Ebook PDF Community and Human Services Concepts For Practice PDF
Ebook PDF Community and Human Services Concepts For Practice PDF
Ebook PDF Community and Human Services Concepts For Practice PDF
Community
The authors equip students to practise in contemporary
contexts by connecting theory with practice and providing
insights into social and community issues, why these occur,
and how they can be addressed. Students are given a
and Human
solid background in the diversity of human experience and
relationships in the field, and are introduced to an array of
occupational and organisational settings. Further, the authors
Services
• Teach students skills in cultural awareness and cultural
competence
PR AC TICE
CONCEPTS FOR
• Encourage students to reflect on developing their identity
as a professional
• Highlight the importance of self-awareness and self-care
within potentially traumatic and violent work environments.
Karen Crinall is Associate Dean, Research in the Faculty of
CONCEPTS FOR
Education and Arts at Federation University, Australia. PRACTICE
Lynda Berends is Director of TRACE Research and Visiting
Fellow with the National Drug and Alcohol Research Centre at
the University of New South Wales. Edited by
Karen Crinall | Lynda Berends
BERENDS
CRINALL
ISBN 978-0-19-030291-7
9 780190 302917
visit us at: oup.com.au or
contact customer service: [email protected]
Sha Cordingley
Foreword v
Preface ix
Author profiles xv
Acknowledgements xviii
Abbreviations xx
List of figures xxi
List of tables xxii
Glossary 336
Index 344
The community and human services sector represents a vast, dynamic and constantly
changing amalgamation of fields of practice, occupations and professional bodies. Areas
of employment occur within private, public and government and non-government
organisations, ranging from community-based programs to large bureaucracies.
Added to this mix is the array of social issues and problems that workers and programs
respond to, together with the rich diversity among the people and communities that
comprise the client base, which is, in effect, the entire population. As if this is not enough
to come to terms with for those new to the sector, practitioners are trained and qualified
by private providers and by vocational and higher education institutions through
various post-secondary qualifications at certificate, undergraduate and post-graduate
levels. These educational programs range from specific fields of practice, such as youth
work, aged care and disability support, to generalist degrees in social work, community
development and human services. The complexity, which spans every dimension of
the community and human services, is well recognised. Our motivation in bringing this
book together is to provide newcomers to community and human services study with
clear messages about essential components and requirements of the work involved,
while not shying away from challenging concepts and critical insights.
The well-being of our communities depends on community and human services
(ABS 2011). At some time in our lives, every one of us accesses a service, perhaps on
multiple occasions, for many reasons. It is one of the fastest-growing workforces in
Australia—in the ten years between 2004 and 2014, the community services workforce
increased by 54%. This expansion has, unsurprisingly, led to a shortage of qualified
workers (AIHW 2015; Healy and Lonne 2010).
Fourteen authors from Australia, Canada and New Zealand provide educator
and practitioner perspectives on the realities of the current practice context and the
requirements of professional and ethical practice. They share their own practice
experiences, wisdom and insights, guiding you through foundational values, theory,
knowledge and skills. Case examples weave the voices of clients and other stakeholders
into the discussion.
APPROACH
The text engages readers as active learners. Key concepts provide focus, structure
and coherence. Pedagogical features such as reflection exercises, case and practice
examples, review questions and group activities underline your learning. ‘Think and
link’ triggers help you navigate the content of the discussions. Additional readings
and weblinks are included at the end of each chapter. Authors bring local, national and
international perspectives to the discussion.
Four sections organise and signpost the chapter topics: Concepts and Contexts;
Identities and Relationships; Practices and Settings; and Knowledge, Culture and Action.
Drawing on key concepts, the chapters within each section engage with the history,
theory and knowledge base, fields of practice, organisational contexts, practice models
and frameworks for community and human services.
