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An outline of humor

Part 1 — PART I (continued 3)

Reading edition

This advice was acted upon. The four animals placed themselves in a straight line, and struck up once more.

The quartet was as unmusical as ever. Then they stopped again, and began squabbling and wrangling about the proper positions to be taken. It happened that a nightingale came flying by that way, attracted by their din. They begged the nightingale to solve their difficulty for them.

“Pray be so kind,” they said, “as to stay a moment, so that we may get our quartet in order. We have music and we have instruments; only tell us how to place ourselves.”

To which the nightingale replied:

“To be a musician, one must have a better ear and more intelligence than any of you. Place yourselves any way you like; it will make no difference. You will never become musicians.”

Fedor Dostoevsky was a celebrated Russian novelist and journalist.

We quote a small extract, which, it may be, depends in part for its fun on its excellent English rendition of the German patter.

FROM KARLCHEN, THE CROCODILE

At this moment an appalling, I may even say supernatural, shriek suddenly shook the room. Not knowing what to think, I stood for a moment rooted to the spot; then, hearing Elyona Ivanovna shrieking, too, I turned hastily round; and what did I see! I saw—oh, heavens!—I saw the unhappy Ivan Matvyeich in the fearful jaws of the crocodile, seized across the middle, lifted horizontally in the air, and kicking despairingly. Then—a moment—and he was gone!

I cannot even attempt to describe the agitation of Elyona Ivanovna. After her first cry she stood for some time as petrified, and stared at the scene before her, as if indifferently, though her eyes were starting out of her head; then she suddenly burst into a piercing shriek. I caught her by the hands. At this moment the keeper, who until now had also stood petrified with horror, clasped his hands, and raising his eyes to heaven cried aloud:

“Oh, my crocodile! Oh, mein allerliebstes Karlchen! Mutter! Mutter! Mutter!”

At this cry the back door opened, and “Mutter,” a red-cheeked, untidy, elderly woman in a cap, rushed with a yell toward her son.

Then began an awful tumult. Elyona Ivanovna, beside herself, reiterated one single phrase, “Cut it! Cut it!” and rushed from the keeper to the “Mutter,” and back to the keeper, imploring them (evidently in a fit of frenzy) to “cut” something or some one for some reason. Neither the keeper nor “Mutter” took any notice of either of us; they were hanging over the tank, and shrieking like stuck pigs.

“He is gone dead; he vill sogleich burst, because he von ganz official of der government eat up haf!” cried the keeper.

“Unser Karlchen, unser allerliebstes Karlchen wird sterben!” wailed the mother.

“Ve are orphans, vitout bread!” moaned the keeper.

“Cut it! Cut it! Cut it open!” screamed Elyona Ivanovna, hanging on to the German’s coat.

“He did teaze ze crocodile! Vy your man teaze ze crocodile?” yelled the German, wriggling away. “You vill pay me if Karlchen wird bersten! Das war mein Sohn, das war mein einziger Sohn!”

“Cut it!” shrieked Elyona Ivanovna.

“How! You vill dat my crocodile shall be die? No, your man shall be die first, and denn my crocodile. Mein Vater show von crocodile, mein Grossvater show von crocodile, mein Sohn shall show von crocodile, and I shall show von crocodile. All ve shall show crocodile. I am ganz Europa famous, and you are not ganz Europa famous, and you do be me von fine pay shall!”

“Ja, ja!” agreed the woman savagely; “ve you not let out; fine ven Karlchen vill bersten.”

“For that matter,” I put in calmly, in the hope of getting Elyona Ivanovna home without further ado, “there’s no use in cutting it open, for in all probability our dear Ivan Matvyeich is now soaring in the empyrean.”

“My dear,” remarked at this moment the voice of Ivan Matvyeich, with startling suddenness, “my advice, my dear, is to act through the bureau of police, for the German will not comprehend the truth without the assistance of the police.”

These words, uttered with firmness and gravity, and expressing astonishing presence of mind, at first so much amazed us that we could not believe our ears. Of course, however, we instantly ran to the crocodile’s tank and listened to the speech of the unfortunate captive with a mixture of reverence and distrust. His voice sounded muffled, thin, and even squeaky, as though coming from a long distance.

“Ivan Matvyeich, my dearest, are you alive?” lisped Elyona Ivanovna.

“Alive and well,” answered Ivan Matvyeich; “and, thanks to the Almighty, swallowed whole without injury. I am only disturbed by doubt as to how the superior authorities will regard this episode; for, after having taken a ticket to go abroad, to go into a crocodile instead is hardly sensible.”

“Oh, my dear, don’t worry about sense now; first of all we must somehow or other dig you out,” interrupted Elyona Ivanovna.

“Tig!” cried the German. “I not vill let you to tig ze crocodile! Now shall bery mush Publikum be come, and I shall fifety copeck take, and Karlchen shall leave off to burst.”

“Gott sei Dank!” added the mother.

“They are right,” calmly remarked Ivan Matvyeich; “the economic principle before everything.”

Nikolai Nekrasov wrote light verse of a whimsical trend.

A MORAL MAN

A strictly moral man have I been ever, And never injured anybody—never. I lent my friend a sum he could not pay; I jogged his memory in a friendly way, Then took the law of him th’ affair to end; The law to prison sent my worthy friend. He died there—not a farthing for poor me! I am not angry, though I’ve cause to be; His debt that very moment I forgave, And shed sad tears of sorrow o’er his grave. A strictly moral man have I been ever, And never injured anybody—never. I sent a serf of mine to learn the dressing Of meat. He learned it—a good cook’s a blessing— But strangely did neglect his occupation, And gained a taste not suited to his station: He liked to read, to reason, to discuss. I, tired of scolding, without further fuss Had the rogue flogged—all for the love of him. He went and drowned himself—what a strange whim! A strictly moral man have I been ever, And never injured anybody—never. My silly daughter fell in love, one day, And with a tutor wished to run away. I threatened curses, and pronounced my ban; She yielded, and espoused a rich old man. Their house was splendid, brimming o’er with wealth, But suddenly the poor child lost her health, And in a year consumption wrought her doom; She left us mourning o’er her early tomb. A strictly moral man have I been ever, And never injured anybody—never.

Ivan Turgenieff, the celebrated novelist, wrote also delightfully witty Poems in Prose.

BENEFICENCE AND GRATITUDE

One day the Supreme Being took it into His head to give a great banquet in His azure palace.

All the virtues were invited. Men He did not ask—only ladies.

There was a large number of them, great and small. The lesser virtues were more agreeable and genial than the great ones; but they all appeared to be in good-humor, and chatted amiably together, as was only becoming for near relations and friends.

But the Supreme Being noticed two charming ladies who seemed to be totally unacquainted.

The Host gave one of the ladies His arm, and led her up to the other.

“Beneficence!” He said, indicating the first.

“Gratitude!” He added, indicating the second.

Both the virtues were amazed beyond expression. Ever since the world had stood—and it had been standing a long time—this was the first time they had met.

PRAYER

Whatever a man prays for, he prays for a miracle. Every prayer reduces itself to this: “Great God, grant that twice two be not four.”

Anton Chekov, writer of humorous stories, is also happy in epigrammatic wit.

PROVERBIAL WISDOM

The worst brandy is better than water.

The path to the law court is wide; the path away from it is narrow.

Even when drowning, a man wants company.

Cherish your wife as you would your salvation, and beat her as you would your coat.

A bad peace is superior to a good quarrel.

Spare the peasant your lash, but not his rubles.

Poverty is not a sin, but it’s a great deal worse.

In a storm, pray to the Lord and keep on rowing as hard as you can.

A sparrow is small; still, it’s a bird.

If your wife were a guitar, you could hang her up after playing.

Casting about for other foreign countries that might offer bits of humor written in the eighteenth or nineteenth century, we come across this from a Polish author named Kajetan Wengierski.

THE DREAM-WIFE

Strangely ’wildered must I seem; I was married—in a dream. Oh, the ecstasy of bliss! Brother, what a joy is this! Think about it, and confess ’Tis a storm of happiness, And the memory is to me Sunbeams. But fifteen was she: Cheeks of roses red and white; Mouth like Davia’s; eyes of light, Fiery, round, of raven hue, Swimming, but coquettish too; Ivory teeth; lips fresh as dew; Bosom beauteous; hand of down; Fairy foot. She stood alone In her graces. She was mine, And I drank her charms divine. ***** Yet, in early years our schemes Are, alas! but shadowy dreams. For a season they deceive, Then our souls in darkness leave. Oft the bowl the water bears, But ’tis useless soon with years; First it cracks, and then it leaks, And at last—at last it breaks. All things with beginning tend To their melancholy end: So her beauty fled. ***** Then did anger, care, and malice Mingle up their bitter chalice. Riches like the whirlwind flew, Honors, gifts, and friendships too; And my lovely wife, so mild, Fortune’s frail and flattered child, Spent our wealth, as if the day Ne’er would dim or pass away; And—oh, monstrous thought!—the fair Scratched my eyes and tore my hair. Naught but misery was our guest. Then I sought the parish priest: “Father, grant me a divorce. Nay, you’ll grant it me, of course; Reasons many can be given— Reasons both of earth and heaven.” “I know all you wish to say. Have you wherewithal to pay? Money is a thing, of course— Money may obtain divorce.” “Reverend father, hear me, please ye— ’Tis not an affair so easy.” “Silence, child! Where money’s needed, Eloquence is superseded.” Then I talked of morals, but The good father’s ears were shut. With a fierce and frowning look Off he drove me—And I woke.

And lacking adequate translation for any more of the humorous literature of far away lands, we conclude this portion of our Outline with some Epigrams of the people of Hayti.

You can’t catch a flea with one finger.

The snake that wants to live does not keep to the highroad.

You should never blame the owner of a goat for claiming it.

The ears do not weigh more than the head.

Wait till you are across the river before you call the alligator names.

If the tortoise that comes up from the bottom of the water tells you an alligator is blind, you may believe him.

A frog in want of a shirt will ask for a pair of drawers.

The ox never says “Thank you” to the pasture.

