Prejudices, first seriesMencken, H. L. (Henry Louis)
History
Prejudices, first series
Mencken, H. L. (Henry Louis)
American essays -- 20th century; American literature -- History and criticism; Literature -- History and criticism
Let us now jump a few pages. On page 19 we come to the old joke about
the talkative barber; on page 22 to the joke about the book agent; on
the same page to the joke about the fashionableness of appendicitis; on
page 23 to the joke about the clumsy carver who projects the turkey’s
gizzard into the visiting pastor’s eye; on page 28 to a restatement of
the barber joke; on page 31 to another statement—is it the fifth or
sixth?—of the dentist’s office joke; on page 37 to the katzenjammer
joke; on page 39 to the old joke about doctors burying their
mistakes.... And so on. And so on and so on. And so on and so on and so
on. On pages 48 and 49 there is a perfect riot of old jokes, including
the nth variation of the whiskers joke and a fearful and wonderful pun
about Belgian hares and heirs....
On second thoughts I go no further.... This, remember, is the book that
Cobb’s publishers, apparently with his own _Nihil Obstat_, choose as his
best. This is the official masterpiece of the “new Mark Twain.”
Nevertheless, even so laboriously flabby a farceur has his moments. I
turn to Frank J. Wilstach’s Dictionary of Similes and find this credited
to him: “No more privacy than a goldfish.” Here, at last, is something
genuinely humorous. Here, moreover, is something apparently new.
VIII. HERMANN SUDERMANN
The fact that Sudermann is the author of the most successful play that
has come out of Germany since the collapse of the romantic movement is
the most eloquent of all proofs, perhaps, of his lack of force and
originality as a dramatist. “Heimat,” Englished, Frenched and
Italianized as “Magda,” gave a new and gaudy leading rôle to all the
middle-aged chewers of scenery; they fell upon it as upon a new
Marguerite Gautier, and with it they coaxed the tears of all nations.
That was in the middle nineties. To-day the piece seems almost as
old-fashioned as “The Princess Bonnie,” and even in Germany it has gone
under the counter. If it is brought out at all, it is to adorn the death
agonies of some doddering star of the last generation.
Public-domain text, read in full here on John Shaqi.
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