Essays of E. B. White (39 page)

“Wherever I sat, there I might live, and the landscape radiated from me accordingly.” Thoreau, the home-seeker, sitting on his hummock with the entire State of Massachusetts radiating from him, is to me the most humorous of the New England figures, and
Walden
the most humorous of the books, though its humor is almost continuously subsurface and there is nothing deliberately funny anywhere, except a few weak jokes and bad puns that rise to the surface like the perch in the pond that rose to the sound of the maestro's flute. Thoreau tended to write in sentences, a feat not every writer is capable of, and
Walden
is, rhetorically speaking, a collection of certified sentences, some of them, it would now appear, as indestructible as they are errant. The book is distilled from the vast journals, and this accounts for its intensity: he picked out bright particles that pleased his eye, whirled them in the kaleidoscope of his content, and produced the pattern that has endured—the color, the form, the light.

On this its hundredth birthday, Thoreau's
Walden
is pertinent and timely. In our uneasy season, when all men unconsciously seek a retreat from a world that has got almost completely out of hand, his house in the Concord woods is a haven. In our culture of gadgetry and the multiplicity of convenience, his cry “Simplicity, simplicity, simplicity!” has the insistence of a fire alarm. In the brooding atmosphere of war and the gathering radioactive storm, the innocence and serenity of his summer afternoons are enough to burst the remembering heart, and one gazes back upon that pleasing interlude—its confidence, its purity, its deliberateness—with awe and wonder, as one would look upon the face of a child asleep.

“This small lake was of most value as a neighbor in the intervals of a gentle rain-storm in August, when, both air and water being perfectly still, but the sky overcast, midafternoon had all the serenity of evening, and the wood-thrush sang around, and was heard from shore to shore.” Now, in the perpetual overcast in which our days are spent, we hear with extra perception and deep gratitude that song, tying century to century.

I sometimes amuse myself by bringing Henry Thoreau back to life and showing him the sights. I escort him into a phone booth and let him dial Weather. “This is a delicious evening,” the girl's voice says, “when the whole body is one sense, and imbibes delight through every pore.” I show him the spot in the Pacific where an island used to be, before some magician made it vanish. “We know not where we are,” I murmur. “The light which puts out our eyes is darkness to us. Only that day dawns to which we are awake.” I thumb through the latest copy of
Vogue
with him. “Of two patterns which differ only by a few threads more or less of a particular color,” I read, “the one will be sold readily, the other lie on the shelf, though it frequently happens that, after the lapse of a season, the latter becomes the most fashionable.” Together we go outboarding on the Assabet, looking for what we've lost—a hound, a bay horse, a turtledove. I show him a distracted farmer who is trying to repair a hay baler before the thunder shower breaks. “This farmer,” I remark, “is endeavoring to solve the problem of a livelihood by a formula more complicated than the problem itself. To get his shoestrings he speculates in herds of cattle.”

I take the celebrated author to Twenty-One for lunch, so the waiters may study his shoes. The proprietor welcomes us. “The gross feeder,” remarks the proprietor, sweeping the room with his arm, “is a man in the larva stage.” After lunch we visit a classroom in one of those schools conducted by big corporations to teach their superannuated executives how to retire from business without serious injury to their health. (The shock of men's systems these days when relieved of the exacting routine of amassing wealth is very great and must be cushioned.) “It is not necessary,” says the teacher to his pupils, “that a man should earn his living by the sweat of his brow, unless he sweats easier than I do. We are determined to be starved before we are hungry.”

I turn on the radio and let Thoreau hear Winchell beat the red hand around the clock. “Time is but the stream I go a-fishing in,” shouts Mr. Winchell, rattling his telegraph key. “Hardly a man takes a half hour's nap after dinner, but when he wakes he holds up his head and asks, ‘What's the news?' If we read of one man robbed, or murdered, or killed by accident, or one house burned, or one vessel wrecked, or one steamboat blown up, or one cow run over on the Western Railroad, or one mad dog killed, or one lot of grasshoppers in the winter—we need never read of another. One if enough.”

I doubt that Thoreau would be thrown off balance by the fantastic sights and sounds of the twentieth century. “The Concord nights,” he once wrote, “are stranger than the Arabian nights.” A four-engined airliner would merely serve to confirm his early views on travel. Everywhere he would observe, in new shapes and sizes, the old predicaments and follies of men—the desperation, the impedimenta, the meanness—along with the visible capacity for elevation of the mind and soul. “This curious world which we inhabit is more wonderful than it is convenient; more beautiful than it is useful; it is more to be admired and enjoyed than used.” He would see that today ten thousand engineers are busy making sure that the world shall be convenient even if it is destroyed in the process, and others are determined to increase its usefulness even though its beauty is lost somewhere along the way.

At any rate, I'd like to stroll about the countryside in Thoreau's company for a day, observing the modern scene, inspecting today's snowstorm, pointing out the sights, and offering belated apologies for my sins. Thoreau is unique among writers in that those who admire him find him uncomfortable to live with—a regular hairshirt of a man. A little band of dedicated Thoreauvians would be a sorry sight indeed: fellows who hate compromise and have compromised, fellows who love wildness and have lived tamely, and at their side, censuring them and chiding them, the ghostly figure of this upright man, who long ago gave corroboration to impulses they perceived were right and issued warnings against the things they instinctively knew to be their enemies. I should hate to be called a Thoreauvian, yet I wince every time I walk into the barn I'm pushing before me, seventy-five feet by forty, and the author of
Walden
has served as my conscience through the long stretches of my trivial days.