Joke with a monkey as much as you please, but don’t play with its tail.

What business have eggs dancing with stones?

If you insist on punishing an enemy, do not make him fetch water in a basket.

The wild hog knows what tree he is rubbing against.

Hang your knapsack where you can reach it.

The pumpkin vine does not yield calabashes.

Every jack-knife found on the highway will be lost on the highway.

All wood is wood, but deal is not cedar.

It is the frog’s own tongue that betrays him.

The spoon goes to the tray’s house, but the tray never goes to the spoon’s house.

If you want your eggs hatched, sit on them yourself.

AMERICAN HUMOR

There may have been previous mute, inglorious Miltons, but doubtless the first American to be recognized as a true humorist was Benjamin Franklin.

In fact, one of the foremost essayists of the present day opines that the reason Franklin was not called upon to write the Declaration of Independence was because he was too fond of his joke.

“They were acute,” our essayist remarks, “those leaders of the Continental Congress, and they knew that every man has the defect of his qualities, and that a humorist is likely to be lacking in reverence, and that the writer of the Declaration of Independence had a theme which demanded most reverential treatment.”

It is generally conceded that the Americans are a humorous nation, is even said that we have a way of living humorously, and are conscious of the fact.

Aside from the annual work known as Poor Richard’s Almanack, Franklin wrote much prose and verse of a witty character.

A letter of his gave rise to the well known saying, “He paid too much for his whistle.”

Part of the letter is here given.

“When I was a child of seven years old, my friends on a holiday filled my pocket with coppers. I went directly to a shop where they sold toys for children; and, being charmed with the sound of a whistle that I met by the way in the hands of another boy, I voluntarily offered and gave all my money for one. I then came home, and went whistling all over the house, much pleased with my whistle, but disturbing all the family. My brothers and sisters and cousins, understanding the bargain I had made, told me I had given four times as much for it as it was worth; put me in mind what good things I might have bought with the rest of the money, and laughed at me so much for my folly, that I cried with vexation; and the reflection gave me more chagrin than the whistle gave me pleasure.

“This, however, was afterward of use to me, the impression continuing on my mind, so that often, when I was tempted to buy some unnecessary thing, I said to myself, Don’t give too much for the whistle; and I saved my money.

“As I grew up, came into the world, and observed the actions of men, I thought I met with many, very many, who gave too much for the whistle.

“When I saw one too ambitious to court favor, sacrificing his time in attendance on levees, his repose, his liberty, his virtue, and perhaps his friends, to attain it, I have said to myself, This man gives too much for his whistle.

“When I saw another fond of popularity, constantly employing himself in political bustles, neglecting his own affairs and ruining them by that neglect, He pays, indeed, said I, too much for his whistle.

“If I knew a miser, who gave up any kind of a comfortable living, all the pleasure of doing good to others, all the esteem of his fellow-citizens, and the joys of benevolent friendship, for the sake of accumulating wealth, Poor man, said I, you pay too much for your whistle.

“When I met with a man of pleasure, sacrificing every laudable improvement of the mind, or of his fortune, to mere corporal sensations, and ruining his health in their pursuit, Mistaken man, said I, you are providing pain for yourself instead of pleasure! you give too much for your whistle.

“If I see one fond of appearance, or fine clothes, fine houses, fine furniture, fine equipages, all above his fortune, for which he contracts debts, and ends his career in a prison, Alas! say I, he has paid dear, very dear, for his whistle.

“When I see a beautiful, sweet-tempered girl married to an ill-natured brute of a husband, What a pity, say I, that she should pay so much for a whistle!

“In short, I conceive that great part of the miseries of mankind are brought upon them by the false estimates they have made of the value of things, and by their giving too much for their whistles.

“Yet I ought to have charity for these unhappy people, when I consider, that with all this wisdom of which I am boasting, there are certain things in the world so tempting, for example, the apples of King John, which happily are not to be bought; for if they were put up to sale by auction, I might very easily be led to ruin myself in the purchase, and find that I had once more given too much for the whistle.

“Adieu, my dear friend, and believe me ever yours, very sincerely and with unalterable affection.”

B. Franklin.

PAPER

Some wit of old—such wits of old there were— Whose hints show’d meaning, whose allusions care, By one brave stroke to mark all human kind, Call’d clear blank paper every infant mind; Where still, as opening sense her dictates wrote, Fair virtue put a seal, or vice a blot. The thought was happy, pertinent, and true; Methinks a genius might the plan pursue. I (can you pardon my presumption?) I— No wit, no genius, yet for once will try. Various the papers various wants produce, The wants of fashion, elegance, and use. Men are as various; and if right I scan, Each sort of paper represents some man. Pray note the fop—half powder and half lace— Nice as a band-box were his dwelling-place: He’s the gilt paper, which apart you store, And lock from vulgar hands in the ’scrutoire. Mechanics, servants, farmers, and so forth, Are copy-paper, of inferior worth; Less prized, more useful, for your desk decreed, Free to all pens, and prompt at every need. The wretch, whom avarice bids to pinch and spare, Starve, cheat, and pilfer, to enrich an heir, Is coarse brown paper! such as pedlars choose To wrap up wares, which better men will use. Take next the miser’s contrast, who destroys Health, fame, and fortune, in a round of joys. Will any paper match him? Yes, throughout, He’s true sinking-paper, past all doubt. The retail politician’s anxious thought Deems this side always right, and that stark naught; He foams with censure; with applause he raves— A dupe to rumors, and a tool of knaves; He’ll want no type his weakness to proclaim, While such a thing as foolscap has a name. The hasty gentleman, whose blood runs high, Who picks a quarrel, if you step awry, Who can’t a jest, or hint, or look endure: What is he? What? Touch-paper to be sure. What are our poets, take them as they fall, Good, bad, rich, poor, much read, not read at all? Them and their works in the same class you’ll find; They are the mere waste-paper of mankind. Observe the maiden, innocently sweet, She’s fair white-paper, an unsullied sheet; On which the happy man, whom fate ordains, May write his name, and take her for his pains. One instance more, and only one I’ll bring; ’Tis the great man who scorns a little thing, Whose thoughts, whose deeds, whose maxims are his own, Form’d on the feelings of his heart alone: True genuine royal-paper is his breast: Of all the kinds most precious, purest, best.

Francis Hopkinson, a writer of miscellaneous essays, wrote “The Battle of the Keys,” which was founded upon a real historic incident.

THE BATTLE OF THE KEYS

Gallants attend and hear a friend Trill forth harmonious ditty, Strange things I’ll tell which late befell In Philadelphia city. ’Twas early day, as poets say, Just when the sun was rising, A soldier stood on a log of wood, And saw a thing surprising. As in amaze he stood and gazed, The truth can’t be denied, sir, He spied a score of kegs or more Come floating down the tide, sir. A sailor, too, in jerkin blue, This strange appearance viewing, First damned his eyes, in great surprise, Then said, “Some mischief’s brewing. “These kegs, I’m told, the rebles hold, Packed up like pickled herring; And they’re come down to attack the town, In this new way of ferrying.” The soldier flew, the sailor too, And scared almost to death, sir, Wore out their shoes, to spread the news, And ran till out of breath, sir. Now up and down throughout the town, Most frantic scenes were acted; And some ran here, and others there, Like men almost distracted. Some “fire” cried, which some denied, But said the earth had quaked; And girls and boys, with hideous noise, Ran through the streets half-naked. Sir William he, snug as a flea, Lay all this time a-snoring, Nor dreamed of harm as he lay warm, In bed with Mrs. Loring. Now in a fright he starts upright, Awaked by such a clatter; He rubs both eyes, and boldly cries, “For God’s sake, what’s the matter?” At his bedside he then espied, Sir Erskine at command, sir, Upon one foot he had one boot, And th’ other in his hand, sir. “Arise, arise!” Sir Erskine cries, “The rebels—more’s the pity, Without a boat are all afloat, And ranged before the city. “The motley crew, in vessels new, With Satan for their guide, sir, Packed up in bags, or wooden kegs, Come driving down the tide, sir. “Therefore prepare for bloody war, The kegs must all be routed, Or surely we despised shall be, And British courage doubted.” The royal band now ready stand, All ranged in dead array, sir, With stomach stout to see it out, And make a bloody day, sir. The cannons roar from shore to shore, The small arms make a rattle; Since wars began I’m sure no man E’er saw so strange a battle. The rebel dales, the rebel vales, With rebel trees surrounded, The distant woods, the hills and floods, With rebel echoes sounded. The fish below swam to and fro, Attacked from every quarter; Why sure, thought they, the devil’s to pay ’Mongst folks above the water. The kegs, ’tis said, though strongly made Of rebel staves and hoops, sir, Could not oppose their powerful foes, And conquering British troops, sir. From morn to night these men of might Displayed amazing courage; And when the sun was fairly down, Retired to sup their porridge. A hundred men with each a pen, Or more, upon my word, sir, It is most true would be too few, Their valor to record, sir. Such feats did they perform that day, Against these wicked kegs, sir, That, years to come, if they get home, They’ll make their boasts and brags, sir. —Miscellaneous Essays and Occasional Writings.

Elizabeth Graeme Ferguson, one of the earliest women writers of our country, like many of her contemporaries, kept the style and effect of English poetry. Her lines on the Country Parson, show a fine vein of satire.

THE COUNTRY PARSON

How happy is the country parson’s lot! Forgetting bishops, as by them forgot; Tranquil of spirit, with an easy mind, To all his vestry’s votes he sits resigned: Of manners gentle, and of temper even, He jogs his flocks, with easy pace, to heaven. In Greek and Latin, pious books he keeps; And, while his clerk sings psalms, he—soundly sleeps. His garden fronts the sun’s sweet orient beams, And fat church-wardens prompt his golden dreams. The earliest fruit, in his fair orchard, blooms; And cleanly pipes pour out tobacco’s fumes. From rustic bridegroom oft he takes the ring; And hears the milkmaid plaintive ballads sing. Back-gammon cheats whole winter nights away, And Pilgrim’s Progress helps a rainy day.

President John Quincy Adams so far relaxed from his political dignity as to write light verse.

