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.

Lest this seem a harsh, even an unkind inquiry into the innocent amusements of other people, a few instances may be mentioned, drawn from the Easter Sunday output of papers otherwise both respectable and unrespectable; papers, moreover, depending largely on syndicated humor that may fairly be said to have reached a total circulation of several million readers. We have, to begin with, two rival versions of a creation that made the originator famous, and that chronicle the adventures of a small boy whose name and features are everywhere familiar. Often these adventures, in the original youngster, have been amusing, and amusingly seasoned with the salt of legitimately absurd phraseology. But the pace is too fast, even for the originator. The imitator fails invariably to catch the spirit of them, and in this instance is driven to an ancient subterfuge. To come briefly to an unpleasant point, an entire page is devoted to showing the reader how the boy was made ill by smoking his father's cigars. Incidentally he falls down stairs. Meantime, his twin is rejoicing the readers of another comic supplement by spoiling a wedding party; it is the minister who first comes to grief, and is stood on his head, the boy who later is quite properly thrashed by an angry mother, and it is all presumably very delightful and a fine example for the imitative genius of other children. Further, we meet a mule who kicks a policeman and whose owner is led away to the lockup; a manicured vacuum who slips on a banana peel, crushes the box containing his fiancee's Easter bonnet, and is assaulted by her father (he, after the manner of comic fathers, having just paid one hundred dollars for the bonnet out of a plethoric pocketbook); a nondescript creature, presumably human, who slips on another banana peel and knocks over a citizen, who in turn knocks over a policeman, and is also marched off to undeserved punishment. We see the German-American child covering his father with water from a street gutter, another child deluging his parent with water from a hose; another teasing his younger brother and sister. To keep the humor of the banana peel in countenance we find the picture of a fat man accidentally sitting down on a tack; he exclaims, "ouch," throws a basket of eggs into the air, and they come down on the head of the boy who arranged the tacks. We see two white boys beating a little negro over the head with a plank (the hardness of the negro's skull here affording the humorous motif), and we see an idiot blowing up a mule with dynamite. Lunacy, in short, could go no farther than this pandemonium of undisguised coarseness and brutality,-the humor offered on Easter Sunday morning by leading American newspapers for the edification of American readers.

And every one of the countless creatures, even to the poor, maligned dumb animals, is saying something. To the woeful extravagance of foolish acts must be added an equal extravagance of foolish words: "Out with you, intoxicated rowdy," "Shut up," "Skidoo," "They've set the dog on me," "Hee-haw," "My uncle had it tooken in Hamburg," "Dat old gentleman will slip on dem banana skins," "Little Buster got all that was coming to him," "Aw, shut up," "Y-e-c-e G-o-d-s," "Ouch," "Golly, dynamite am powerful stuff," "I am listening to vat der vild vaves is sedding," "I don't think Pa and I will ever get along together until he gets rid of his conceit,"" phew." The brightness of this repartee could be continued indefinitely; profanity, of course, is indicated by dashes and exclamation points; a person who has fallen overboard says "blub;" concussion is visibly represented by stars; "biff" and "bang" are used according to taste to accompany a blow on the nose or an explosion of dynamite.

From this brief summary it may be seen how few are the fundamental conceptions that supply the bulk of almost the entire output, and in these days of syndicated ideas a comparatively small body of men produce the greater part of it. Physical pain is the most glaringly omnipresent of these motifs; it is counted upon invariably to amuse the average humanity of our so-called Christian civilization. The entire group of Easter Sunday pictures constitutes a saturnalia of prearranged accidents in which the artist is never hampered by the exigencies of logic; machinery in which even the presupposed poorest intellect might be expected to detect the obvious flaw accomplishes its evil purpose with inevitable accuracy; jails and lunatic asylums are crowded with new inmates; the policeman always uses his club or revolver; the parents usually thrash their offspring at the end of the performance; household furniture is demolished, clothes ruined, and unsalable eggs broken by the dozen. Deceit is another universal concept of humor, that combines easily with the physical pain motif and mistaken identity, in which the juvenile idiot disguises himself and deceives his parents in various ways, is another favorite resort of the humorists. The paucity of invention is hardly less remarkable than the willingness of the inventors to sign their products, or the willingness of editors to publish them. But the age is notoriously one in which editors underrate and insult the public intelligence.

Doubtless there are some to applaud the spectacle,-the imitative spirits, for example, who recently compelled a woman to seek the protection of a police departmeet because of the persecution of a gang of boys and young men shouting "hee-haw" whenever she appeared on the street; the rowdies whose exploits figure so frequently in metropolitan newspapers: or that class of adults who tell indecent stories at the dinner table and laugh joyously at their wives' efforts to turn the conversation. But the Sunday comic goes into other homes than these, and is handed to their children by parents whose souls would shudder at the thought of a dime novel. Alas, poor parents! That very dime novel as a rule holds up ideals of bravery and chivalry, rewards good and punishes evil, offers at the worst a temptation to golden adventuring, for which not one child in a million will ever attempt to surmount the obvious obstacles. It is no easy matter to become an Indian fighter, pirate, or detective; the dream is, after all, a daydream, tinctured with the beautiful color of old romance, and built on eternal qualities that the world has rightfully esteemed worthy of emulation. And in place of it the comic supplement, like that other brutal horror, the juvenile comic story, that goes on its immoral way unnoticed, raises no high ambition, but devotes itself to "mischief made easy." Hard as it is to become an Indian fighter, any boy has plenty of opportunity to throw stones at his neighbor's windows. And on any special occasion, such, for example, as Christmas or Washington's Birthday, almost the entire ponderous machine is set in motion to make reverence and ideals ridiculous. Evil example is strong in proportion as it is easy to imitate. The state of mind that accepts the humor of the comic weekly is the same as that which shudders at Ibsen, and smiles complacently at the musical comedy, with its open acceptance of the wild oats theory, and its humorous exposition of a kind of wild oats that youth may harvest without going out of its own neighborhood.

In all this noisy, explosive, garrulous pandemonium one finds here and there a moment of rest and refreshment,—the work of the few pioneers of decency and decorum brave enough to bring their wares to the noisome market and lucky enough to infuse their spirit of refinement, art, and genuine humor into its otherwise hopeless atmosphere. Preeminent among them stands the inventor of "Little Nemo in Slumberland," a man of genuine pantomimic humor, charming draughtsmanship, and an excellent decorative sense of color, who has apparently studied his medium and makes the best of it. And with him come Peter Newell, Grace G. Weiderseim, and Conde—now illustrating Uncle Remus for a Sunday audience,—whose pictures in some of the Sunday papers are a delightful and self-respecting proof of the possibilities of this type of journalism. Out of the noisy streets, the cheap restaurants with their unsteady-footed waiters and avalanches of crockery, out of the slums, the quarreling families, the prisons and the lunatic asylums, we step for a moment into the world of childish fantasy, closing the iron door behind us and trying to shut out the clamor of hooting mobs, the laughter of imbeciles, and the crash of explosives. After all, there is no reason why children should not have their innocent amusement on a Sunday morning; but there seems to be every reason why the average editor of the weekly comic supplement should be given a course in art, literature, common sense, and Christianity.

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