"Fine day," said Fizzle.
"Lovely," said Muzzle.
"Glorious view from this window," observed Fizzle.
"Superb," replied Muzzle.
"The beauties of Nature are calming and consolatory," murmured Fizzle.
"And so are the doctrines of grace," whispered Muzzle.
Fizzle could hold out no longer. Still he tried to look the placid, and to speak with meekness.
"Pray, how did it come, Brother Muzzle," said Fizzle, "that you reported I declared in my farewell-sermon it was as easy to preach to the dead buried six feet under the earth as to the people of Drowsytown?"
"You have been grossly misinformed, my brother," replied Muzzle. "I didn't say six feet. I said four feet." In Hood we have all varieties of wit and humor, both separate and intermingled.
As we have already observed, the grotesque is that which is most obviously distinctive in Hood's writings. But in different degrees it is combined with other elements, and in each combination altered and modified. The combination which more immediately arrests attention is that with the ludicrous. In this the genius of Hood seemed to hold a very festival of antics, oddity, and mirth; all his faculties seemed to rant and riot in the Saturnalia of comic incongruity. And it is difficult to say whether, in provoking laughter, his pen or his pencil is the more effective instrument. The mere illustrations of the subject-matter are in themselves irresistible. They reach at once and directly the instinctive sense of the ludicrous, and over them youth and age cachinnate together. We have seen a little girl, eight years old, laugh as if her heart would break, in merely looking at the pictures in a volume of Hood. The printed page she did not read or care to read; what the prints illustrated she knew nothing about; but her eyes danced with joy and overran with tears of childish merriment. But in all this luxury of fun, whether by pen or pencil, no word, idea, image, or delineation obscures the transparency of innocence, or leaves the shadow of a stain upon the purest mind. To be at the same time so comic and so chaste is not only a moral beauty, but a literary wonder. It is hard to deal with the oddities of humor, however carefully, without casual slips that may offend or shame the reverential or the sensitive. Noble, on the whole, as Shakspeare was, we would not in a mixed company, until after cautious rehearsal, venture to read his comic passages aloud. We may apply the statement, also, to the comic portions of Burns,—and, indeed, to comic literature in general. But who has fear to read most openly anything that Hood ever wrote? or who has a memory of wounded modesty for anything that he ever read secretly of Hood's? Dr. Johnson says that dirty images were as natural to Swift as sublime ones were to Milton;—we may say that images at once lambent and laughable were those which were natural to Hood. Even when his mirth is broadest, it is decent; and while the merest recollection of his drollery will often convulse the face in defiance of the best-bred muscles, no thought arises which the dying need regret. Who can ever forget "The Lost Heir," or remember it but to laugh at its rich breadth of natural, yet farcical, absurdity? The very opening begins the giggle:—
"One day, as I was going by
That part of Holborn christened High," etc.
Then there is that broadest of broad, but morally inoffensive stories, in which the laundress, in trying to cure a smoking chimney, blows herself to death, having merely power to speak a few words to Betty,—who gaspingly explains to her mistress "The Report from Below":—
"Well, Ma'am, you won't believe it,
But it's gospel fact and true,
But these words is all she whispered,
'Why, where is the powder blew?'"
For other examples refer to "The Ode to Malthus" and "The Blow-up," which pain the sides while they cheer the heart.