TO SALLY

The man in righteousness arrayed, A pure and blameless liver, Needs not the keen Toledo blade, Nor venom-freighted quiver. What though he winds his toilsome way O’er regions wild and weary— Through Zara’s burning desert stray, Or Asia’s jungles dreary: What though he plough the billowy deep By lunar light, or solar, Meet the resistless Simoon’s sweep, Or iceberg circumpolar! In bog or quagmire deep and dank His foot shall never settle; He mounts the summit of Mont Blanc, Or Popocatapetl. On Chimborazo’s breathless height He treads o’er burning lava; Or snuffs the Bohan Upas blight, The deathful plant of Java. Through every peril he shall pass, By Virtue’s shield protected; And still by Truth’s unerring glass His path shall be directed. Else wherefore was it, Thursday last, While strolling down the valley, Defenceless, musing as I passed A canzonet to Sally, A wolf, with mouth-protruding snout, Forth from the thicket bounded— I clapped my hands and raised a shout— He heard—and fled—confounded. Tangier nor Tunis never bred An animal more crabbed; Nor Fez, dry-nurse of lions, fed A monster half so rabid; Nor Ararat so fierce a beast Has seen since days of Noah; Nor stronger, eager for a feast, The fell constrictor boa. Oh! place me where the solar beam Has scorched all verdure vernal; Or on the polar verge extreme, Blocked up with ice eternal— Still shall my voice’s tender lays Of love remain unbroken; And still my charming Sally praise, Sweet smiling and sweet spoken.

About this time, Clement C. Moore wrote the Christmas story which has since become a national classic.

A VISIT FROM ST. NICHOLAS

’Twas the night before Christmas, when all through the house Not a creature was stirring, not even a mouse; The stockings were hung by the chimney with care, In hopes that St. Nicholas soon would be there; The children were nestled all snug in their beds, While visions of sugar-plums danced in their heads; And mamma in her ’kerchief, and I in my cap Had just settled our brains for a long winter’s nap, When out on the lawn there arose such a clatter, I sprang from the bed to see what was the matter. Away to the window I flew like a flash, Tore open the shutters and threw up the sash. The moon on the breast of the new-fallen snow Gave the lustre of mid-day to objects below, When, what to my wondering eyes should appear, But a miniature sleigh, and eight tiny reindeer, With a little old driver, so lively and quick, I knew in a moment it must be St. Nick. More rapid than eagles his coursers they came, And he whistled, and shouted, and called them by name; “Now, Dasher! now, Dancer! now, Prancer and Vixen! On, Comet! on, Cupid! on, Dunder and Blitzen! To the top of the porch! to the top of the wall! Now dash away! dash away! dash away all!” As dry leaves that before the wild hurricane fly, When they meet with an obstacle, mount to the sky; So up to the house-top the coursers they flew, With the sleigh full of Toys, and St. Nicholas too. And then, in a twinkling, I heard on the roof The prancing and pawing of each little hoof. As I drew in my head, and was turning around, Down the chimney St. Nicholas came with a bound. He was dressed all in fur, from his head to his foot, And his clothes were all tarnished with ashes and soot; A bundle of Toys he had flung on his back, And he looked like a pedler just opening his pack. His eyes—how they twinkled! his dimples how merry! His cheeks were like roses, his nose like a cherry! His droll little mouth was drawn up like a bow, And the beard of his chin was as white as the snow; The stump of a pipe he held tight in his teeth, And the smoke it encircled his head like a wreath; He had a broad face and a little round belly, That shook when he laughed, like a bowlful of jelly. He was chubby and plump, a right jolly old elf, And I laughed when I saw him, in spite of myself; A wink of his eye and a twist of his head, Soon gave me to know I had nothing to dread; He spoke not a word, but went straight to his work, And filled all the stockings; then turned with a jerk, And laying his finger aside of his nose, And giving a nod, up the chimney he rose; He sprang to his sleigh, to his team gave a whistle, And away they all flew like the down of a thistle. But I heard him exclaim, ere he drove out of sight, “Happy Christmas to all, and to all a good-night.”

Washington Irving, though his work is besprinkled with humor cannot be quoted at length.

A bit of his gay verse is given.

A CERTAIN YOUNG LADY

There’s a certain young lady, Who’s just in her heyday, And full of all mischief, I ween; So teasing! so pleasing! Capricious! delicious! And you know very well whom I mean. With an eye dark as night, Yet than noonday more bright, Was ever a black eye so keen? It can thrill with a glance, With a beam can entrance, And you know very well whom I mean. With a stately step—such as You’d expect in a duchess— And a brow might distinguish a queen, With a mighty proud air, That says “touch me who dare,” And you know very well whom I mean. With a toss of the head That strikes one quite dead, But a smile to revive one again; That toss so appalling! That smile so enthralling! And you know very well whom I mean. Confound her! devil take her!— A cruel heart-breaker— But hold! see that smile so serene. God love her! God bless her! May nothing distress her! You know very well whom I mean. Heaven help the adorer Who happens to bore her, The lover who wakens her spleen; But too blest for a sinner Is he who shall win her, And you know very well whom I mean.

William Cullen Bryant, like most of the New England poets, was not often humorous in his work. Perhaps the nearest he came to it was in his Lines to a Mosquito.

TO A MOSQUITO

Fair insect! that with threadlike legs spread out, And blood-extracting bill and filmy wing, Dost murmur, as thou slowly sail’st about, In pitiless ears, full many a plaintive thing, And tell how little our large veins should bleed, Would we but yield them to thy bitter need? Unwillingly, I own, and, what is worse, Full angrily men harken to thy plaint; Thou gettest many a brush and many a curse, For saying thou art gaunt and starved and faint. Even the old beggar, while he asks for food, Would kill thee, hapless stranger, if he could. I call thee stranger, for the town, I ween, Has not the honor of so proud a birth— Thou com’st from Jersey meadows, fresh and green, The offspring of the gods, though born on earth; For Titan was thy sire, and fair was she, The ocean nymph that nursed thy infancy. Beneath the rushes was thy cradle swung, And when at length thy gauzy wings grew strong, Abroad to gentle airs their folds were flung, Rose in the sky, and bore thee soft along; The south wind breathed to waft thee on thy way, And danced and shone beneath the billowy bay. Calm rose afar the city spires, and thence Came the deep murmur of its throng of men, And as its grateful odors met thy sense, They seemed the perfumes of thy native fen. Fair lay its crowded streets, and at the sight Thy tiny song grew shriller with delight. At length thy pinion fluttered in Broadway— Ah, there were fairy steps, and white necks kissed By wanton airs, and eyes whose killing ray Shone through the snowy veils like stars through mist; And fresh as morn, on many a cheek and chin, Bloomed the bright blood through the transparent skin. Sure these were sights to tempt an anchorite! What! do I hear thy slender voice complain? Thou wailest when I talk of beauty’s light, As if it brought the memory of pain. Thou art a wayward being—well—come near, And pour thy tale of sorrow in mine ear. What say’st thou, slanderer! rouge makes thee sick? And China Bloom at best is sorry food? And Rowland’s Kalydor, if laid on thick, Poisons the thirsty wretch that bores for blood. Go! ’Twas a just reward that met thy crime— But shun the sacrilege another time. That bloom was made to look at—not to touch; To worship—not approach—that radiant white; And well might sudden vengeance light on such As dared, like thee, most impiously to bite. Thou shouldst have gazed at distance and admired— Murmur’d thy admiration and retired. Thou’rt welcome to the town—but why come here To bleed a brother poet, gaunt like thee? Alas! the little blood I have is dear, And thin will be the banquet drawn from me. Look round—the pale-eyed sisters in my cell, Thy old acquaintance, Song and Famine, dwell. Try some plump alderman, and suck the blood Enrich’d by gen’rous wine and costly meat; On well-filled skins, sleek as thy native mud, Fix thy light pump, and press thy freckled feet. Go to the men for whom, in ocean’s halls, The oyster breeds and the green turtle sprawls. There corks are drawn, and the red vintage flows, To fill the swelling veins for thee, and now The ruddy cheek, and now the ruddier nose Shall tempt thee, as thou flittest round the brow; And when the hour of sleep its quiet brings, No angry hand shall rise to brush thy wings.

Fitz-Greene Halleck wrote much in collaboration with Joseph Rodman Drake, and it is often difficult to separate their work.

ODE TO FORTUNE

Fair lady with the bandaged eye! I’ll pardon all thy scurvy tricks, So thou wilt cut me, and deny Alike thy kisses and thy kicks: I’m quite contented as I am, Have cash to keep my duns at bay, Can choose between beefsteaks and ham, And drink Madeira every day. My station is the middle rank, My fortune—just a competence— Ten thousand in the Franklin Bank, And twenty in the six per cents; No amorous chains my heart enthrall, I neither borrow, lend, nor sell; Fearless I roam the City Hall, And bite my thumb at Sheriff Bell. The horse that twice a week I ride At Mother Dawson’s eats his fill; My books at Goodrich’s abide, My country-seat is Weehawk hill; My morning lounge is Eastburn’s shop, At Poppleton’s I take my lunch, Niblo prepares my mutton-chop, And Jennings makes my whiskey-punch. When merry, I the hours amuse By squibbing Bucktails, Guards, and Balls, And when I’m troubled with the blues Damn Clinton and abuse cards: Then, Fortune, since I ask no prize, At least preserve me from thy frown! The man who don’t attempt to rise ’Twere cruelty to tumble down.

Albert Gorton Greene also wrote in the manner of his English forebears, indeed, his Old Grimes is quite in line with Tom Hood or Goldsmith.