Throughout, authors adopt an accessible, reflexive and student-centred approach,
introducing and examining key concepts and practice frameworks by focusing on self-
awareness, values and ethics, and power within helping relationships. While foundational
sources of the knowledge, skills, practices and attributes necessary for working
successfully with various client populations are studied, there is also recognition of new
and emerging ideas and frontiers of practice. Future practitioners are encouraged to
expand, extend and engage with understandings of community and human services
work beyond conventional contexts and approaches.
CHAPTER OVERVIEWS
Section 1: Concepts and Contexts
Section 1: Concepts and Contexts consists of three chapters. These establish the
conceptual and practical domains of community and human services by introducing the
what, why, when, who and how of the practice field.
In Chapter 1, Choice, Challenge and Change, Karen Crinall and Lynda Berends
define what is meant by ‘the community and human services’, introduce the diversity
of employment and career options, and explore the foundational concepts of ‘choice’,
‘challenge’ and ‘change’. You are encouraged to reflect on what it means to make the
choice to study and work in community and human services, and the opportunities
that this presents. Characteristics of the workforce, challenges that are likely to be
encountered, and the central role of change, in practice and in relation to the current
service system environment, are discussed. The concept of the relationship between the
individual and society is introduced, and the ecological model for bringing about change
and the ‘social problem process’ are outlined.
exercises. Maintaining self-integrity and self-care for effective practice is promoted, and
exercises are provided to assist you to develop these skills.
In Chapter 6, Families and Communities, Joanie Smith explores changing
understandings of the family in contemporary society, extending this into a discussion
on the definition, nature and role of communities. Positive and negative aspects of
relationships within the family system and environment are explored with specific
focus on changing family compositions and family violence. Smith describes a number of
established approaches for working with families and communities, including strengths-
based, family-centred, systems theory and community development, and encourages
reflection on practices of the self and the use of power in the client–worker relationship.
This chapter provides the background for Section 3, Practices and Settings.
examples, you are invited to engage with the nature of the work involved in major areas
of employment, including alcohol and other drugs, family violence, disability, housing,
civic and social integration, natural disaster prevention and response, youth work and
aged care. Generalist areas of practice, involving case work, community development
and policy and advocacy are also detailed. You are reminded of the importance of
attending to career directions and invited to complete a career development plan.
CLOSING COMMENTS
As stated at the beginning of the preface, the broad goal of this book is to help prepare
you for working in the vibrant and complex environment of community and human
services. The authors offer their practice wisdom, their expertise as academics and
educators, and cultural knowledge. In so doing they provide invaluable insights and
knowledge for those entering this exciting and challenging area of work. We hope that
more voices from the field, especially from clients and communities, are able to join the
critical discussions that have been started in the chapters here, commencing with your
reflexive practices throughout your studies and in your future practice.
REFERENCES
ABS (Australian Bureau of Statistics) (2011) Community Service Workers. www.abs.gov.au/
AUSSTATS/[email protected]/Lookup/4102.0Main+Features30Sep+2011.
AIHW (Australian Institute of Health and Welfare) (2015) Australia’s Welfare 2015. Australia’s
Welfare Series No.12, Cat. No. AUS189. www.aihw.gov.au/WorkArea/DownloadAsset
.aspx?id=60129552260.
Healy, K. & Lonne, B. (2010) The Social Work and Human Services Workforce: Report from a
National Study of Education, Training and Workforce Needs. Australian Council of Learning
and Teaching.
Jane Cowie lectures in the Bachelor of Social Work Program at the Whyalla Campus
of the University of South Australia, University of South Australia. Prior to becoming a
lecturer in social work in 2013, Jane was employed in the field as a social work practitioner
in domestic violence, youth homelessness, and generalist and school counselling. Jane’s
research interests include youth transitions and aspirations, particularly for young
people from regional and remote areas.
