History of English Humour Volume I Part 4

The following is from Theadectes, a pupil of Isocrates, who lived about 300 B.C., and wrote fifty tragedies--none of which survive.

"Nothing which earth or sea produces, Nought among mortals hath so great increase.

In its first birth the largest it appears, Small in its prime, and in old age again, In form and size it far surpa.s.ses all."[17]

To make a riddle, that is a real test of ingenuity for all, and which but one answer satisfies, shows an advanced stage of the art. The ancient riddles were almost invariably symbolical, and either too vague or too learned. They seem to us not to have sufficient point to be humorous, but no doubt they were thought so in their day.

It may not be out of place here to advert to those light compositions called Silli, about which we have no clear information, even with regard to the meaning of the name. From the fragments of them extant, we find that they were written in verse, and contained a considerable amount of poetical sentiment; indeed, all that has come down to us of Xenophanes, the first sillographer, is of this character. We are told that he used parody, but his pleasantry, probably, consisted much of after-dinner jests and stories, for we find that although he praises wisdom, and despises the fashionable athletic games, he rejoiced in sumptuous banquets, and said that the water should first be poured into the cup, then the wine. But the most celebrated sillographer was Timon the Phliasian--intimate with Antigonus and Ptolemy Philadelphus--who wrote three books of Silli, two in dialogues, and one in continuous narrative.

He was a philosopher, and the princ.i.p.al object of his work was to bring other sects into ridicule and discredit. A few reflections of general application are scattered through it, but they are in general quite subsidiary and suggested by the subject matter.

PART III.

ROMAN HUMOUR.

Roman Comedy--Plautus--Acerbity--Terence--Satire--Lucilius--Horace--Humour of the Caesar Family--Cicero--Augustus--Persius--Petronius--Juvenal --Martial--Epigrammatist--Lucian--Apuleius--Julian the Apostate--The Misopogon--Symposius' Enigmas--Macrobius--Hierocles and Philagrius.

The light of genius which shone in Greece was to some extent reflected upon Rome, where there was never an equal brilliancy. As for humour, such as was indigenous in the country, it was only represented by a few Saturnian s.n.a.t.c.hes, some Fescennine banterings at weddings and harvest-homes, and rude pantomimic performances also originating in Etruria. Intellectual pleasantry was unknown, except as an exotic, and flourished almost exclusively among those who were imbued with the literature of Greece.

About the date at which we arrived at the end of the last chapter--the middle of the third century, B.C.--the first regular play was introduced at Rome by Livius Andronicus. He was a Greek slave, having been taken prisoner at the capture of Tarentum. Scarcely anything remains by which to judge of his writings, but we know that he copied from Greek originals. His plays were, no doubt, mostly appreciated by the better educated cla.s.ses of the audience. He had a rival in Noevius, a Campanian by birth, who also copied from the Greek, but retained something of the Fescennine licence, or rather, we should say, had much of the hostile humour common to the earlier periods of Greece and Rome. So violent were his attacks upon the leading men of the day, that he was imprisoned, and finally died in exile at Utica. This early connection of comedy with abuse and buffoonery was probably one cause of professional actors being held in contempt in Rome. We read that they were frequently slaves, who were whipped if they came late. At the same time native scurrility was allowed. Freeborn Romans might act for amus.e.m.e.nt in the Atellane plays, which were considered to be Italian, and were accompanied by broad "Exodia" or pantomimic interludes containing regular characters such as Maccus the clown, Buccones the chatterers, Pappus the pantaloon, and Simus, the ape. But these productions came from Campania, and it is probable that the better parts of them were Greek in spirit, though not in form.

Some fifty years later brings us to Plautus--the most remarkable of the Roman comic writers. Little is known of his origin, except that he was born in Umbria. There is a story that at one time he was in so humble a position that he was employed in grinding corn for a baker; but, if so, he must have possessed extraordinary ability and perseverance to acquire such a thorough knowledge of Greek and Latin. The fact of his adopting the stage as a profession, and acting in his own dramas, proves that he was not enc.u.mbered with rank or wealth. His plays were numbered among the cla.s.sics, and were produced upon the stage till the time of Diocletian, five hundred years after his death; he generally copied from the Greek, often naming the author to whom he was indebted.

Plautus is interesting, not only as giving us an insight into the Greek mode of life before his time, and preserving many of the works of Philemon, Diphilus, and others, but as being the only Latin writer of his date whose productions have survived. He wrote one hundred and thirty plays, of which thirty are extant, and show an orthography very different from that of the Augustan age. His style was forcible, and like that of all the Latin comic writers, highly complex. He sometimes coins words, (such as Trifurcifur, gugga,[18] parenticida,) and he is constantly giving new metaphorical senses to those already in use--as when he speaks of a man being a "h.e.l.l of elms," _i.e._, severely flogged with elm-rods--calls cooks "briars," because they take fast hold of everything they touch, and threatens a slave with "memorials of oxen,"

_i.e._, a thrashing that will make him remember the thong.

We may possibly trace the Greek original in a few references to conversations of animals--although no plays are now called after them--and the names, places, and money he introduces are generally Greek. Still, we cannot regard him as a mere servile imitator--much of his own genius is doubtless preserved in the plays. In some, we can clearly recognise his hand, as where he alludes to Roman customs, or indulges in puns. For instance, where a man speaks of the blessing of having children, (liberi,) another observes he would rather be _free_ (liber). In "The Churl," we read that it is better to fight with minae than with menaces, and a lover says that Phronesium has expelled her own name (wisdom) from his breast.

An old man says he has begun to go to school again, and learn his letters. "I know three already," he continues, "What three?" is asked, "A M O."

While we are glad to mark an advancement in less pleasures being derived from personal threats and conflicts on the stage, we are pained to find such an entire want of sympathy with the sufferings of those in a servile condition. The severity with which slaves were treated in previous times was not mitigated under the Roman rule, and at the present day it is difficult to realise the moral state of those who could derive amus.e.m.e.nt from hearing men threatened with bull-hidings, and flogged on the stage. Such terms as "whip-knave" became stale from repet.i.tion, and so many jokes were made even about crucifixion, that we might suppose it to be a very trifling punishment. Chrysalus, a slave, facetiously observes, that when his master discovers he has spent his gold, he will make him "cruscisalus" _i.e._ "cross jumper." In "The Haunted House," Tranio, who, certainly seems to have been a great scamp, soliloquises as follows on hearing of his master's return:--

"Is there any one, who would like to gain a little money, who could endure this day to take my place in being tortured? Who are those fellows hardened to a flogging, who wear out iron chains, or those who for three didrachmas[19] would get beneath besieging towers, where they might have their bodies pierced with fifteen spears? I'll give a talent to that man who shall be the first to run to the cross for me, but on condition that his feet and arms are doubly fastened there. When that is done, then ask the money of me."

Acoustic humour appears not only in puns, but under the form of long names of which Plautus was especially fond, Periplecomenus, Polymacharoplagides, and Thesaurochrysonicocrae are specimens of his inventive genius in this direction.

In the "Three Coins," Charmides asks the sharper's name.

_Sh._ You demand an arduous task.

_Charmides._ How so?

_Sh._ Because if you were to begin before daylight at the first part of my name 'twould be dead of night before you could reach the end of it. I have another somewhat less, about the size of a wine cask.

In the "Persian," Toxilus gives his name as follows,

"Vaniloquidorus Virginisvendonides Nugipolyloquides Argentiexterebronides Tedigniloquides Nummorumexpalponides Quodsemelarripides Nunquamposteareddides."

There are a few other cases in which there is a playing upon sound, as where Demipho remarks that if he had such a good-looking girl as Pasicompsa for a servant, all the people would be "staring, gazing, nodding, winking, hissing, twitching, crying, annoying, and serenading."

The failings of the fair seems always to have been a favourite subject for men's attack, but reflections of this kind have decreased in number and acerbity since the days of Aristophanes. We find, however, some in Plautus, such as the following:--

"Love is a fawning flatterer. For he that is in love, soon as ever he has been smitten with the kisses of the object he loves, forthwith his substance vanishes out of doors, and melts away. 'Give me this, my honey, if you love me.' And then Gudgeon says, 'Oh apple of my eye, both that and still more, if you wish.' He who plunges into love perishes more dreadfully than if he leapt from a rock. Away with you, Love, if you please."

He is fully alive to the power of this destructive pa.s.sion. In one place Philolaches half mad with love and jealousy sees his mistress looking into a mirror. "Ah, wretched me," he exclaims pa.s.sionately, "she gave the mirror a kiss. I wish I had a stone to break the head of that mirror."[20]

The love of money has always been a stock subject with humorists. This common weakness of human nature can be played upon even by those who can produce no other wit, and many worse jokes have been made on it than the following,--

Calidorus asks his servant, Pseudolus, to lend him a drachma.

_P._ What for?

_C._ To buy a rope to hang myself.

_P._ Who then will pay me back? Do you wish to hang yourself to cheat me out of my drachma?