OLD CHIMES

Old Grimes is dead; that good old man We never shall see more: He used to wear a long, black coat, All buttoned down before. His heart was open as the day, His feelings all were true; His hair was some inclined to gray— He wore it in a queue. Whene’er he heard the voice of pain, His breast with pity burn’d; The large, round head upon his cane From ivory was turn’d. Kind words he ever had for all; He knew no base design: His eyes were dark and rather small, His nose was aquiline. He lived at peace with all mankind. In friendship he was true: His coat had pocket-holes behind, His pantaloons were blue. Unharm’d, the sin which earth pollutes He pass’d securely o’er, And never wore a pair of boots For thirty years or more. But good old Grimes is now at rest, Nor fears misfortune’s frown: He wore a double-breasted vest— The stripes ran up and down. He modest merit sought to find, And pay it its desert: He had no malice in his mind, No ruffles on his shirt. His neighbors he did not abuse— Was sociable and gay: He wore large buckles on his shoes And changed them every day. His knowledge, hid from public gaze, He did not bring to view, Nor made a noise, town-meeting days, As many people do. His worldly goods he never threw In trust to fortune’s chances, But lived (as all his brothers do) In easy circumstances. Thus undisturb’d by anxious cares, His peaceful moments ran; And everybody said he was A fine old gentleman.

Ralph Waldo Emerson is seldom humorous or even in lighter vein. His Fable about the squirrel shows a graceful wit.

FABLE

The mountain and the squirrel Had a quarrel, And the former called the latter “Little Prig”; Bun replied, “You are doubtless very big; But all sorts of things and weather Must be taken in together, To make up a year And a sphere, And I think it no disgrace To occupy my place. If I’m not so large as you, You are not so small as I, And not half so spry. I’ll not deny you make A very pretty squirrel track; Talents differ; all is well and wisely put; If I cannot carry forests on my back, Neither can you crack a nut.”

Nathaniel Parker Willis was a popular writer of society satire in both prose and verse.

LOVE IN A COTTAGE

They may talk of love in a cottage, And bowers of trellised vine— Of nature bewitchingly simple, And milkmaids half-divine; They may talk of the pleasure of sleeping In the shade of a spreading tree, And a walk in the fields at morning, By the side of a footstep free! But give me a sly flirtation By the light of a chandelier— With music to play in the pauses, And nobody very near; Or a seat on a silken sofa, With a glass of pure old wine, And mama too blind to discover The small white hand in mine. Your love in a cottage is hungry, Your vine is a nest for flies— Your milkmaid shocks the Graces, And simplicity talks of pies! You lie down to your shady slumber And wake with a bug in your ear, And your damsel that walks in the morning Is shod like a mountaineer. True love is at home on a carpet, And mightily likes his ease— And true love has an eye for a dinner, And starves beneath shady trees. His wing is the fan of a lady. His foot’s an invisible thing, And his arrow is tipp’d with a jewel And shot from a silver string.

Seba Smith, among the first to break away from English traditions, wrote over the pen name of Major Jack Downing. He was a pioneer in the matter of dialect writing and the first to poke fun at New England speech and manners.

Follows a part of his skit called

MY FIRST VISIT TO PORTLAND

After I had walked about three or four hours, I come along towards the upper end of the town, where I found there were stores and shops of all sorts and sizes. And I met a feller, and says I,—

“What place is this?”

“Why, this,” says he, “is Huckler’s Row.”

“What!” says I, “are these the stores where the traders in Huckler’s Row keep?”

And says he, “Yes.”

“Well, then,” says I to myself, “I have a pesky good mind to go in and have a try with one of these chaps, and see if they can twist my eye-teeth out. If they can get the best end of a bargain out of me, they can do what there ain’t a man in our place can do; and I should just like to know what sort of stuff these ’ere Portland chaps are made of.” So in I goes into the best-looking store among ’em. And I see some biscuit lying on the shelf, and says I,—

“Mister, how much do you ax apiece for them ’ere biscuits?”

“A cent apiece,” says he.

“Well,” says I, “I shan’t give you that, but, if you’ve a mind to, I’ll give you two cents for three of them, for I begin to feel a little as though I would like to take a bite.”

“Well,” says he, “I wouldn’t sell ’em to anybody else so, but, seeing it’s you, I don’t care if you take ’em.”

I knew he lied, for he never seen me before in his life. Well, he handed down the biscuits, and I took ’em, and walked round the store awhile, to see what else he had to sell. At last says I,—

“Mister, have you got any good cider?”

Says he, “Yes, as good as ever ye see.”

“Well,” says I, “what do you ax a glass for it?”

“Two cents,” says he.

“Well,” says I, “seems to me I feel more dry than I do hungry now. Ain’t you a mind to take these ’ere biscuits again and give me a glass of cider?” and says he:

“I don’t care if I do.”

So he took and laid ’em on the shelf again and poured out a glass of cider. I took the glass of cider and drinkt it down and, to tell you the truth about it, it was capital good cider Then says I:

“I guess it’s about time for me to be a-going,” and so I stept along toward the door; but he ups and says, says he:

“Stop, mister, I believe you haven’t paid me for the cider.’

“Not paid you for the cider!” says I; “what do you mean by that? Didn’t the biscuits that I give you just come to the cider?”

“Oh, ah, right!” says he.

So I started to go again, but before I had reached the door he says, says he:

“But stop, mister, you didn’t pay me for the biscuit.”

“What!” says I, “do you mean to impose upon me? Do you think I am going to pay you for the biscuits, and let you keep them, too? Ain’t they there now on your shelf? What more do you want? I guess, sir, you don’t whittle me in that way.”

So I turned about and marched off and left the feller staring and scratching his head as tho’ he was struck with a dunderment.

Howsomeever, I didn’t want to cheat him, only jest to show ’em it wa’n’t so easy a matter to pull my eye-teeth out; so I called in next day and paid him two cents.

And now humor began to creep into the newspapers, and it came about that American humorists, almost without exception, have been newspaper men.

Following Seba Smith’s plan each author created a character, usually of homely type, and through him as a mouthpiece gave to the world his own wit and wisdom.

Mrs. Frances Miriam Whitcher wrote the Widow Bedott papers, and Frederick Swartout Cozzens the Sparrowgrass Papers, but best known today is the Mrs. Partington, the American Mrs. Malaprop, created by Benjamin Penhallow Shillaber.

AFTER A WEDDING

“I like to tend weddings,” said Mrs. Partington, as she came back from a neighboring church where one had been celebrated, and hung up her shawl, and replaced the black bonnet in her long-preserved band-box. “I like to see young people come together with the promise to love, cherish, and nourish each other. But it is a solemn thing, is matrimony—a very solemn thing—where the pasture comes into the chancery, with his surplus on, and goes through with the cerement of making ’em man and wife. It ought to be husband and wife; for it ain’t every husband that turns out a man. I declare I shall never forget how I felt when I had the nuptial ring put on to my finger, when Paul said, ‘With my goods I thee endow.’ He used to keep a dry-goods store then, and I thought he was going to give me all there was in it. I was young and simple, and didn’t know till arterwards that it only meant one calico gound in a year. It is a lovely sight to see the young people plighting their trough, and coming up to consume their vows.”

She bustled about and got tea ready, but abstractedly she put on the broken teapot, that had lain away unused since Paul was alive, and the teacups, mended with putty, and dark with age, as if the idea had conjured the ghost of past enjoyment to dwell for the moment in the home of present widowhood.

A young lady, who expected to be married on Thanksgiving night, wept copiously at her remarks, but kept on hemming the veil that was to adorn her brideship, and Ike sat pulling bristles out of the hearth-brush in expressive silence.

Yet not all the wits of the day were newspaper men, for Oliver Wendell Holmes left his essays and novels now and then to give his native humor full play.

The “Deacon’s Masterpiece,” often called “The One Hoss Shay” is a classic, and many short poems are among our best witty verses, while Holmes’ genial humor pervades his Breakfast Table books.

THE HEIGHT OF THE RIDICULOUS

I wrote some lines once on a time, In wondrous merry mood, And thought, as usual, men would say They were exceeding good. They were so queer, so very queer, I laughed as I would die; Albeit, in the general way, A sober man am I. I called my servant, and he came; How kind it was of him, To mind a slender man like me, He of the mighty limb! “These to the printer,” I exclaimed, And, in my humorous way, I added (as a trifling jest), “There’ll be the devil to pay.” He took the paper, and I watched, And saw him peep within; At the first line he read, his face Was all upon the grin. He read the next: the grin grew broad, And shot from ear to ear; He read the third: a chuckling noise I now began to hear. The fourth: he broke into a roar; The fifth: his waistband split; The sixth: he burst five buttons off, And tumbled in a fit. Ten days and nights, with sleepless eye, I watched that wretched man, And since, I never dare to write As funny as I can.

ÆSTIVATION

In candent ire the solar splendor flames; The foles, languescent, pend from arid rames; His humid front the cive, anheling, wipes, And dreams of erring on ventiferous ripes. How dulce to vive occult to mortal eyes, Dorm on the herb with none to supervise, Carp the suave berries from the crescent vine, And bibe the flow from longicaudate kine. To me also, no verdurous visions come Save you exiguous pool’s confervascum,— No concave vast repeats the tender hue That laves my milk-jug with celestial blue. Me wretched! Let me curr to quercine shades! Effund your albid hausts, lactiferous maids! Oh, might I vole to some umbrageous chump,— Depart,—be off,—excede,—evade,—erump!

Henry Wadsworth Longfellow is charged with the perpetration of certain nonsense verses. His authorship of these has been stoutly denied as well as positively asseverated.

The two poems in question are appended, and if Longfellow did write them they are in no wise to his discredit.

THERE WAS A LITTLE GIRL

There was a little girl, And she had a little curl Right in the middle of her forehead. When she was good She was very, very good, And when she was bad she was horrid. One day she went upstairs, When her parents, unawares, In the kitchen were occupied with meals And she stood upon her head In her little trundle-bed, And then began hooraying with her heels. Her mother heard the noise, And she thought it was the boys A-playing at a combat in the attic; But when she climbed the stair, And found Jemima there, She took and she did spank her most emphatic.

MR. FINNEY’S TURNIP

Mr. Finney had a turnip And it grew and it grew; And it grew behind the barn, And that turnip did no harm. There it grew and it grew Till it could grow no taller; Then his daughter Lizzie picked it And put it in the cellar. There it lay and it lay Till it began to rot; And his daughter Susie took it And put it in the pot. And they boiled it and boiled it As long as they were able, And then his daughters took it And put it on the table. Mr. Finney and his wife They sat down to sup; And they ate and they ate And they ate that turnip up.

