Two mathematicians were having dinner. One was complaining: ‘The average person is a mathematical idiot. People cannot do arithmetic correctly, cannot balance a checkbook, cannot calculate a tip, cannot do percents, …’ The other mathematician disagreed: ‘You’re exaggerating. People know all the math they need to know.’
Later in the dinner the complainer went to the men’s room. The other mathematician beckoned the waitress to his table and said, ‘The next time you come past our table, I am going to stop you and ask you a question. No matter what I say, I want you to answer by saying “x squared.”‘ She agreed. When the other mathematician returned, his companion said, ‘I’m tired of your complaining. I’m going to stop the next person who passes our table and ask him or her an elementary calculus question, and I bet the person can solve it.’ Soon the waitress came by and he asked: ‘Excuse me, Miss, but can you tell me what the integral of 2x with respect to x is?’ The waitress replied: ‘x squared.’ The mathematician said, ‘See!’ His friend said, ‘Oh … I guess you were right.’ And the waitress said, ‘Plus a constant.’
— Michael Stueben, Twenty Years Before the Blackboard, 1998
‘Twas the nocturnal segment of the diurnal period preceding the annual Yuletide celebration, and throughout our place of residence, kinetic activity was not in evidence among possessors of this potential, including that species of domestic rodent knows as Mus musculus.
Hosiery was meticulously suspended from the forward edge of the wood-burning caloric apparatus, pursuant to our anticipatory pleasure regarding an imminent visitation from an eccentric philanthropist among whose folkloric appellations is the honorific title of St. Nicholas.
The prepubescent siblings, comfortably ensconced in their respective accommodations of repose, were experiencing subconscious visual hallucinations of variegated fruit confections moving rhythmically through their cerebrums.
My conjugal partner and I, attired in our nocturnal head coverings, were about to take slumbrous advantage of the hibernal darkness when upon the avenaceous exterior portion of the grounds there ascended such a cacophony of dissonance that I felt compelled to arise with alacrity from my place of repose for the purpose of ascertaining the precise source thereof.
Hastening to the casement, I forthwith opened the barriers sealing this fenestration, noting thereupon that the lunar brilliance without, reflected as it was on the surface of a recent crystalline precipitation, might be said to rival that of the solar meridian itself — thus permitting my incredulous optical sensory organs to behold a miniature airborne runnered conveyance drawn by eight diminutive specimens of the genus Rangifer, piloted by a minuscule aged chauffer so ebullient and nimble that it became instantly apparent to me that he was indeed our anticipated caller.
With his ungulate motive power travelling at what may possibly have been more vertiginous velocity than patriotic alar predators, he vociferated loudly, expelled breath musically through contracted labia, and addressed each of the octet by his or her respective cognomen — “Now Dasher, now Dancer …” et al. — guiding them to the uppermost exterior level of our abode, through which structure I could readily distinguish the concatenations of each of the 32 cloven pedal extremities.
As I retracted my cranium from its erstwhile location, and was performing a 180-degree pivot, our distinguished visitant achieved — with utmost celerity and via a downward leap — entry by way of the smoke passage.
He was clad entirely in animal pelts soiled by the ebony residue from the oxidations of carboniferous fuels which had accumulated on the walls thereof. His resemblance to a street vendor I attributed largely to the plethora of assorted playthings which he bore dorsally in a commodious cloth receptacle.
His orbs were scintillant with reflected luminosity, while his submaxillary dermal indentations gave every evidence of engaging amiability. The capillaries of his malar regions and nasal appurtenance were engorged with blood that suffused the subcutaneous layers, the former approximating the coloration of Albion’s floral emblem, the latter that of the Prunus avium, or sweet cherry.
His amusing sub- and supralabials resembled nothing so much as a common loop knot, and their ambient hirsute facial adornment appeared like small tabular and columnar crystals of frozen water. Clenched firmly between his incisors was a smoking piece whose gray fumes, forming a tenuous ellipse about his occiput, were suggestive of a decorative seasonal circlet of holly. His visage was wider than it was high, and when he waxed audibly mirthful, his corpulent abdominal region undulated in the manner of impectinated fruit syrup in a hemispherical container.