Karen Crinall has over thirty-five years’ experience as a practitioner, educator and
researcher in community and human services. Karen’s academic appointments
have included lecturing in community welfare and counselling, and human services
management and leadership roles as discipline head, and deputy and acting head of
school at Monash University, Gippsland. Karen’s most recent appointment was Associate
Dean Research in the Faculty of Arts, Humanities and Social Sciences, Federation
University Australia. Karen engages in creative, participatory research and evaluation
in human services program implementation and management, the prevention of men’s
violence against women and their children, safety and self-determination in disability
services, and community-based initiatives for challenging family violence. With Dr
Lynda Berends, Karen is the co-author of Management and Practice in Health and Human
Service Organisations (2014), Oxford University Press.
participatory action research approach has guided her research with others in areas
such as the labour market and education for professional expertise in community and
human services. With Dr Jennifer Martin, she co-edited Information Communication
Technologies for Human Services Education and Delivery: Concepts and Cases (2010).
Tracie Mafile’o is a Senior Lecturer in the School of Social Work, Massey University,
New Zealand. She has social practice experience in child and family, women’s refuge,
counselling and youth work and has researched, presented and published in indigenous
Pacific social work, youth development in Papua New Guinea, HIV prevention and Pacific
research strengthening. Her professional career has involved work in New Zealand,
Australia and Papua New Guinea. Tracie is of Tongan and Pakeha New Zealand heritage.
Debra Manning has been a counsellor, case manager, community development worker
and human services manager across a range of social welfare and social work fields.
An academic at Monash University and now Federation University, she teaches and
researches in the community and human services field. Debra worked in community
development in a rural village in Botswana and draws extensively from her experiences
of difference as a euro-Australian in Africa. Reflexivity is central to her endeavours to
recognise and respect different ways of knowing in and about the world in her teaching,
welfare practice and research approaches.
Myfanwy Maple is Professor of Social Work and Chair of Research at the University
of New England, NSW, Australia. Her research interests focus on suicide, bereavement
and trauma. She works closely with the suicide prevention sector nationally and
internationally and has a particular interest in young people with multiple and complex
needs as an upstream approach to suicide prevention.
Jennifer Martin is Associate Professor of Social Work at RMIT University and is the
author of Mental Health Social Work (2017) and Conflict Management and Mediation (2015).
She is co-editor of Cross-cultural Social Work: Local and Global (2014) and Information
Communication Technologies for Human Services Education and Delivery: Concepts and
Cases (2010) with Linette Hawkins. She is currently the Editor-in-Chief for the book series
Advances in Human Services and Public Health, with IGI Global, New York. Jennifer
consults, teaches, practises and researches in mental health and well-being, conflict
management and mediation, social justice and human rights.
Jane Miller AM is a retired social work practitioner with over forty years’ experience in
hospital social work and in senior policy and management roles in the Victorian public
service. She has published articles on topics such as women’s issues, disabled rights
and social work expertise. She is a Life Member of the Australian Association of Social
Workers, is currently the President of the University of Melbourne Social Work Alumni
Association and is writing a book on the American influence on the establishment of
Australian social work education.
Staci Ratcliffe is an experienced social worker with over ten years’ experience in the
field, specifically working with children, young people and families. She is a lecturer at
Federation University in both community and human services and social work, and
is currently working on the completion of her PhD, entitled ‘How parents manage the
care of their children post ASD (autism spectrum disorder)’. It focuses on increasing
understanding for professionals, families, and parents of the gaps and potential supports
required following a diagnosis of ASD.
Joanie Smith has over thirty years’ experience working, researching and teaching
in social and community welfare, particularly in family violence, youth housing and
homelessness services. Joanie has undertaken a number of research projects into
family violence and homelessness. Joanie’s qualifications bridge the social welfare,
social sciences, and social work and education fields with undergraduate qualifications
in welfare, history/politics and teaching. Her PhD research was in family violence, with
the University of Melbourne. Joanie is currently teaching at Federation University in
Gippsland, Victoria. Her latest research involvement is with Fathering after Violence and
Youth Behaviour Change Programs.