James Thomas Fields, an acknowledged humorist, wrote mostly homely narrative wit.

THE ALARMED SKIPPER

Many a long, long year ago, Nantucket skippers had a plan Of finding out, though “lying low,” How near New York their schooners ran. They greased the lead before it fell, And then, by sounding through the night, Knowing the soil that stuck, so well, They always guessed their reckoning right. A skipper gray, whose eyes were dim, Could tell, by tasting, just the spot; And so below he’d “dowse the glim,”— After, of course, his “something hot.” Snug in his berth at eight o’clock This ancient skipper might be found; No matter how his craft would rock, He slept,—for skippers’ naps are sound! The watch on deck would now and then Run down and wake him, with the lead; He’d up, and taste, and tell the men How many miles they went ahead. One night ’twas Jotham Marden’s watch, A curious wag,—the peddler’s son,— And so he mused (the wanton wretch), “To-night I’ll have a grain of fun. “We’re all a set of stupid fools To think the skipper knows by tasting What ground he’s on: Nantucket schools Don’t teach such stuff, with all their basting!” And so he took the well-greased lead And rubbed it o’er a box of earth That stood on deck,—a parsnip-bed,— And then he sought the skipper’s berth. “Where are we now, sir? Please to taste.” The skipper yawned, put out his tongue, Then oped his eyes in wondrous haste, And then upon the floor he sprung! The skipper stormed, and tore his hair, Thrust on his boots, and roared to Marden, “Nantucket’s sunk, and here we are Right over old Marm Hackett’s garden!”

John Godfrey Saxe has been called the American Tom Hood. His verses are among our very best humorous poems.

MY FAMILIAR

Again I hear that creaking step!— He’s rapping at the door!— Too well I know the boding sound That ushers in a bore. I do not tremble when I meet The stoutest of my foes, But heaven defend me from the friend Who comes,—but never goes! He drops into my easy-chair And asks about the news; He peers into my manuscript, And gives his candid views; He tells me where he likes the line, And where he’s forced to grieve; He takes the strangest liberties,— But never takes his leave! He reads my daily paper through Before I’ve seen a word; He scans the lyric (that I wrote) And thinks it quite absurd; He calmly smokes my last cigar, And coolly asks for more; He opens everything he sees— Except the entry door! He talks about his fragile health, And tells me of his pains; He suffers from a score of ills Of which he ne’er complains; And how he struggled once with death To keep the fiend at bay; On themes like those away he goes— But never goes away! He tells me of the carping words Some shallow critic wrote; And every precious paragraph Familiarly can quote; He thinks the writer did me wrong; He’d like to run him through! He says a thousand pleasant things— But never says “Adieu!” Whene’er he comes—that dreadful man— Disguise it as I may, I know that, like an autumn rain, He’ll last throughout the day. In vain I speak of urgent tasks; In vain I scowl and pout; A frown is no extinguisher— It does not put him out! I mean to take the knocker off, Put crape upon the door, Or hint to John that I am gone To stay a month or more. I do not tremble when I meet The stoutest of my foes, But Heaven defend me from the friend Who never, never goes!

Henry Wheeler Shaw, creator of the character of Josh Billings, was a philosopher and essayist as well as a funny man.

Doubtless his work has lived largely because of its amusing misspelling, but there is much wisdom to be found in his wit.

The following essays are given only in part.

TIGHT BOOTS

I would jist like to kno who the man waz who fust invented tite boots.

He must hav bin a narrow and kontrakted kuss.

If he still lives, i hope he haz repented ov hiz sin, or iz enjoying grate agony ov sum kind.

I hay bin in a grate menny tite spots in mi life, but generally could manage to make them average; but thare iz no sich thing az making a pair of tite boots average.

Enny man who kan wear a pair ov tite boots, and be humble, and penitent, and not indulge profane literature, will make a good husband.

Oh! for the pen ov departed Wm. Shakspear, to write an anethema aginst tite boots, that would make anshunt Rome wake up, and howl agin az she did once before on a previous ockashun.

Oh! for the strength ov Herkules, to tare into shu strings all the tite boots ov creashun, and skatter them tew the 8 winds ov heaven.

Oh! for the buty ov Venus, tew make a bigg foot look hansum without a tite boot on it.

Oh! for the payshunce ov Job, the Apostle, to nuss a tite boot and bles it, and even pra for one a size smaller and more pinchfull.

Oh! for a pair of boots bigg enuff for the foot ov a mountain.

I have been led into the above assortment ov Oh’s! from having in my posseshun, at this moment, a pair ov number nine boots, with a pair ov number eleven feet in them.

Mi feet are az uneasy az a dog’s noze the fust time he wears a muzzle.

I think mi feet will eventually choke the boots to deth.

I liv in hopes they will.

I suppozed i had lived long enuff not to be phooled agin in this way, but i hav found out that an ounce ov vanity weighs more than a pound ov reazon, espeshily when a man mistakes a bigg foot for a small one.

Avoid tite boots, mi friend, az you would the grip of the devil; for menny a man haz cought for life a fust rate habit for swareing bi encouraging hiz feet to hurt hiz boots.

I hav promised mi two feet, at least a dozen ov times during mi checkured life, that they never should be strangled agin, but i find them to-day az phull ov pain az the stummuk ake from a suddin attak ov tite boots.

But this iz solemly the last pair ov tite boots i will ever wear; i will hereafter wear boots az bigg az mi feet, if i have to go barefoot to do it.

I am too old and too respektable to be a phool enny more.

Eazy boots iz one of the luxurys ov life, but i forgit what the other luxury iz, but i don’t kno az i care, provided i kan git rid ov this pair ov tite boots.

Enny man kan hav them for seven dollars, just half what they kost, and if they don’t make his feet ake wuss than an angle worm in hot ashes, he needn’t pay for them.

Methuseles iz the only man, that i kan kall to mind now who could hav afforded to hav wore tite boots, and enjoyed them, he had a grate deal ov waste time tew be miserable in but life now days, iz too short, and too full ov aktual bizzness to phool away enny ov it on tite boots.

Tite boots are an insult to enny man’s understanding.

He who wears tite boots will hav too acknowledge the corn.

Tite boots hav no bowells or mersy, their insides are wrath and promiskious cussing.

Beware ov tite boots.—

A HEN

A hen is a darn phool, they was born so bi natur.

When natur undertakes tew make a phool, she hits the mark the fust time.

Most all the animile kritters hav instinkt, which is wuth more to them than reason would be, for instinkt don’t make enny blunders.

If the animiles had reason, they would akt just as ridikilus as we men folks do.

But a hen don’t seem tew hav even instinkt, and was made expressly for a phool.

I hav seen a hen fly out ov a good warm shelter, on the 15th ov January, when the snow was 3 foot high, and lite on the top ov a stun wall, and coolly set thare, and freeze tew deth.

Noboddy but a darn phool would do this, unless it was tew save a bet.

I hav saw a human being do similar things, but they did it tew win a bet.

To save a bet, is self-preservashun, and self-preservashun, is the fust law ov natur, so sez Blakstone, and he is the best judge ov law now living.

If i couldn’t be Josh Billings, i would like, next in suit tew be Blakstone, and compoze sum law.

Not so far removed from the Josh Billings type of humor is the work of James Russell Lowell. His well known Biglow Papers exploit in perfection the back country New England politics as well as native character.

WHAT MR. ROBINSON THINKS

Guvener B. is a sensible man; He stays to his home an’ looks arter his folks; He draws his furrer ez straight ez he can, An’ into nobody’s tater-patch pokes; But John P. Robinson he Sez he wunt vote fer Guvener B. My ain’t it terrible? Wut shall we du? We can’t never choose him, o’ course,—thet’s flat; Guess we shall hev to come round (don’t you?) An’ go in fer thunder an’ guns, an’ all that; Fer John P. Robinson he Sez he wunt vote fer Guvener B. Gineral C. is a dreffle smart man: He’s ben on all sides thet give places or pelf; But consistency still was a part of his plan,— He’s ben true to one party,—an’ thet is himself;— So John P. Robinson he Sez he shall vote fer Gineral C. Gineral C. he goes in fer the war; He don’t vally principle more’n an old cud; Wut did God make us raytional creeturs fer, But glory an’ gunpowder, plunder an’ blood? So John P. Robinson he Sez he shall vote fer Gineral C. We were gettin’ on nicely up here to our village, With good old idees o’ wut’s right an’ wut ain’t, We kind o’ thought Christ went agin’ war an’ pillage, An’ thet eppyletts worn’t the best mark of a saint; But John P. Robinson he Sez this kind o’ thing’s an exploded idee. The side of our country must ollers be took, An’ Presidunt Polk, you know, he is our country, An’ the angel thet writes all our sins in a book Puts the debit to him, an’ to us the per contry! An’ John P. Robinson he Sez this is his view o’ the thing to a T. Parson Wilbur he calls all these argimunts lies; Sez they’re nothin’ on airth but jest fee, faw, fum; An’ thet all this big talk of our destinies Is half on it ign’ance, an’ t’other half rum; But John P. Robinson he Sez it ain’t no sech thing; an’, of course, so must we. Parson Wilbur sez he never heerd in his life Thet th’ Apostles rigged out in their swaller-tail coats, An’ marched round in front of a drum an’ a fife, To git some on ’em office, an’ some on ’em votes; But John P. Robinson he Sez they didn’t know everythin’ down in Judee. Wall, it’s a marcy we’ve gut folks to tell us The rights an’ the wrongs o’ these matters, I vow,— God sends country lawyers, an’ other wise fellers, To start the world’s team wen it gits in a slough; Fer John P. Robinson he Sez the world’ll go right, ef he hollers out Gee!

Phoebe Cary, though a hymn writer of repute, did some extremely clever parodies. This work of hers is little known.

I REMEMBER

I remember, I remember, The house where I was wed, And the little room from which that night My smiling bride was led. She didn’t come a wink too soon, Nor make too long a stay; But now I often wish her folks Had kept the girl away! I remember, I remember, Her dresses, red and white, Her bonnets and her caps and cloaks,— They cost an awful sight! The “corner lot” on which I built, And where my brother met At first my wife, one washing-day,— That man is single yet! I remember, I remember, Where I was used to court, And thought that all of married life Was just such pleasant sport:— My spirit flew in feathers then, No care was on my brow; I scarce could wait to shut the gate,— I’m not so anxious now! I remember, I remember, My dear one’s smile and sigh; I used to think her tender heart Was close against the sky. It was a childish ignorance, But now it soothes me not To know I’m farther off from Heaven Than when she wasn’t got!

“THERE’S A BOWER OF BEAN-VINES”

There’s a bower of bean-vines in Benjamin’s yard, And the cabbages grow round it, planted for greens; In the time of my childhood ’twas terribly hard To bend down the bean-poles, and pick off the beans. That bower and its products I never forget, But oft, when my landlady presses me hard, I think, are the cabbages growing there yet, Are the bean-vines still bearing in Benjamin’s yard? No, the bean-vines soon withered that once used to wave, But some beans had been gathered, the last that hung on; And a soup was distilled in a kettle, that gave All the fragrance of summer when summer was gone. Thus memory draws from delight, ere it dies, An essence that breathes of it awfully hard; As thus good to my taste as ’twas then to my eyes, Is that bower of bean-vines in Benjamin’s yard.

JACOB

He dwelt among “Apartments let,” About five stories high; A man, I thought, that none would get, And very few would try. A boulder, by a larger stone Half hidden in the mud, Fair as a man when only one Is in the neighborhood. He lived unknown, and few could tell When Jacob was not free; But he has got a wife—and O! The difference to me!

REUBEN

That very time I saw, (but thou couldst not), Walking between the garden and the barn, Reuben, all armed; a certain aim he took At a young chicken, standing by a post, And loosed his bullet smartly from his gun, As he would kill a hundred thousand hens. But I might see young Reuben’s fiery shot Lodged in the chaste board of the garden fence, And the domesticated fowl passed on, In henly meditation, bullet free.

Edward Everett Hale, George William Curtis, Richard Grant White and Donald G. Mitchell (Ik Marvel) wrote about this time, but their prose articles are too long to quote in full and not adapted to condensation.

Again the newspaper writers forge to the front and in George Horatio Derby we find “the Father of” the new school of American humor. His sketches, over the name of John Phoenix, began to appear about the middle of the Nineteenth century and were later collected under the titles of Phoenixiana and Squibob Papers.

A fragment of one is given.

The dentist went to work, and in three days he invented an instrument which he was confident would pull anything. It was a combination of the lever, pulley, wheel and axle, inclined plane, wedge, and screw. The castings were made, and the machine put up in the office, over an iron chair rendered perfectly stationary by iron rods going down into the foundations of the granite building. In a week old Byles returned; he was clamped into the iron chair, the forceps connected with the machine attached firmly to the tooth, and Tushmaker, stationing himself in the rear, took hold of a lever four feet in length. He turned it slightly. Old Byles gave a groan and lifted his right leg. Another turn, another groan, and up went the leg again.

“What do you raise your leg for?” asked the Doctor.

“I can’t help it,” said the patient.

“Well,” rejoined Tushmaker, “that tooth is bound to come out now.”

He turned the lever clear round with a sudden jerk, and snapped old Byles’ head clean and clear from his shoulders, leaving a space of four inches between the severed parts!

They had a post-mortem examination—the roots of the tooth were found extending down the right side, through the right leg, and turning up in two prongs under the sole of the right foot!

“No wonder,” said Tushmaker, “he raised his right leg.”

The jury thought so, too, but they found the roots much decayed; and five surgeons swearing that mortification would have ensued in a few months, Tushmaker was clear on a verdict of “justifiable homicide.”

He was a little shy of that instrument for some time afterward; but one day an old lady, feeble and flaccid, came in to have a tooth drawn, and thinking it would come out very easy Tushmaker concluded, just by way of variety, to try the machine. He did so, and at the first turn drew the old lady’s skeleton completely and entirely from her body, leaving her a mass of quivering jelly in her chair! Tushmaker took her home in a pillow-case.

The woman lived-seven years after that, and they called her the “India-Rubber Woman.” She had suffered terribly with the rheumatism, but after this occurrence never had a pain in her bones. The dentist kept them in a glass case. After this, the machine was sold to the contract or of the Boston Custom-House, and it was found that a child of three years of age could, by a single turn of the screw, raise a stone weighing twenty-three tons. Smaller ones were made on the same principle and sold to the keepers of hotels and restaurants. They were used for boning turkeys. There is no moral to this story whatever, and it is possible that the circumstances may have become slightly exaggerated. Of course, there can be no doubt of the truth of the main incidents.

Charles Godfrey Leland, a humorist of Philadelphia, wrote almost entirely in a broken German dialect. His Hans Breitmann ballads are still among the famous examples of American humor.

BALLAD

Der noble Ritter Hugo Von Schwillensaufenstein Rode out mit shpeer and helmet, Und he coom to de panks of de Rhine. Und oop dere rose a meer maid, Vod hadn’t got nodings on, Und she say, “Oh, Ritter Hugo, Vhere you goes mit yourself alone?” Und he says, “I rides in de creenwood Mit helmet und mit shpeer, Till I cooms into em Gasthaus, Und dere I trinks some beer.” Und den outshpoke de maiden Vot hadn’t got nodings on: “I ton’t dink mooch of beoplesh Dat goes mit demselfs alone. “You’d petter coom down in de wasser, Vere dere’s heaps of dings to see, Und have a shplendid tinner Und drafel along mit me. “Dere you sees de fisch a-schwimmin, Und you catches dem efery one”— So sang dis wasser maiden Vot hadn’t got nodings on. “Dere ish drunks all full mit money In ships dat vent down of old; Und you helpsh yourself, by dunder! To shimmerin crowns of gold. “Shoost look at dese shpoons und vatches! Shoost see dese diamant rings! Coom down und full your bockets, Und I’ll giss you like averydings. “Vot you vantsh mit your schnapps und lager? Coom down into der Rhine! Der ish pottles der Kaiser Charlemagne Vonce filled mit gold-red wine!” Dat fetched him—he shtood all shpellpound; She pooled his coat-tails down, She drawed him oonder der wasser, De maiden mit nodings on.

William Allen Butler is remembered chiefly by his long humorous poem of Miss Flora M’Flimsey, or, as it is entitled, Nothing To Wear.

Charles Graham Halpine wrote in an Irish brogue the adventures of Private Miles O’Reilly.

John T. Trowbridge and Charles Dudley Warner are among the famous Nineteenth Century writers but their works are not adapted to quotation.

Which brings us to Mark Twain.

Samuel Langhorne Clemens is too well known both by his works and by his life to need any word of comment. His whole career, as printer, pilot, lecturer and writer is an open and conned book to all.

Difficult indeed it is to quote from his volumes of fun, but we append a short extract from The Jumping Frog of Calaveras County.

... Smiley was monstrous proud of his frog, and well he might be, for fellers that had traveled and been everywheres all said he laid over any frog that ever they see.

Well, Smiley kep’ the beast in a little lattice box, and he used to fetch him down-town sometimes and lay for a bet. One day a feller—a stranger in the camp, he was—come acrost him with his box, and says:

“What might it be that you’ve got in the box?”

And Smiley says, sorter indifferent-like, “It might be a parrot, or it might be a canary, maybe, but it ain’t—it’s only just a frog.”

And the feller took it, and looked at it careful, and turned it round this way and that, and says, “H’m—so ’tis. Well what’s he good for?”

“Well,” Smiley says, easy and careless, “he’s good enough for one thing, I should judge—he can outjump any frog in Calaveras County.”

The feller took the box again, and took another long, particular look, and give it back to Smiley, and says, very deliberate, “Well,” he says, “I don’t see no p’ints about that frog that’s any better’n any other frog.”

“Maybe you don’t,” Smiley says. “Maybe you understand frogs and maybe you don’t understand ’em; maybe you’ve had experience, and maybe you ain’t only a amature, as it were. Anyways, I’ve got my opinion and I’ll resk forty dollars that he can outjump any frog in Calaveras County.”

And the feller studied a minute, and then says, kinder sad like, “Well, I’m only a stranger here, and I ain’t got no frog; but if I had a frog I’d bet you.”

And then Smiley says, “That’s all right—that’s all right—if you’ll hold my box a minute I’ll go and get you a frog.” And so the feller took the box, and put up his forty dollars along with Smiley’s, and set down to wait.

So he set there a good while thinking and thinking to himself, and then he got the frog out and prized his mouth open and took a teaspoon and filled him full of quail shot—filled him pretty near up to his chin—and set him on the floor. Smiley he went to the swamp and slopped around in the mud for a long time, and finally he ketched a frog, and fetched him in, and give him to this feller, and says:

“Now, if you’re ready, set him alongside of Dan’l, with his forepaws just even with Dan’l’s, and I’ll give the word.” Then he says, “One—two—three—git.” and him and the feller touched up the frogs from behind, and the new frog hopped off lively, but Dan’l give a heave, and hysted up his shoulders—so—like a Frenchman, but it warn’t no use—he couldn’t budge; he was planted as solid as a church, and he couldn’t no more stir than if he was anchored out. Smiley was a good deal surprised, and he was disgusted, too, but he didn’t have no idea what the matter was, of course.

The feller took the money and started away; and when he was going out at the door, he sorter jerked his thumb over his shoulder—so—at Dan’l, and says again, very deliberate, “Well,” he says, “I don’t see no p’ints about that frog that’s any better’n any other frog.”

Smiley he stood scratching his head and looking down at Dan’l a long time, and at last he says, “I do wonder what in the nation that frog throw’d off for—I wonder if there ain’t something the matter with him—e ’pears to look mighty baggy, somehow.” And he ketched Dan’l by the nap of the neck, and hefted him, and says, “Why blame my cats if he don’t weight five pound!” and turned him upside down and he belched out a double handful of shot. And then he see how it was, and he was the maddest man—he set the frog down and took out after that feller, but he never ketched him.

James Bayard Taylor and Thomas Bailey Aldrich, friends and congenial spirits, both despised American Dialect poetry.

Their own work shows a facile wit and graceful fancy, but, with Edmund Clarence Stedman, they must be classed as writers of light verse rather than as humorists.

Taylor was good at parody, and in his Echo Club, thus burlesques the style of Aldrich.

PALABRAS GRANDIOSAS After T—— B—— A——

I lay i’ the bosom of the sun, Under the roses dappled and dun. I thought of the Sultan Gingerbeer, In his palace beside the Bendemeer, With his Afghan guards and his eunuchs blind, And the harem that stretched for a league behind. The tulips bent i’ the summer breeze, Under the broad chrysanthemum trees, And the minstrel, playing his culverin, Made for mine ears a merry din. If I were the Sultan, and he were I, Here i’ the grass he should loafing lie, And I should bestride my zebra steed, And the ride of the hunt of the centipede; While the pet of the harem, Dandeline, Should fill me a crystal bucket of wine, And the kislar aga, Up-to-Snuff, Should wipe my mouth when I sighed “Enough!” And the gay court-poet, Fearfulbore, Should sit in the hall when the hunt was o’er, And chant me songs of silvery tone, Not from Hafiz, but—mine own! Ah, wee sweet love, beside me here, I am not the Sultan Gingerbeer, Nor you the odalisque Dandeline, Yet I am yourn, and you are mine!

David Ross Locke, who wrote over the name of Petroleum V. Nasby, was a humorist of the newspapers. He achieved no success until he began to misspell his words, when he at once leaped into popularity.

But the Prince of Misspellers, excepting always Josh Billings, was Artemus Ward, the pseudonym of Charles Farrar Browne.

The trick of misspelling and the use of excessive exaggeration were his stock in trade, added to a certain plaintiveness and abounding good humor.

Browne was the only one of this group of American humorists, whose work was read in England, and he lectured over there with pronounced success.

ON “FORTS”

Every man has got a Fort. It’s sum men’s fort to do one thing, and some other men’s fort to do another, while there is numeris shiftliss critters goin’ round loose whose fort is not to do nothin’.

Shakspeer rote good plase, but he wouldn’t hav succeeded as a Washington coorespondent of a New York daily paper. He lacked the rekesit fancy and imagginashun.

That’s so!

Old George Washington’s Fort was not to hev eny public man of the present day resemble him to eny alarmin extent. Whare bowts can George’s ekal be found? I ask, & boldly answer no whares, or any whare else.

Old man Townsin’s Fort was to maik Sassyperiller. “Goy to the world! anuther life saived!” (Cotashun from Townsin’s advertisement.)

Cyrus Field’s Fort is to lay a sub-machine telegraf under the boundin billers of the Oshun, and then have it Bust.

Spaldin’s Fort is to maik Prepared Gloo, which mends every thing. Wonder ef it will mend a sinner’s wickid waze. (Impromptoo goak.)

Zoary’s Fort is to be a femaile circus feller.

My Fort is the grate moral show bizniss & ritin choice famerly literatoor for the noospapers. That’s what’s the matter with me.

&., &., &. So I mite go on to a indefinit extent.

Twict I’ve endevered to do things which thay wasn’t my Fort. The fust time was when I undertuk to lick a owdashus cuss who cut a hole in my tent & krawld threw. Sez I, “My jentle Sir, go out or I shall fall on to you putty hevy.” Sez he, “Wade in, Old wax figgers,” whereupon I went for him, but he cawt me powerful on the bed & knockt me threw the tent into a cow pastur. He pursood the attach & flung me into a mud puddle. As I arose & rung out my drencht garmints I koncluded fitin wasn’t my Fort. Ile now rize the kurtin upon Seen 2nd: It is rarely seldum that I seek consolation in the Flowin Bole. But in a certain town in Injianny in the Faul of 18—, my orgin grinder got sick with the fever & died. I never felt so ashamed in my life, & I thowt I’d hist in a few swallers of suthin strengthnin. Konsequents was I histid in so much I dident zackly know whare bowts I was. I turned my livin wild beasts of Pray loose into the streets and spilt all my wax wurks. I then bet I cood play hoss. So I hitched myself to a Kanawl bote, there bein two other hosses hicht on also, one behind and anuther ahead of me. The driver hollerd for us to git up, and we did. But the hosses bein onused to sich a arrangemunt begun to kick & squeal and rair up. Konsequents was I fownd myself in the Kanawl with the other hosses, kickin & yellin like a tribe of Cusscaroorus savvijis. I was rescood, & as I was bein carrid to the tavern on a hemlock Bored I sed in a feeble voise, “Boys, playin hoss isn’t my Fort.”

Morul.—Never don’t do nothin which isn’t your Fort, for ef you do you’ll find yourself splashin round in the Kanawl, figgeratively speakin.

Frank R. Stockton was a nobleman among the humorists.

His quiet and often subtle humor, his delightful style and his unique originality made all his stories a joy and some masterpieces. No quotations can be given, for any Stockton story must be read in its entirety. The Lady and the Tiger is doubtless the most celebrated one, but many others are even more clever and unusual.

Francis Bret Harte, famed for his short stories, also wrote humorous verse. The Heathen Chinee is a byword in all households, and Truthful James is nearly as well known.

THE SOCIETY UPON THE STANISLAUS

I reside at Table Mountain, and my name is Truthful James; I am not up to small deceit, or any sinful games; And I’ll tell in simple language what I know about the row That broke up our Society upon the Stanislow. But first I would remark, that it is not a proper plan For any scientific gent to whale his fellow man, And, if a member don’t agree with his peculiar whim, To lay for that same member for to “put a head” on him. Now, nothing could be finer or more beautiful to see Than the first six months’ proceedings of that same society, Till Brown of Calaveras brought a lot of fossil bones That he found within a tunnel near the tenement of Jones. Then Brown he read a paper, and he reconstructed there, From those same bones an animal that was extremely rare, And Jones then asked the chair for a suspension of the rules Till he could prove that those same bones was one of his lost mules. Then Brown he smiled a bitter smile, and said he was at fault; It seemed he had been trespassing on Jones’s family vault He was a most sarcastic man, this quiet Mr. Brown, And on several occasions he had cleaned out the town. Now, I hold it is not decent for a scientific gent To say another is an ass—at least, to all intent; Nor should the individual who happens to be meant Reply by heaving rocks at him to any great extent. Then Abner Dean of Angel’s raised a point of order—when A chunk of old red sandstone took him in the abdomen, And he smiled a kind of sickly smile, and curled up on the floor, And the subsequent proceedings interested him no more. For, in less time than I write it, every member did engage In a warfare with the remnants of a paleozoic age; And the way they heaved those fossils in their anger was a sin, Till the skull of an old mammoth caved the head of Thompson in. And this is all I have to say of these improper games, For I live at Table Mountain, and my name is Truthful James; And I’ve told in simple language what I know about the row That broke up our Society upon the Stanislow.

TO THE PLIOCENE SKULL

“Speak, O man less recent! Fragmentary fossil! Primal pioneer of pliocene formation, Hid in lowest drifts below the earliest stratum Of volcanic tufa! “Older than the beasts, the oldest Palæotherium; Older than the trees, the oldest Cryptogami; Older than the hills, those infantile eruptions Of earth’s epidermis! “Eo—Mio—Plio—Whatsoe’er the ’cene’ was That those vacant sockets filled with awe and wonder— Whether shores Devonian or Silurian beaches— Tell us thy strange story! “Or has the professor slightly antedated By some thousand years thy advent on this planet, Giving thee an air that’s somewhat better fitted For cold-blooded creatures? “Wert thou true spectator of that mighty forest When above thy head the stately Sigillaria Reared its columned trunks in that remote and distant Carboniferous epoch? “Tell us of that scene—the dim and watery woodland Songless, silent, hushed, with never bird or insect; Veiled with spreading fronds and screened with tall clubmosses, Lycopodiacea, When beside thee walked the solemn Plesiosaurus, And around thee crept the festive Ichthyosaurus, While from time to time above thee flew and circled Cheerful Pterodactyls. “Tell us of thy food—those half-marine refections, Crinoids on the shell and brachipods au naturel— Cuttle-fish to which the pieuvre of Victor Hugo Seems a periwinkle. “Speak, thou awful vestige of the earth’s creation, Solitary fragment of remains organic! Tell the wondrous secret of thy past existence— Speak! thou oldest primate!” Even as I gazed, a thrill of the maxilla, And a lateral movement of the condyloid process, With post-pliocene sounds of healthy mastication, Ground the teeth together. And, from that imperfect dental exhibition, Stained with expressed juices of the weed Nicotian, Came these hollow accents, blent with softer murmurs Of expectoration: “Which my name is Bowers, and my crust was busted Falling down a shaft in Calaveras county, But I’d take it kindly if you’d send the pieces Home to old Missouri!”

Pioneering in the West marked a distinct epoch in American humor. Bret Harte owed his meteoric success largely to the fact of his utilizing the background of the Golden West. And so did Joaquin Miller, John Hay and Edward Rowland Sill.

The Pike County Ballads of John Hay were national favorites.

LITTLE BREECHES

I don’t go much on religion, I never ain’t had no show; But I’ve got a middlin’ tight grip, sir, On the handful o’ things I know. I don’t pan out on the prophets And free-will and that sort of thing— But I b’lieve in God and the angels, Ever sence one night last spring. I come into town with some turnips, And my little Gabe come along— No four-year-old in the county Could beat him for pretty and strong, Peart and chipper and sassy, Always ready to swear and fight— And I’d larnt him to chaw terbacker Jest to keep his milk-teeth white. The snow come down like a blanket As I passed by Taggart’s store; I went in for a jug of molasses And left the team at the door. They scared at something and started— I heard one little squall, And hell-to-split over the prairie Went team, Little Breeches and all. Hell-to-split over the prairie! I was almost froze with skeer; But we rousted up some torches, And sarched for ’em far and near. At last we struck horses and wagon, Snowed under a soft white mound, Upsot, dead beat—but of little Gabe Nor hide nor hair was found. And here all hope soured on me, Of my fellow-critter’s aid— I jest flopped down on my marrow-bones, Crotch-deep in the snow, and prayed. ***** By this, the torches was played out, And me and Isrul Parr Went off for some wood to a sheepfold That he said was somewhar thar. We found it at last, and a little shed Where they shut up the lambs at night. We looked in and seen them huddled thar, So warm and sleepy and white; And THAR sot Little Breeches, and chirped, As peart as ever you see: “I want a chaw of terbacker, And that’s what’s the matter of me.” How did he git thar? Angels. He could never have walked in that storm; They jest scooped down and toted him To whar it was safe and warm. And I think that saving a little child, And bringing him to his own, Is a derned sight better business Then loafing around The Throne.

