Page:Satire in the Victorian novel (IA satireinvictoria00russrich).pdf/29

 Narrow and unfrequented are the ways, Scarce found out in an age, which lead to praise."

The humorous sense is likewise an essence and an index of disposition. The inadequacy of most definitions of the ludicrous, from Aristotle's "innocuous, unexpected incongruity," to Bergson's "mechanical inelasticity," lies in their concentration on the objective side of it,—the stimulus to mirth,—whereas the subjective,—the mirthful person,—deserves the emphasis. Laughter throws a far more illuminating ray on the laugher than the laughed at, for it indicates not only taste and mood but the trend of one's philosophy. In betraying a man's idea of the incongruous, it implies his conception of the congruous, and reveals his whole coördination of life. We may, it is true, define humor by saying that intellectually it is a contemplation of life from the angle of amusement, and emotionally, a joyous effervescence over the absurdities in life ever present to the discerning eye; but we can never quite capture it, any more than pleasure or tragedy. We can, however, use these abstractions as refracted definers of character, by noting what sort of a man it is who regards such and such things as amusing, or delightful, or unendurable. For not only as a man thinks, but also as he laughs and exults and censures and suffers, so is he.

That satire is woven from double strands, the blue of rebuke and the red of wit,—becoming thereby in a chromatic sense the purple patch of literature,—is testified to by satiric theory as well as practice. The critical element may of course be taken for granted, but since it has been sometimes over-emphasized at the expense of the humorous, some testimony as to the latter must be given.

It is to Horace that we are indebted not only for the first finished formal satire, but for the first attempt at