Linda Turner’s career as a social worker has included teaching social work for fifteen
years, including serving as an Associate Professor at the University of New England in
Armidale, NSW, and at three Canadian Schools of Social Work. Her PhD in social work
focused on creativity in social work practice. She lives in Pictou, Nova Scotia, Canada and
practises as a community social worker with seniors’ health and palliative care programs.
This book is the culmination of the efforts, skills and expertise of many players. We
are deeply grateful to all the authors, who have generously shared their insights and
knowledge. We have learned and gained much from working with each and every
one. Working successfully and effectively in community and human services requires
a commitment to collaboration and self-reflection, and every chapter in this text is a
testament to the authors’ capabilities in these areas.
We would like to acknowledge and thank the ‘hidden’ contributors—the clients, service
users, workers, communities and organisations—that appear in case examples and are
the inspiration behind the many practice insights and reflections shared by the authors.
Relatedly, we extend gratitude to the researchers and authors of other publications,
whose work provided the theoretical concepts, observations and exemplary practice
frameworks and models on which we drew. We are particularly thankful to those who
gave permission for their work to be reproduced.
For a number of reasons this project took longer than initially expected, and Debra
James, as our publishing editor, provided wise guidance and unerring support while
gently moving us forwards. Throughout this time we also benefited from the support
of Laura Wright, Samantha Brancatisano, Melpo Christofi and Geraldine Corridon from
Oxford University Press.
Special gratitude is extended to our families and loved ones, who never faltered in
their encouragement and interest. Ultimately, we thank our patient partners, Will and
John, whose gentle and wise advice was given when sought, and who gave us time and
space when we needed to focus on writing.
The author and the publisher wish to thank the following copyright holders for
reproduction of their material.
CC BY 4.0. for extract from AIFS (Australian Institute of Family Studies) (2015) History of
Child Protection Services. https://aifs.gov.au/cfca/publications/history-child-protection-
services; Informa UK Limited for table from From Mastery to Accountability: Cultural
Humility as an Alternative to Cultural Competence by Marcie Fisher-Borne, Jessie
Montana Cain, Suzanne L. Martin, Social Work Education Vol. 34, Iss. 2, 2015; Ministry
of Social Development, New Zealand for Fofola e fala kae talanoe e kaingā. A Tongan
Conceptual Framework for the prevention of and intervention in family violence in New
Zealand. – Fāmili lelei. March 2012, p.10. This diagram has been reproduced under the
conditions of the Creative Commons Attribution license. Copyright of these materials is
held by the Ministry of Social Development, New Zealand; Oxford University Press for
Mason Durie, Whaiora: Māori health development. Auckland: Oxford University Press,
1998, pp. 68–74; Pearson Australia for table from Jones , A. and May, J., Working in
Human Service Organisations © 192, Pearson Australia, page 296, Table 8.5. Reproduced
with permission; Routledge for extract from Bennett, B., Zubrzycki, J. and Bacon, V. (2011)
What do we know? The experiences of social workers working alongside Aboriginal
people. Australian Social Work 64(1), 20–37 reprinted by permission of the publisher
Taylor & Francis Ltd, http://www.tandfonline.com.
Every effort has been made to trace the original source of copyright material contained
in this book. The publisher will be pleased to hear from copyright holders to rectify any
errors or omissions.
we laugh in reading this, but the triumph is less over the wretched
precisian than it is the triumph of common sense. So Swift exclaims:
—
‘The house of brother Van I spy,
In shape resembling a goose-pie.’