The "Concealed Treasure" turns on an old man having found a pot of gold.

He conceals it, and his nervousness lest some one should discover it is brought out with excellent humour. He drives the cooks out of the place with his stick. He has a battle-royal with a dunghill c.o.c.k, who, he imagines is trying to scratch for it, then thinks Strobilus has stolen it, and calls on him to show one hand, and the other, and then the third.

We are the more inclined to lament the utter destruction of ancient African literature on finding that the most refined Roman dramas were placed upon the stage by a Carthaginian, when Plautus, whose enterprize and perseverance had given the great impetus to Latin comedy, was approaching the end of his long life. Terence was born the last, and as some think the greatest master in this branch of Art. He was at one time a slave, but his literary talent was so remarkable that his master set him free, and he became the friend of distinguished men, especially of Scipio the younger. It must seem strange that this brilliancy should have flashed up for a moment, and then been for ever quenched, but it was derived from Greece and not in its nature enduring. The genius of Menander fed the flame of Terence, as that of Diphilus and others gave power to Plautus, and it may well be supposed that men of their talent appropriated all that was most excellent, and left their successors to draw from inferior sources. It may, moreover, be doubted, whether the regular drama was ever popular among the lower cla.s.ses in Rome, who preferred the more exciting scenes of the circus. Such plays as were intended for them were coa.r.s.er and more sensational.

Terence has not the rough power and drollery of Plautus; his whole attraction lies in the subtlety of his amorous intrigues. Steele, speaking of one of the plays, "The Self-Tormentor," observes, "It is from the beginning to the end a perfect picture of human life, but I did not observe in the whole one pa.s.sage that could possibly raise a laugh."

It was for this reason, no doubt, that Caesar spoke of him as only "half a Menander," and as deficient in comic force. Ingenious complexity is so exclusively his aim, that we have neither the coa.r.s.eness nor the sparkle of earlier writers. He was the first to introduce Comedies, which were not comic, and whatever humour he introduces is that of situation.

We now come to consider a kind of humour of which the Romans claim to have been the originators, and which they certainly developed into a branch of literature. Satire first signified a basket of first fruits offered to Ceres; then a hotchpot or olla podrida, then a medley; and so the name was given to poems written without any definite design. We might therefore conclude that they possessed no uniform character, but merely contained a mixture of miscellaneous matter. But we find in them no allusions to politics or war, and but few to the literature and philosophy of the day--their variety being due to their social complexion. One feeling and character pervades them all--they were called forth by a scornful indignation at the degeneracy of the age as represented by the rich and powerful, or even by certain leading individuals. The appearance of such a kind of literature denoted greater activity in society, an increase of profligacy among some, and of moral sensibility among others. Satire was a social scourge. It was not a philosophical investigation into the nature and origin of vice, but a denunciation of it as inimical to the interests of society. It was practical not theoretical--and sought to bring vice into contempt, by making it both odious and ridiculous. In the latter attempt, the satirists may have had more success than we credit them with, for in our day such virulent attacks would be distasteful, immorality being regarded as essentially a matter for grave and serious condemnation.

Satire differs from abuse, not only in being declamatory, but in being deserved. The amus.e.m.e.nt in it mostly depends upon the deformity of the sensual, the failures of the wicked, and the exposure of guilt in a kind of moral pillory. It did not aim at mere accidental losses or imperfections, and made no fanciful accusations merely to amuse, but it was often lightened by metaphor, by coined words, and especially by exaggeration.

The satire of Rome, though in a certain sense new, seems to have been somewhat derived from Greece. Ennius, who commenced it, a man younger than Plautus and older than Terence, was himself half a Greek. He wrote epic poems and comedies, and also introduced this comic literature for private reading. Lucilius, who was the first eminent Roman satirist, is said to have imitated the old Greek comedies. His attacks are very severe and personal, reminding us a little of Archilochus, though apparently not written to gratify any private spleen. The tendency to personalities marked a time when the range of society and the tone of thought were equally narrow. Moral depravity was considered to be centred in a few individuals, and in the broken fragments of Lucilius'

rage, which have descended to us, we find a man stigmatised as an "ulcer," "gangrene," a "poison," "jibber," "shuffler," "a hard-mouthed obstinate brute." Sometimes he ridicules the bodily infirmities of the depraved; but Lucilius' attacks seem less ill-natured and more justly humorous from being always directed against the vicious and demoralised.

Occasionally he indulges in such uncomplimentary expressions as "There is no flummery-maker equal to you," while some are hailed with "Long life to you, glutton, gormandizer, and belly-G.o.d." He might truly say in his metaphorical language, "I seize his beak and smash his lips, Zopyrus' fashion, and knock out all his front teeth."