He was, in short, neither more nor less than an obese, jocund, superannuated gnome, the optical perception of whom rendered me visibly frolicsome despite every effort to refrain from so being.
By rapidly lowering and then raising one eyelid and rotating his head slightly to one side, he indicated that trepidation on my part was groundless. Without utterance and with dispatch, he commenced filling the aforementioned appended hosiery with various articles of merchandise extracted from a dorsally transported cloth receptacle. Upon completion of this task, he executed an abrupt about-face, placed a single manual digit in lateral juxtaposition to his olfactory organ, inclined his cranium forward in a gesture of leave-taking, and forthwith affected his egress by renegotiating (in reverse) the smoke passage.
He then propelled himself in a short vector onto his conveyance, directed a musical expulsion of air through his contracted oral sphincter to the antlered quadrupeds of burden, and proceeded to soar aloft in a movement hitherto observable chiefly among the seed-bearing portions of a common weed. But I overheard his parting exclamation, audible immediately prior to his vehiculation beyond the limits of visibility: “Ecstatic yuletide to the plenary constituency, and to that selfsame assemblage, my sincerest wishes for a salubriously beneficial and gratifyingly pleasurable period between sunset and dawn!”
“A tomahawk is what if you go to sleep and suddenly wake up without your hair, there is an Indian with.”
— University of Texas El Burro, 1969, from A Century of College Humor
What’s unusual about this limerick?
There was a young lady of Riga,
Who went for a ride on a tiger,
They came back from their ride
With the lady inside
And a smile on the face of the tiger.
It remains a limerick when translated into Latin:
Puella Rigensis ridebat,
Quam tigris in tergo vehebat,
Risusque cum tigre manebat.
Ronald Knox found that the same is true of this one:
There was a young man of Devizes,
Whose ears were of different sizes;
The one that was small
Was no use at all,
But the other won several prizes.
Visas erat; huic geminarum
Dispar modus auricularum:
Minor haec nihili;
Iam fecerat altera clarum.
Peculiarly English limericks:
There was a young lady named Wemyss,
Who, it semyss, was troubled with dremyss.
She would wake in the night,
And, in terrible fright,
Shake the bemyss of the house with her scremyss.
A pretty school-mistress named Beauchamp,
Said, “These awful boys, how shall I teauchamp?
For they will not behave,
Although I look grave
And with tears in my eyes I beseauchamp.”
There was a professor of Caius
Who measured six feet round the knaius;
He went down to Harwich
Nineteen in a carwich,
And found it a terrible squaius.
There lived a young lady named Geoghegan,
The name is apparently Peoghegan,
She’ll be changing it solquhoun
For that of Colquhoun,
But the date is at present a veoghegan. (W.S. Webb)
An author, by name Gilbert St. John,
Remarked to me once, “Honest t. John,
You really can’t quote
That story I wrote:
My copyright you are infrt. John.” (P.L. Mannock)
See This Sceptred Isle.
Reviews of a test pattern on Netflix:
- “Not as good as the book. If you’ve seen the trailer, you’ve pretty much seen the whole thing. I hope ‘Downscaling 2998fps: Too Down, Too Scaler’ is better.”
- “This is truly some of the best acting I’ve ever seen Keanu Reeves do. Hands down.”
- “Not since Lars Von Trier’s Antichrist has there been such a grim exploration of nihilism, peppered with gratuitous exploitation as ‘Test Pattern: Downscaling 2997fps 10Min.’ I found it beautiful and filthy with a soundtrack that puts Frozen‘s ‘Let it Go’ to shame.”
- “I had not seen any of the previous test patterns, and I was afraid I would not ‘get’ this one. Boy was I wrong! Talk about exciting! Going in my list. I’ll be watching this one again!”
- “I turned it off at 01:17:18. Pretty obvious where this thing was going. Really sad to see that cyan has resorted to doing test pattern work, another hue that started out with so much potential. The circle with the spinning colors showed promise and that ‘bleep’ sound was kinda clever.”
- “What happened Netflix? A year or two ago your test patterns were good clean fun. Yes, you might attract more subscribers with this kind of material, but at what cost? You’re better than this Netflix!”
Reviews of a gallon of milk on Amazon:
- “Unfortunately, after a terrible night’s sleep, I have concluded that this product is not suitable for use as a pillow.”
- “This is a fine milk, but the product line appears to be limited in available colors. I could only find white.”
- “I cannot say that Tuscan Whole Milk, 1 gal, 128 fl. oz. was entirely responsible for my winning the Sveriges Riksbank Nobel Prize in Economic Sciences. However, I would be remiss in not mentioning it.”
- “Has anyone else tried pouring this stuff over dry cereal? A-W-E-S-O-M-E!”
- “Bought it for my cousin who had cancer, item never arrived and my cousin died.”
- “You know, if you click on the different image views, it looks like it’s coming to GET you…”
- “WANTED: Somebody to buy milk on the internets with me. This is not a joke. You’ll get paid after we drink it. Must bring your own weapons and be able to crawl through a series of tubes. Safety not guaranteed. I have only done this once before.”
See Beach Reading.
Jokes from the Dust Bowl:
The drought was so bad that when one man was hit on the head with a rain drop, he was so overcome that two buckets of sand had to be thrown in his face to revive him. Housewives supposedly scoured pans clean by holding them up to a keyhole for sandblasting, and sportsmen allegedly shot ground squirrels overhead as the animals tunneled upward through the dust for air. Some farmers claimed that they planted their crops by throwing seed into the air as their fields blew past and that birds flew backwards to keep the sand out of their eyes.
In 1935 Dalhart Texan editor John McCarty founded a Last Man’s Club in which each member took an oath: “In the absence of an act of God, serious family injury, or some other emergency, I pledge to stay here as the last man and to do everything I can to help other last men remain in this country. We promise to stay here till hell freezes over and skate out on the ice.”
As a joke he proposed to build a huge hotel amid the dunes north of Dalhart where tourists would pay “fancy prices” for the privilege of witnessing the “noble grandeur an imposing beauty of a Panhandle sandstorm.” “We’ve got the greatest country in the world if we can just get a few kinks straightened out,” he wrote. “Let’s keep boosting our country.” About 100 people joined the club; more said they wanted to do so but acknowledged they were afraid they’d have to leave.
(From R. Douglas Hurt’s The Dust Bowl: An Agricultural and Social History, 1981.)
By Colorado classics teacher Jeremy Boor:
MP3, lyrics, and chords are on his website.
slow, But if it breaks it comes down up goes elevator The so.
— Yale Record, 1900-1919
Auric and I played all that Satie had written for the piano; one of us would play with him what he composed for four hands. Once, after we had played Morceau en forme de poire, I asked our hero, whom we called mon bon Maître, why he gave such a title, Pieces in the shape of a pear, to this ravishing music. He answered with a twinkle in his eyes: ‘You do know that I visit Debussy quite often; I admire him immensely and he seems to think much of whatever talent I may have. Nevertheless, one day when I showed him a piece I had just composed, he remarked, “Satie, you never had two greater admirers than Ravel and myself; many of your early works had a great influence on our writing. … Now, as a true friend may I warn you that from time to time there is in your art a certain lack of form.” All I did,’ added Satie, ‘was to write Morceau en forme de poire. I brought them to Debussy who asked, “Why such a title?” Why? simply, mon cher ami, because you cannot criticize my Pieces in the shape of a pear. If they are en forme de poire they cannot be shapeless.’
— Vladimir Golschmann, “Golschmann Remembers Erik Satie,” High Fidelity/Musical America, August 1972