Mark Supple’s calling out from the Gallery of the House of Commons
—‘A song from Mr. Speaker!’ when Addington was in the chair and
there was a pause in the debate, was undoubtedly wit, though the
relation of any such absurd circumstance actually taking place,
would only have been humour. A gallant calling on a courtesan (for it
is fair to illustrate these intricacies how we can) observed, ‘he should
only make her a present every other time.’ She answered, ‘Then come
only every other time.’ This appears to me to offer a sort of
touchstone to the question. The sense here is, ‘Don’t come unless you
pay.’ There is no wit in this: the wit then consists in the mode of
conveying the hint: let us see into what this resolves itself. The object
is to point out as strongly as can be, the absurdity of not paying; and
in order to do this, an impossibility is assumed by running a parallel
on the phrases, ‘paying every other time,’ and ‘coming every other
time,’ as if the coming went for nothing without paying, and thus, by
the very contrast and contradiction in the terms, showing the most
perfect contempt for the literal coming, of which the essence, viz.
paying, was left out. It is, in short, throwing the most killing scorn
upon, and fairly annihilating the coming without paying, as if it were
possible to come and not to come at the same time, by virtue of an
identical proposition or form of speech applied to contrary things.
The wit so far, then, consists in suggesting, or insinuating indirectly,
an apparent coincidence between two things, to make the real
incongruity, by the recoil of the imagination, more palpable than it
could have been without this feigned and artificial approximation to
an union between them. This makes the difference between jest and
earnest, which is essential to all wit. It is only make-believe. It is a
false pretence set up, or the making one thing pass in supposition for
another, as a foil to the truth when the mask is removed. There need
not be laughter, but there must be deception and surprise: otherwise,
there can be no wit. When Archer, in order to bind the robbers,
suddenly makes an excuse to call out to Dorinda, ‘Pray lend me your
garter, Madam,’ this is both witty and laughable. Had there been any
propriety in the proposal or chance of compliance with it, it would no
longer have been a joke: had the question been quite absurd and
uncalled-for, it would have been mere impudence and folly; but it is
the mixture of sense and nonsense, that is, the pretext for the request
in the fitness of a garter to answer the purpose in question, and the
totally opposite train of associations between a lady’s garter
(particularly in the circumstances which had just happened in the
play) and tying a rascally robber’s hands behind his back, that
produces the delightful equivoque and unction of the passage in
Farquhar. It is laughable, because the train of inquiry it sets in
motion is at once on pleasant and on forbidden ground. We did not
laugh in the former case—‘Then only come every other time’—
because it was a mere ill-natured exposure of an absurdity, and there
was an end of it: but here, the imagination courses up and down
along a train of ideas, by which it is alternately repelled and
attracted, and this produces the natural drollery or inherent
ludicrousness. It is the difference between the wit of humour and the
wit of sense. Once more, suppose you take a stupid, unmeaning
likeness of a face, and throwing a wig over it, stick it on a peg, to
make it look like a barber’s block—this is wit without words. You give
that which is stupid in itself the additional accompaniments of what
is still more stupid, to enhance and verify the idea by a falsehood. We
know the head so placed is not a barber’s block; but it might, we see,
very well pass for one. This is caricature or the grotesque. The face
itself might be made infinitely laughable, and great humour be
shown in the delineation of character: it is in combining this with
other artificial and aggravating circumstances, or in the setting of
this piece of lead that the wit appears.[62] Recapitulation. It is time
to stop short in this list of digressions, and try to join the scattered
threads together. We are too apt, both from the nature of language
and the turn of modern philosophy, which reduces every thing to
simple sensations, to consider whatever bears one name as one thing
in itself, which prevents our ever properly understanding those
mixed modes and various clusters of ideas, to which almost all
language has a reference. Thus if we regard wit as something
resembling a drop of quicksilver, or a spangle from off a cloak, a little
nimble substance, that is pointed and glitters (we do not know how)
we shall make no progress in analysing its varieties or its essence; it
is a mere word or an atom: but if we suppose it to consist in, or be
the result of, several sets and sorts of ideas combined together or
acting upon each other (like the tunes and machinery of a barrel-
organ) we may stand some chance of explaining and getting an
insight into the process. Wit is not, then, a single idea or object, but it
is one mode of viewing and representing nature, or the differences
and similitudes, harmonies and discords in the links and chains of
our ideas of things at large. If all our ideas were literal, physical,
confined to a single impression of the object, there could be no
faculty for, or possibility of, the existence of wit, for its first principle
is mocking or making a jest of anything, and its first condition or
postulate, therefore, is the distinction between jest and earnest. First
of all, wit implies a jest, that is, the bringing forward a pretended or
counterfeit illustration of a thing; which, being presently withdrawn,
makes the naked truth more apparent by contrast. It is lessening and
undermining our faith in any thing (in which the serious consists) by
heightening or exaggerating the vividness of our idea of it, so as by
carrying it to extremes to show the error in the first concoction, and
from a received practical truth and object of grave assent, to turn it
into a laughing stock to the fancy. This will apply to Archer and the
lady’s garter, which is ironical: but how does it connect with the
comparison of Hudibras’s beard to a tile, which is only an
exaggeration; or the Compagnons d’Ulysse, which is meant for a
literal and severe truth, as well as a play upon words? More generally
then, wit is the conjuring up in the fancy any illustration of an idea
by likeness, combination of other images, or by a form of words, that
being intended to point out the eccentricity or departure of the
original idea from the class to which it belongs does so by referring it
contingently and obliquely to a totally opposite class, where the
surprise and mere possibility of finding it, proves the inherent want
of congruity. Hudibras’s beard is transformed (by wit) into a tile: a
strong man is transformed (by imagination) into a tower. The
objects, you will say, are unlike in both cases; yet the comparison in
one case is meant seriously, in the other it is merely to tantalize. The
imagination is serious, even to passion, and exceeds truth by laying a
greater stress on the object; wit has no feeling but contempt, and
exceeds truth to make light of it. In a poetical comparison there
cannot be a sense of incongruity or surprise; in a witty one there
must. The reason is this: It is granted stone is not flesh, a tile is not
hair, but the associated feelings are alike, and naturally coalesce in
one instance, and are discordant and only forced together by a trick
of style in the other. But how can that be, if the objects occasioning
these feelings are equally dissimilar?—Because the qualities of
stiffness or squareness and colour, objected to in Hudibras’s beard,
are themselves peculiarities and oddities in a beard, or contrary to
the nature or to our habitual notion of that class of objects; and
consequently (not being natural or rightful properties of a beard)
must be found in the highest degree in, and admit of, a grotesque
and irregular comparison with a class of objects, of which squareness
and redness[63] are the essential characteristics (as of a tile), and
which can have, accordingly, no common point of union in general
qualities or feeling with the first class, but where the ridicule must be
just and pointed from this very circumstance, that is, from the
coincidence in that one particular only, which is the flaw and
singularity of the first object. On the other hand, size and strength,
which are the qualities on which the comparison of a man to a tower
hinges, are not repugnant to the general constitution of man, but
familiarly associated with our ideas of him: so that there is here no
sense of impropriety in the object, nor of incongruity or surprise in
the comparison: all is grave and decorous, and instead of burlesque,
bears the aspect of a loftier truth. But if strength and magnitude fall
within our ordinary contemplations of man as things not out of the
course of nature, whereby he is enabled, with the help of
imagination, to rival a tower of brass or stone, are not littleness and
weakness the counterpart of these, and subject to the same rule?