The satire of Horace was exceptionally mild; with him its social character was much more marked than its acerbity. In many places he shows Greek reflections, for he had received a liberal education, duly completed at Athens. But his philosophy did not consist of dreamy theories and arbitrary rules--it was directed to practical ends, to the harmonizing of the feelings, and the elevation of society. As a man of the world, he was not carried away by fancies, nor given to exaggerated views; and as a companion of the great, he was not inclined to inveigh bitterly against the degeneracy of the times. On the contrary, so kindly were his feelings, that he tells us that we should overlook the vices of our friends. His teaching, both in spirit and range, was broader than that of his predecessors; his shafts were directed against cla.s.ses rather than individuals, and wherever he is more pointed, his object is not to gratify personal spite, but to make his warning more forcible by ill.u.s.tration. Moreover, his names are generally unreal. In this way he attacks Nasidienus on the excessive luxury of the table, and his advice was applicable not only to the rich and great, but to more ordinary men.

Thus, he shows the bad tendencies of avarice and love-intrigues, and the meanness of sycophantism and legacy-hunting. Many of the faults he condemns are rather errors in taste than serious moral delinquencies.

Sometimes he criticises merely trivial matters, such as a costume or a scent. "Rufillus smells all perfumes, Gorgonius like a goat," and the most humorous of his pieces is that in which he ridicules the ignorance and impudence of a manoeuvring chatterer. But in this line he is not very successful, and his contests of rival jesters are as much beneath the notice of any good writer of the present day, as his account is of Porcius, the jack-pudding "swallowing cakes whole."

Horace says that men are more impervious to slashing reproach than to fine ridicule, and he was unusually adroit in hitting foibles without inflicting pain. He was not a man who held strong opinions on subjects.

This is especially evident where he speaks of his own fickleness; and while he reiterates his dislike of Rome, with its noise and bustle, he makes his slave say that this is but affectation, and when an invitation comes from Mecaenas, "Mulvius and the 'scurrae' are turned out," from which we learn that parasites had their parasites, and that Horace in the country played the patron to the rustic wits.

Although the Romans generally have no claim to be called a humorous people, many of them became celebrated for their talent in repartee.

Scipio Africa.n.u.s aemilia.n.u.s above mentioned, was remarkable in this way, as was Cra.s.sus, Granius, Vargula, and others. There was a good old joke that Nasica having called at the house of the poet Ennius, and the maid-servant having told him that Ennius was not at home, he perceived she had said so by her master's order; and when, a few days afterwards, Ennius called at Nasica's house, and inquired for him, Nasica cried out that he was "not at home." "What!" says Ennius, "do I not know your voice?" "You are an impudent fellow," replied Nasica, "I believed your servant when she said you were not at home, and you will not believe me."

A vein of humour seems to have run through the Caesar family. Caius Julius Caesar Strabo Vopiscus was so noted for the gift that Cicero in his work on Oratory makes him deliver his observations on the subject.

Julius Caesar himself was as remarkable for pleasantry as for clemency.

His "Veni, vidi, vici," in which his enemies saw so much arrogance, was no doubt intended and understood by his friends to be humorous. In his youth he was accused of effeminate habits, and when on his obtaining the entire command of Gaul, he said that he would now make his enemies his suppliants, and a senator replied sarcastically, "That will not be an easy task for a woman." He rejoined with gaiety, "Semiramis reigned in a.s.syria, and the Amazons possessed a great part of Asia." We have already seen him lamenting over the loss of comic force in Terence as compared with Menander, and in the triumphal games given in his honour in the year 45, he commanded Decimus Laberius, though a man of sixty, to appear on the stage in the contest of wit. This knight was a composer of mimes--a light kind of comedy, somewhat to be compared to the "entertainments" given by humorists at the present day. Julius Caesar obliged him to perform in person--an act of degradation--but afterwards gave him 500,000 sesterces, and restored him to his rank. This act of Caesar's has been regarded as having a political significance, but it may merely have shown his love of humour. He may have wished to bring out the talent of the new mime, Publius, a young Syrian, who had acquired great celebrity both for beauty and wit. It is said that when his master first took Publius to see his patron, the latter observed one of his slaves, who was dropsical, lying in the sunshine, and asking him angrily what he was doing there, Publius answered for him "Warming water." On the same visit, in jesting after supper, the question was asked, "What is a disagreeable repose?" When many had attempted answers, Publius replied, "That of gouty feet."

Some of the sayings of Publius, have been preserved.