Стивен Ликок
My Discovery of England
I can further, for the sake of my fellow-men in Canada and the United States who may think of going to England, vouchsafe the following facts: If you meet a director of the Bank of England, he does not say: "I am very glad to meet you. Sit down. There was a mule in Arkansas once," etc. How they do their banking without that mule I don't know. But they manage it. I can certify also that if you meet the proprietor of a great newspaper he will not begin by saying, "There was a Scotchman once." In fact, in England, you can mingle freely in general society without being called upon either to produce a funny story or to suffer from one.
I don't mean to deny that the American funny story, in capable hands, is amazingly funny and that it does brighten up human intercourse. But the real trouble lies, not in the fun of the story, but in the painful waiting for the point to come and in the strained and anxious silence that succeeds it. Each person around the dinner table is trying to "think of another." There is a dreadful pause. The hostess puts up a prayer that some one may "think of another." Then at last, to the relief of everybody, some one says: "I heard a story the other day—I don't know whether you've heard it—" And the grateful cries of "No! no! go ahead" show how great the tension has been.
Nine times out of ten the people have heard the story before; and ten times out of nine the teller damages it in the telling. But his hearers are grateful to him for having saved them from the appalling mantle of silence and introspection which had fallen upon the table. For the trouble is that when once two or three stories have been told it seems to be a point of honour not to subside into mere conversation. It seems rude, when a story-teller has at last reached the triumphant ending and climax of the mule from Arkansas, it seems impolite, to follow it up by saying, "I see that Germany refuses to pay the indemnity." It can't be done. Either the mule or the indemnity—one can't have both.
The English, I say, have not developed the American custom of the funny story as a form of social intercourse. But I do not mean to say that they are sinless in this respect. As I see it, they hand round in general conversation something nearly as bad in the form of what one may call the literal anecdote or personal experience. By this I refer to the habit of narrating some silly little event that has actually happened to them or in their sight, which they designate as "screamingly funny," and which was perhaps very funny when it happened but which is not the least funny in the telling. The American funny story is imaginary. It never happened. Somebody presumably once made it up. It is fiction. Thus there must once have been some great palpitating brain, some glowing imagination, which invented the story of the man who was put off at Buffalo. But the English "screamingly funny" story is not imaginary. It really did happen. It is an actual personal experience. In short, it is not fiction but history.
I think—if one may say it with all respect—that in English society girls and women are especially prone to narrate these personal experiences as contributions to general merriment rather than the men. The English girl has a sort of traditional idea of being amusing; the English man cares less about it. He prefers facts to fancy every time, and as a rule is free from that desire to pose as a humourist which haunts the American mind. So it comes about that most of the "screamingly funny" stories are told in English society by the women. Thus the counterpart of "put me off at Buffalo" done into English would be something like this: "We were so amused the other night in the sleeping-car going to Buffalo. There was the most amusing old negro making the beds, a perfect scream, you know, and he kept insisting that if we wanted to get up at Buffalo we must all go to bed at nine o'clock. He positively wouldn't let us sit up—I mean to say it was killing the way he wanted to put us to bed. We all roared!"
Please note that roar at the end of the English personal anecdote. It is the sign that indicates that the story is over. When you are assured by the narrators that all the persons present "roared" or "simply roared," then you can be quite sure that the humorous incident is closed and that laughter is in place.
Now, as a matter of fact, the scene with the darky porter may have been, when it really happened, most amusing. But not a trace of it gets over in the story. There is nothing but the bare assertion that it was "screamingly funny" or "simply killing." But the English are such an honest people that when they say this sort of thing they believe one another and they laugh.
But, after all, why should people insist on telling funny stories at all? Why not be content to buy the works of some really first-class humourist and read them aloud in proper humility of mind without trying to emulate them? Either that or talk theology.
On my own side of the Atlantic I often marvel at our extraordinary tolerance and courtesy to one another in the matter of story-telling. I have never seen a bad story-teller thrown forcibly out of the room or even stopped and warned; we listen with the most wonderful patience to the worst of narration. The story is always without any interest except in the unknown point that will be brought in later. But this, until it does come, is no more interesting than to-morrow's breakfast. Yet for some reason or other we permit this story-telling habit to invade and damage our whole social life. The English always criticise this and think they are absolutely right. To my mind in their social life they give the "funny story" its proper place and room and no more. That is to say—if ten people draw their chairs in to the dinner table and somebody really has just heard a story and wants to tell it, there is no reason against it. If he says, "Oh, by the way, I heard a good story to-day," it is just as if he said, "Oh, by the way, I heard a piece of news about John Smith." It is quite admissible as conversation. But he doesn't sit down to try to think, along with nine other rival thinkers, of all the stories that he had heard, and that makes all the difference.
The Scotch, by the way, resemble us in liking to tell and hear stories. But they have their own line. They like the stories to be grim, dealing in a jocose way with death and funerals. The story begins (will the reader kindly turn it into Scotch pronunciation for himself), "There was a Sandy MacDonald had died and the wife had the body all laid out for burial and dressed up very fine in his best suit," etc. Now for me that beginning is enough. To me that is not a story, but a tragedy. I am so sorry for Mrs. MacDonald that I can't think of anything else. But I think the explanation is that the Scotch are essentially such a devout people and live so closely within the shadow of death itself that they may without irreverence or pain jest where our lips would falter. Or else, perhaps they don't care a cuss whether Sandy MacDonald died or not. Take it either way.
