BRITISH HUMOUR

It has become a habit to say that

British humour is indefinable. It is
a legend which the British
themselves have fostered. One
thing which complicates matters is
that British humour has the
peculiarity of being both an
intellectual and irrational attitude
at the same time. There is no
inconsistency in this, indeed
nobody is more logical than
certain madmen and Swift s style
of humour approaches insanity.
Speaking symbolically, some have said that this humour has its origins in the mixture of
Anglo-Saxon moroseness and Franco- Norman joie de vivre. Not being able to choose
between the serious and the amusing, the Briton has decided to keep both. When telling
a joke he puts on an unhappy face quite easily, and if he teases you gently, he does it
gruffly. This is to show his human sympathy more effectively: this sad gaiety is not ill-
natured, and under the appearance of sarcasm there is no lack of Christian kindness.
The Englishman makes up for the illogical nature of such behaviour by using most
powerful logic in exercising his humour. Only in a matter of humour will he ever allow
himself to press logic forward as a plan. Therefore, be careful when an Englishman
begins to be logical, watch for the twinkle in his eye.
In fact, being inclined to seriousness when he laughs, the Englishman laughs at himself
when he is serious. Nothing pleases him more than to give the impression of being
rather irresponsible. That is why eccentricity in Britain is a time-honoured tradition, an
eccentric is serious but he must not be taken seriously. Humour is systematic
eccentricity.
Old-time physiology tells us that eccentricity is caused by an excess in the body of one
of the four humours: lymph, bile, blood and spleen. Ben Jonson, a comtemporary of
Shakespeare, made use of this theory of humours in his comedies to make his audiences
laugh. This is how humour got its name.
At first humourists were eccentrics. Later they were writers
who caricatured or imitated eccentricity to provoke mirth (but always very seriously).
Nowadays, they are writers who, in deliberately adopting an absurd eccentric attitude in
their thoughts, style and language, pretend not to notice these and imperturbably
declaim the most logical nonsense in the world with a twinkle in their eyes.
This form of comedy is,however, no longer the monopoly of the British.
Literature is only one of a thousand places where humour makes its influence felt. If it
becomes philosophical it can be a disillusioned wisdom, a smiling bitterness, or, as has
been said, a gay pessimism.
In everyday life it is the important motive power of the British spirit. A sense of
humour is a vital necessity for a Briton. Humour softens his Puritan dourness, relaxes
his nerves when under stress, and allows him to retain his sangfroid. It prevents him
from taking himself too seriously, teaches him to accept the absurdity of people and
events without too much grumbling and helps him to keep his head in all circumstances.
In short, humour achieves most of the necessary compromises in his persona) and social
life.
That is why humour should not be allowed to limit itself to being cheap farce or an
escape into laughter.
Its indifference is only a show. As soon as it tends to be too airy, or conversely too
formal, the British temperament brings it back to reality. Humour is foreign to no
aspect of British life, however sacred.
The British character is made of contradictions, whimsical mixtures, and fondly
preserved jumbles. It defies reason, is a rebel against logic and is hostile to any idea of
plan. The only sensible key to this voluntary inconsistency is a sense of humour an
intellectual form of the spirit of wonder.