The Humor of the Colored Supplement

Ten or a dozen years ago,—the exact date is here immaterial,—an enterprising newspaper publisher conceived the idea of appealing to what is known as the American "sense of humor" by printing a so-called comic supplement in colors. He chose Sunday as of all days the most lacking in popular amusements, carefully restricted himself to pictures without humor and color without beauty, and presently inaugurated a new era in American journalism. The colored supplement became an institution. No Sunday is complete without it,—not because its pages invariably delight, but because, like flies in suummer, there is no screen that will altogether exclude them. A newspaper without a color press hardly considers itself a newspaper, and the smaller journals are utterly unmindful of the kindness of -Providence in putting the guardian angel, Poverty, outside their portals. Sometimes, indeed, they think to outwit this kindly interference by printing a syndicated comic page without color; and mercy is thus served in a half portion, for, uncolored, the pictures are inevitably about twice as attractive. Some print them without color, but on pink paper. Others rejoice, as best they may, in a press that will reproduce at least a fraction of the original discord. One and all they unite vigorously, as if driven by a perverse and cynical intention, to prove the American sense of humor a national shame and degredation. Fortunately the public has so little to say about its reading matter that one may fairly suspend judgment.

For, after all, what is the sense of humor upon which every man prides him-self, as belonging only to a gifted minority? Nothing more nor less than a certain mental quickness, alert to catch the point of an anecdote or to appreciate the surprise of a new and unexpected point of view toward an old and familiar phenomenon. Add together these gifted minorities, and each nation reaches what is fallaciously termed the national sense of humor,—an English word, incidentally, for which D'Israeli was unable to find an equivalent in any other language, and which is in itself simply a natural developmcnt of the critical faculty, born of a present need of describing what earlier ages had taken for granted. The jovial porter and his charming chance acquaintances, the three ladies of Bagdad, enlivened conversation with a kind of humor, carefully removed from the translation of commerce and the public libraries, for which they needed no descriptive noun, but which may nevertheless be fairly taken as typical of that city in the day of the Caliph Haroun.

The Middle Ages rejoiced in a similar form of persiflage, and the present day in France, Germany, England, or America, for example, inherits it,—minus its too juvenile indecency,—in the kind of pleasure afforded by these comic supplements. Their kinship with the lower publications of European countries is curiously evident to whoever has examined them. Vulgarity, in fact, speaks the same tongue in all countries, talks, even in art-ruled France, with the same crude draughtsmanship, and usurps universally a province that Emerson declared "far better than wit for a poet or writer." In its expression and enjoyment no country can fairly claim the dubious superiority. All are on the dead level of that surprising moment when the savage had ceased to be dignified and man had not yet become rational. Men, indeed, speak freely and vaingloriously of their national sense of humor; but they are usually unconscious idealists. For the comic cut that amuses the most stupid Englishman may be shifted entire into an American comic supplement; the "catastrophe joke" of the American comic weekly of the next higher grade is stole in quantity to delight the readers of similar but more economical publications in Germany; the lower humor of France, barring the expurgations demanded by Anglo-Saxon prudery, is equally transferable; and the average American often examines on Sunday morning, without knowing it, an international loan-exhibit.

Humor, in other words, is cosmopolitan, reduced, since usage insists on reducing it, at this lowest imaginable level, to such obvious and universal elements that any intellect can grasp their combinations. And at its highest it is again cosmpoloitan, like art; like art, a cultivated characteristic, no more spontaneously natural than a "love of nature." It is an insult to the whole line of English and American humorists—Sterne, Thackeray, Dickens, Meredith, Twain, Holmes, Irving, and others of a distinguished company—to include as humor what is merely the crude brutality of human nature, mocking at grief and laughing boisterously at physical deformity. And in these Sunday comics Humor, stolen by vandals from her honest, if sometimes rough-and-ready companionship, thrusts a woe-begone visage from the painted canvas of the national sideshow, and none too poor to "shy a brick" at her.

At no period in the world's history has there been a steadier output of so-called humor,—especially in this country. The simple idea of printing a page of comic pictures has produced families. The very element of variety has been obliterated by the creation of types,—a confusing medly of impossible countrymen, mules, goats, German-Americans and their irreverent progeny, specialized children with a genius for annoying their elders, white-whiskered elders with a genius for playing practical jokes on their grandchildren, policemen, Chinamen, Irishmen, negroes, inhuman conceptions of the genus tramp, boy inventors whose inventions invariably end in causing somebody to be mirthfully splattered with paint or joyously torn to pieces by machinery, bright boys with a talent for deceit, laziness, or cruelty, and even the beasts of the jungle dehumanized to the point of practical joking. Mirabile dictu!—some of these things have even been dramatized.

With each type the reader is expected to become personally acquainted,—to watch for its coming on Sunday mornings, happily wondering with what form of inhuamnity the author will have been able to endow his brainless manikins. And the authors are often men of intelligence, capable here and there of a bit of adequate drawing and an idea that is honestly and self-respectingly provocative of laughter. Doubtless they are often ashamed of their product; but the demand of the hour is imperative. The presses are waiting. They, too, are both quick and heavy. And the cry of the publisher is for "fun" that no intellect in all his heterogeneous public shall be too dull to appreciate. We see, indeed, the outward manifestation of a curious paradox: humor prepared and printed for the extremely dull, and—what is still more remarkable—excused by grown men, capable of editing newspapers, on the ground that it gives pleasure to children.

Reduced to first principles, therefore, it is not humor, but simply a supply created in answer to a demand, hastily produced by machine methods and hastily accepted by editors too busy with other editorial duties to examine it intelligently. Under these conditions "humor" is naturally concieved as something preeminently quick; and so quickness predominates. Somebody is always hitting somebody else with a club; somebody is always falling downstairs, or out of a balloon, or over a cliff, or into a river, a barrel of paint, a bucket of eggs, a convenient cistern, or a tub of hot water. The comic cartoonists have already exhausted every available substance into which one can fall, and are compelled to fall themselves into a veritable ocean of vain repetition. They have exhausted everything by which one can be blown up. They have exhausted everything by which one can be knocked down or run over. And if the victim is never actually killed in these mirthful experiments, it is obviously because he would then cease to be funny—which is very much the point of view of the Spanish Inquisition, the cat with a mouse, or the American Indian with a captive. But respect for property, respect for parents, for law, for decency, for truth, for beauty, for kindliness, for dignity, or for honor, are killed, without mercy. Morality alone, in its restricted sense of sexual relations, is treated with courtesy, although we find throughout the accepted theory that marriage is a union of uncongenial spirits, and the chart of petty marital deceit is carefully laid out and marked for whoever is likely to respond to endless unconscious suggestions. Sadly must the American child sometimes be puzzled while comparing his own grandmother with the visiting mother-in-law of the colored comic.

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