But I am tired of talking of our faults. Let me turn to the more pleasing task of discussing those of the English. In the first place, and as a minor matter of form, I think that English humour suffers from the tolerance afforded to the pun. For some reason English people find puns funny. We don't. Here and there, no doubt, a pun may be made that for some exceptional reason becomes a matter of genuine wit. But the great mass of the English puns that disfigure the Press every week are mere pointless verbalisms that to the American mind cause nothing but weariness.
But even worse than the use of puns is the peculiar pedantry, not to say priggishness, that haunts the English expression of humour. To make a mistake in a Latin quotation or to stick on a wrong ending to a Latin word is not really an amusing thing. To an ancient Roman, perhaps, it might be. But then we are not ancient Romans; indeed, I imagine that if an ancient Roman could be resurrected, all the Latin that any of our classical scholars can command would be about equivalent to the French of a cockney waiter on a Channel steamer. Yet one finds even the immortal Punch citing recently as a very funny thing a newspaper misquotation of "urbis et orbis" instead of "urbi et orbos," or the other way round. I forget which. Perhaps there was some further point in it that I didn't see, but, anyway, it wasn't funny. Neither is it funny if a person, instead of saying Archimedes, says Archimeeds; why shouldn't it have been Archimeeds? The English scale of values in these things is all wrong. Very few Englishmen can pronounce Chicago properly and they think nothing of that. But if a person mispronounces the name of a Greek village of what O. Henry called "The Year B.C." it is supposed to be excruciatingly funny.
I think in reality that this is only a part of the overdone scholarship that haunts so much of English writing—not the best of it, but a lot of it. It is too full of allusions and indirect references to all sorts of extraneous facts. The English writer finds it hard to say a plain thing in a plain way. He is too anxious to show in every sentence what a fine scholar he is. He carries in his mind an accumulated treasure of quotations, allusions, and scraps and tags of history, and into this, like Jack Horner, he must needs "stick in his thumb and pull out a plum." Instead of saying, "It is a fine morning," he prefers to write, "This is a day of which one might say with the melancholy Jacques, it is a fine morning."
Hence it is that many plain American readers find English humour "highbrow." Just as the English are apt to find our humour "slangy" and "cheap," so we find theirs academic and heavy. But the difference, after all, is of far less moment than might be supposed. It lies only on the surface. Fundamentally, as I said in starting, the humour of the two peoples is of the same kind and on an equal level.
There is one form of humour which the English have more or less to themselves, nor do I envy it to them. I mean the merriment that they appear able to draw out of the criminal courts. To me a criminal court is a place of horror, and a murder trial the last word in human tragedy. The English criminal courts I know only from the newspapers and ask no nearer acquaintance. But according to the newspapers the courts, especially when a murder case is on, are enlivened by flashes of judicial and legal humour that seem to meet with general approval. The current reports in the Press run like this:
"The prisoner, who is being tried on a charge of having burned his wife to death in a furnace, was placed in the dock and gave his name as Evans. Did he say 'Evans or Ovens?' asked Mr. Justice Blank. The court broke into a roar, in which all joined but the prisoner...." Or take this: "How many years did you say you served the last time?" asked the judge. "Three," said the prisoner. "Well, twice three is six," said the judge, laughing till his sides shook; "so I'll give you six years."
I don't say that those are literal examples of the humour of the criminal court. But they are close to it. For a judge to joke is as easy as it is for a schoolmaster to joke in his class. His unhappy audience has no choice but laughter. No doubt in point of intellect the English judges and the bar represent the most highly trained product of the British Empire. But when it comes to fun, they ought not to pit themselves against the unhappy prisoner.
Why not take a man of their own size? For true amusement Mr. Charles Chaplin or Mr. Leslie Henson could give them sixty in a hundred. I even think I could myself.
One final judgment, however, might with due caution be hazarded. I do not think that, on the whole, the English are quite as fond of humour as we are. I mean they are not so willing to welcome at all times the humorous point of view as we are in America. The English are a serious people, with many serious things to think of—football, horse racing, dogs, fish, and many other concerns that demand much national thought: they have so many national preoccupations of this kind that they have less need for jokes than we have. They have higher things to talk about, whereas on our side of the water, except when the World's Series is being played, we have few, if any, truly national topics.
And yet I know that many people in England would exactly reverse this last judgment and say that the Americans are a desperately serious people. That in a sense is true. Any American who takes up with an idea such as New Thought, Psychoanalysis or Eating Sawdust, or any "uplift" of the kind becomes desperately lopsided in his seriousness, and as a very large number of us cultivate New Thought, or practise breathing exercises, or eat sawdust, no doubt the English visitors think us a desperate lot.
Anyway, it's an ill business to criticise another people's shortcomings. What I said at the start was that the British are just as humorous as are the Americans, or the Canadians, or any of us across the Atlantic, and for greater Certainty I repeat it at the end.