Hairshirt or no, he is a better companion than most, and I would not swap him for a soberer or more reasonable friend even if I could. I can reread his famous invitation with undiminished excitement. The sad thing is that not more acceptances have been received, that so many decline for one reason or another, pleading some previous engagement or ill health. But the invitation stands. It will beckon as long as this remarkable book stays in print—which will be as long as there are August afternoons in the intervals of a gentle rainstorm, as long as there are ears to catch the faint sounds of the orchestra. I find it agreeable to sit here this morning, in a house of correct proportions, and hear across a century of time his flute, his frogs, and his seductive summons to the wildest revels of them all.

Analysts have had their go at humor, and I have read some of this
interpretative literature, but without being greatly instructed. Humor can be dissected, as a frog can, but the thing dies in the process and the innards are discouraging to any but the pure scientific mind.

In a newsreel theater the other day I saw a picture of a man who had developed the soap bubble to a higher point than it had ever before reached. He had become the ace soap bubble blower of America, had perfected the business of blowing bubbles, refined it, doubled it, squared it, and had even worked himself up into a convenient lather. The effect was not pretty. Some of the bubbles were too big to be beautiful, and the blower was always jumping into them or out of them, or playing some sort of unattractive trick with them. It was, if anything, a rather repulsive sight. Humor is a little like that: it won't stand much blowing up, and it won't stand much poking. It has a certain fragility, an evasiveness, which one had best respect. Essentially, it is a complete mystery. A human frame convulsed with laughter, and the laughter becoming hysterical and uncontrollable, is as far out of balance as one shaken with the hiccoughs or in the throes of a sneezing fit.

One of the things commonly said about humorists is that they are really very sad people—clowns with a breaking heart. There is some truth in it, but it is badly stated. It would be more accurate, I think, to say that there is a deep vein of melancholy running through everyone's life and that the humorist, perhaps more sensible of it than some others, compensates for it actively and positively. Humorists fatten on trouble. They have always made trouble pay. They struggle along with a good will and endure pain cheerfully, knowing how well it will serve them in the sweet by and by. You find them wrestling with foreign languages, fighting folding ironing boards and swollen drainpipes, suffering the terrible discomfort of tight boots (or as Josh Billings wittily called them, “tite” boots). They pour out their sorrows profitably, in a form that is not quite fiction nor quite fact either. Beneath the sparkling surface of these dilemmas flows the strong tide of human woe.

Practically everyone is a manic depressive of sorts, with his up moments and his down moments, and you certainly don't have to be a humorist to taste the sadness of situation and mood. But there is often a rather fine line between laughing and crying, and if a humorous piece of writing brings a person to the point where his emotional responses are untrustworthy and seem likely to break over into the opposite realm, it is because humor, like poetry, has an extra content. It plays close to the big hot fire which is Truth, and sometimes the reader feels the heat.

The world likes humor, but it treats it patronizingly. It decorates its serious artists with laurel, and its wags with Brussels sprouts. It feels that if a thing is funny it can be presumed to be something less than great, because if it were truly great it would be wholly serious. Writers know this, and those who take their literary selves with great seriousness are at considerable pains never to associate their name with anything funny or flippant or nonsensical or “light.” They suspect it would hurt their reputation, and they are right. Many a poet writing today signs his real name to his serious verse and a pseudonym to his comical verse, being unwilling to have the public discover him in any but a pensive and heavy moment. It is a wise precaution. (It is often a bad poet, too.)

When I was reading over some of the parody diaries of Franklin P. Adams, I came across this entry for April 28, 1926:

That is a sound observation. The conflict is fundamental. There constantly exists, for a certain sort of person of high emotional content, at work creatively, the danger of coming to a point where something cracks within himself or within the paragraph under construction—cracks and turns into a snicker. Here, then, is the very nub of the conflict: the careful form of art, and the careless shape of life itself. What a man does with this uninvited snicker (which may closely resemble a sob, at that) decides his destiny. If he resists it, conceals it, destroys it, he may keep his architectural scheme intact and save his building, and the world will never know. If he gives in to it, he becomes a humorist, and the sharp brim of the fool's cap leaves a mark forever on his brow.

I think the stature of humor must vary some with the times. The court fool in Shakespeare's day had no social standing and was no better than a lackey, but he did have some artistic standing and was listened to with considerable attention, there being a well-founded belief that he had the truth hidden somewhere about his person. Artistically he stood probably higher than the humorist of today, who has gained social position but not the ear of the mighty. (Think of the trouble the world would save itself if it would pay some attention to nonsense!) A narrative poet at court, singing of great deeds, enjoyed a higher standing than the fool and was allowed to wear fine clothes; yet I suspect that the ballad singer was more often than not a second-rate stooge, flattering his monarch lyrically, while the fool must often have been a first-rate character, giving his monarch good advice in bad puns.

In the British Empire of our time, satirical humor of the Gilbert and Sullivan sort enjoys a solid position in the realm, and
Punch
, which is as British as vegetable marrow, is socially acceptable everywhere an Englishman is to be found. The
Punch
editors not only write the jokes but they help make the laws of England. Here in America we have an immensely humorous people in a land of milk and honey and wit, who cherish the ideal of the “sense” of humor and at the same time are highly suspicious of anything that is nonserious. Whatever else an American believes or disbelieves about himself, he is absolutely sure he has a sense of humor.

Frank Moore Colby, one of the most intelligent humorists operating in this country in the early years of the century, in an essay called “The Pursuit of Humor” described how the American loves and guards his most precious treasure: