at typical English drawing in Punch
that prudery is really technical quality,
or rather the absence Of a technical quail
lty Punch represents the search for
amusement of those whose main anxiety it
is to avoid penetrating to the real facts
OF life, the recreations of melancholy
man who refuses to be serious
"But the French artists are ALWAYS seri-
Gus. SO far from wishing to avoid vital
spots, 1T is at such points that they directly
ann. All their skill is here; all their comic
erect lies in penetrating to some intimate
fact of life
Nor is this only in the sphere of sex.
as our English minds, brooding secretly on
that subject, are prone to think. 1t is so
with ALL the vital facts, even with death.
ana the French artist can play daringly
with disease and mutilaton and death in
way impossible to the English artist
Ih's seriousrcssthis precision and
courage IN hnding the sensitive spots of
lie and penetrating deep--is reflected in
the french artists mastery of line which.
IN It's precision and daring, is the exact
technical embodiment of the French moral
spirit.
1T Is noteworthy that the power of Linz
Is lacking in English artists save the croat-
est and by no, means always there. PERHAPS
never found at all in our comic artists. ex-
cept in Rowlandson.
ITO the French, however, power az linn
is so native, II Is so genuine a transforma-
ton OF the essential French genius, that we
come on the significant fact that the evolu-
ton OF the bayonct-which is the form Il
naturally takes in warfare--is more cloxelv
associated with France, az even the mama
indicates, than with any other country. and
q more favoritc weapon Of the French than
Of any other people.
'FAAt same quality-to return once mora
10 avis in the French pen, and IL hax
been peculiarly conspicuous In the French
literature Of the war"