What shall we say, then, to the comparison of a dwarf to a pigmy, or
to Falstaff’s comparison of Silence to ‘a forked radish, or a man made
after supper of a cheese-paring?’ Once more then, strength and
magnitude are qualities which impress the imagination in a powerful
and substantive manner; if they are an excess above the ordinary or
average standard, it is an excess to which we lend a ready and
admiring belief, that is, we will them to be if they are not, because
they ought to be—whereas, in the other case of peculiarity and defect,
the mind is constantly at war with the impression before it; our
affections do not tend that way; we will it not to be; reject, detach,
and discard it from the object as much and as far as possible; and
therefore it is, that there being no voluntary coherence but a constant
repugnance between the peculiarity (as of squareness) and the object
(as a beard), the idea of a beard as being both naturally and properly
of a certain form and texture remains as remote as ever from that of
a tile; and hence the double problem is solved, why the mind is at
once surprised and not shocked by the allusion; for first, the mind
being made to see a beard so unlike a beard, is glad to have the
discordance increased and put beyond controversy, by comparing it
to something still more unlike one, viz., a tile; and secondly,
squareness never having been admitted as a desirable and accredited
property of a beard as it is of a tile, by which the two classes of ideas
might have been reconciled and compromised (like those of a man
and a tower) through a feeling or quality common (in will) to both,
the transition from one to the other continues as new and startling,
that is, as witty as ever;—which was to be demonstrated. I think I see
my way clearly so far. Wit consists in two things, the perceiving the
incongruity between an object and the class to which it generally
belongs, and secondly, the pointing out or making this incongruity
more manifest, by transposing it to a totally different class of objects
in which it is prescriptively found in perfection. The medium or link
of connexion between the opposite classes of ideas is in the
unlikeness of one of the things in question to itself, i.e. the class it
belongs to: this peculiarity is the narrow bridge or line along which
the fancy runs to link it to a set of objects in all other respects
different from the first, and having no sort of communication, either
in fact or inclination, with it, and in which the pointedness and
brilliancy, or the surprise and contrast of wit consists. The faculty by
which this is done is the rapid, careless decomposition and
recomposition of our ideas, by means of which we easily and clearly
detach certain links in the chain of our associations from the place
where they stand, and where they have an infirm footing, and join
them on to others, to show how little intimacy they had with the
former set.
The motto of wit seems to be, Light come, light go. A touch is
sufficient to dissever what already hangs so loose as folly, like froth
on the surface of the wave; and an hyperbole, an impossibility, a pun
or a nickname will push an absurdity, which is close upon the verge
of it, over the precipice. It is astonishing how much wit or laughter
there is in the world—it is one of the staple commodities of daily life
—and yet, being excited by what is out of the way and singular, it
ought to be rare, and gravity should be the order of the day. Its
constant recurrence from the most trifling and trivial causes, shows
that the contradiction is less to what we find things than to what we
wish them to be. A circle of milliner’s-girls laugh all day long at
nothing, or day after day at the same things—the same cant phrase
supplies the wags of the town with wit for a month—the same set of
nicknames has served the John Bull and Blackwood’s Magazine ever
since they started. It would appear by this that its essence consisted
in monotony, rather than variety. Some kind of incongruity however
seems inseparable from it, either in the object or language. For
instance, admiration and flattery become wit by being expressed in a
quaint and abrupt way. Thus, when the dustman complimented the
Duchess of Devonshire by saying, as she passed, ‘I wish that lady
would let me light my pipe at her eyes,’ nothing was meant less than
to ridicule or throw contempt, yet the speech was wit and not serious
flattery. The putting a wig on a stupid face and setting it on a barber’s
pole is wit or humour:—the fixing a pair of wings on a beautiful
figure to make it look more like an angel is poetry; so that the
grotesque is either serious or ludicrous, as it professes to exalt or
degrade. Whenever any thing is proposed to be done in the way of
wit, it must be in mockery or jest; since if it were a probable or
becoming action, there would be no drollery in suggesting it; but this
does not apply to illustrations by comparison, there is here no line
drawn between what is to take place and what is not to take place—
they must only be extreme and unexpected. Mere nonsense,
however, is not wit. For however slight the connexion, it will never
do to have none at all; and the more fine and fragile it is in some
respects, the more close and deceitful it should be in the particular
one insisted on. Farther, mere sense is not wit. Logical subtilty or
ingenuity does not amount to wit (although it may mimic it) without
an immediate play of fancy, which is a totally different thing. The
comparing the phrenologist’s division of the same portion of the
brain into the organs of form and colour to the cutting a Yorkshire
pudding into two parts, and calling the one custard and the other
plum-cake may pass for wit with some, but not with me. I protest (if
required) against having a grain of wit.[64]