Joaquin Miller, whose true name was Cincinnatus Hiner Miller, was called the Poet of the Sierras.

He seldom wrote in humorous vein, but some of his verse must fall into that category.

THAT GENTLE MAN FROM BOSTON TOWN AN IDYL OF OREGON

Two webfoot brothers loved a fair Young lady, rich and good to see; And oh, her black abundant hair! And oh, her wondrous witchery! Her father kept a cattle farm, These brothers kept her safe from harm: From harm of cattle on the hill; From thick-necked bulls loud bellowing The livelong morning, loud and shrill, And lashing sides like anything; From roaring bulls that tossed the sand And pawed the lilies from the land. There came a third young man. He came From far and famous Boston town. He was not handsome, was not “game,” But he could “cook a goose” as brown As any man that set foot on The sunlit shores of Oregon. This Boston man he taught the school, Taught gentleness and love alway, Said love and kindness, as a rule, Would ultimately “make it pay.” He was so gentle, kind, that he Could make a noun and verb agree. So when one day the brothers grew All jealous and did strip to fight, He gently stood between the two, And meekly told them ’twas not right. “I have a higher, better plan,” Outspake this gentle Boston man. “My plan is this: Forget this fray About that lily hand of hers; Go take your guns and hunt all day High up yon lofty hill of firs, And while you hunt, my loving doves, Why, I will learn which one she loves.” The brothers sat the windy hill, Their hair shone yellow, like spun gold, Their rifles crossed their laps, but still They sat and sighed and shook with cold. Their hearts lay bleeding far below; Above them gleamed white peaks of snow. Their hounds lay couching, slim and neat; A spotted circle in the grass. The valley lay beneath their feet; They heard the wide-winged eagles pass. The eagles cleft the clouds above; Yet what could they but sigh and love? “If I could die,” the elder sighed, “My dear young brother here might wed.” “Oh, would to Heaven I had died!” The younger sighed, with bended head. Then each looked each full in the face And each sprang up and stood in place. “If I could die,”—the elder spake,— “Die by your hand, the world would say ’Twas accident;—and for her sake, Dear brother, be it so, I pray.” “Not that!” the younger nobly said; Then tossed his gun and turned his head. And fifty paces back he paced! And as he paced he drew the ball; Then sudden stopped and wheeled and faced His brother to the death and fall! Two shots rang wild upon the air! But lo! the two stood harmless there! An eagle poised high in the air; Far, far below the bellowing Of bullocks ceased, and everywhere Vast silence sat all questioning. The spotted hounds ran circling round Their red, wet noses to the ground. And now each brother came to know That each had drawn the deadly ball; And for that fair girl far below Had sought in vain to silent fall. And then the two did gladly “shake,” And thus the elder bravely spake: “Now let us run right hastily And tell the kind schoolmaster all! Yea! yea! and if she choose not me, But all on you her favors fall, This valiant scene, till all life ends, Dear brother, binds us best of friends.” The hounds sped down, a spotted line, The bulls in tall, abundant grass, Shook back their horns from bloom and vine, And trumpeted to see them pass— They loved so good, they loved so true, These brothers scarce knew what to do. They sought the kind schoolmaster out As swift as sweeps the light of morn; They could but love, they could not doubt This man so gentle, “in a horn,” They cried, “Now whose the lily hand— That lady’s of this webfoot land?” They bowed before that big-nosed man, That long-nosed man from Boston town; They talked as only lovers can, They talked, but he could only frown; And still they talked, and still they plead; It was as pleading with the dead. At last this Boston man did speak— “Her father has a thousand ceows, An hundred bulls, all fat and sleek; He also had this ample heouse.” The brothers’ eyes stuck out thereat, So far you might have hung your hat. “I liked the looks of this big heouse— My lovely boys, won’t you come in? Her father has a thousand ceows, He also had a heap of tin. The guirl? Of yes, the guirl, you see— The guirl, just neow she married me.”

Robert Henry Newell, a popular journalist and humorist, wrote over the name of Orpheus C. Kerr. His best known work is the Orpheus C. Kerr Papers, but as a parodist he gives us these burlesque National Hymns.

I BY H—Y W. L-NGF—— W

Back in the years when Phlagstaff, the Dane, was monarch Over the sea-ribb’d land of the fleet-footed Norsemen, Once there went forth young Ursa to gaze at the heavens— Ursa—the noblest of all the Vikings and horsemen. Musing, he sat in his stirrups and viewed the horizon, Where the Aurora lapt stars in a North-polar manner, Wildly he started,—for there in the heavens before him Flutter’d and flam’d the original Star Spangled Banner.

II BY J-HN GR—NL—F WH—T—R

My Native Land, thy Puritanic stock Still finds its roots firm-bound in Plymouth Rock, And all thy sons unite in one grand wish— To keep the virtues of Preservèd Fish. Preservèd Fish, the Deacon stern and true, Told our New England what her sons should do, And if they swerve from loyalty and right, Then the whole land is lost indeed in night.

III BY DR. OL-V-R W-ND-L H-LMES

A diagnosis of our hist’ry proves Our native land a land its native loves; Its birth a deed obstetric without peer, Its growth a source of wonder far and near. To love it more behold how foreign shores Sink into nothingness beside its stores; Hyde Park at best—though counted ultra-grand— The “Boston Common” of Victoria’s land.

IV BY R-LPH W-LDO EM-R—N

Source immaterial of material naught, Focus of light infinitesimal, Sum of all things by sleepless Nature wrought, Of which the normal man is decimal. Refract, in prism immortal, from thy stars To the stars bent incipient on our flag, The beam translucent, neutrifying death, And raise to immortality the rag.

V By W-LL—M C-LL-N B-Y-NT

The sun sinks softly to his Ev’ning Post, The sun swells grandly to his morning crown; Yet not a star our Flag of Heav’n has lost, And not a sunset stripe with him goes down. So thrones may fall, and from the dust of those New thrones may rise, to totter like the last; But still our Country’s nobler planet glows While the eternal stars of Heaven are fast.

VI By N. P. W-LL-S

One hue of our Flag is taken From the cheeks of my blushing Pet, And its stars beat time and sparkle Like the studs on her chemisette. Its blue is the ocean shadow That hides in her dreamy eyes, It conquers all men, like her, And still for a Union flies.

VII BY TH-M-S B-IL-Y ALD—CH

The little brown squirrel hops in the corn, The cricket quaintly sings, The emerald pigeon nods his head, And the shad in the river springs, The dainty sunflow’r hangs its head On the shore of the summer sea; And better far that I were dead, If Maud did not love me. I love the squirrel that hops in the corn, And the cricket that quaintly sings; And the emerald pigeon that nods his head, And the shad that gaily springs. I love the dainty sunflow ’r, too. And Maud with her snowy breast; I love them all;—but I love—I love— I love my country best.

Edward Rowland Sill, writing of the West for many years, wrote delightful humor on other subjects as well.

EVE’s DAUGHTER

I waited in the little sunny room: The cool breeze waved the window-lace at play, The white rose on the porch was all in bloom, And out upon the bay I watched the wheeling sea-birds go and come. “Such an old friend—she would not make me stay While she bound up her hair.” I turned, and lo, Danæ in her shower! and fit to slay All a man’s hoarded prudence at a blow: Gold hair, that streamed away As round some nymph a sunlit fountain’s flow. “She would not make me wait!”—but well I know She took a good half-hour to loose and lay Those locks in dazzling disarrangement so!

Newspaper humor of this period included the Danbury News Man, Peck’s Bad Boy and Eli Perkins (Melville D. Landon).

Charles E. Carryl, though his books are called Juveniles, wrote delicious nonsense, approaching nearer to Lewis Carroll than any other American writer.

THE WALLOPING WINDOW-BLIND

A capital ship for an ocean trip Was the “Walloping Window-blind”— No gale that blew dismayed her crew Or troubled the captain’s mind. The man at the wheel was taught to feel Contempt for the wildest blow, And it often appeared, when the weather had cleared, That he’d been in his bunk below. The boatswain’s mate was very sedate, Yet fond of amusement, too; And he played hop-scotch with the starboard watch, While the captain tickled the crew. And the gunner we had was apparently mad, For he sat on the after rail, And fired salutes with the captain’s boots, In the teeth of the booming gale. The captain sat in a commodore’s hat And dined in a royal way On toasted pigs and pickles and figs And gummery bread each day. But the cook was Dutch and behaved as such: For the food he gave the crew Was a number of tons of hot-cross buns Chopped up with sugar and glue. And we all felt ill as mariners will, On a diet that’s cheap and rude; And we shivered and shook as we dipped the cook In a tub of his gluesome food. Then nautical pride we laid aside, And we cast the vessel ashore On the Gulliby Isles, where the Poohpooh smiles, And the Anagazanders roar. Composed of sand was that favored land, And trimmed with cinnamon straws; And pink and blue was the pleasing hue Of the Tickletoeteaser’s claws. And we sat on the edge of a sandy ledge And shot at the whistling bee; And the Binnacle-bats wore water-proof hats As they danced in the sounding sea. On rubagub bark, from dawn to dark, We fed, till we all had grown Uncommonly shrunk,—when a Chinese junk Came by from the torriby zone. She was stubby and square, but we didn’t much care, And we cheerily put to sea; And we left the crew of the junk to chew The bark of the rubagub tree.

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