Social Pictorial Satire — Inside the Classic

(0 User reviews)   179
Du Maurier, George, 1834-1896 Project Gutenberg 2004 Not confirmed
Leech, John, 1817-1864; Keene, Charles, 1823-1891; Caricature -- England Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 18,847
Reading time 82 min
Text sections 2

The catalog record for Social Pictorial Satire — Inside the Classic provides practical reading context through 18,847 words, 1 hr 22 min estimated reading time, and 2 detected text sections.

The text analysis averages about 28.5 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Leech, John, 1817-1864,” connecting these edition facts with the source record’s subject description.

Du Maurier contrasts John Leech's instinctive, popular charm with Charles Keene's deliberate, expert craftsmanship, using a musical analogy to frame their differing appeals. The essay examines how each artist's technique and subject matter shape their legacy.
Share
Editorial Edition Score 4.5/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

ch was drawing for _Punch_. The gaiety of one nation at least has been eclipsed by his death. Is it merely that there is no such light humorist to see and draw for us in a frolicsome spirit all the fun and the jollity? Is it because some of us have grown old? Or is it that the British people themselves have changed and gone back to their old way of taking their pleasure sadly?

Everything is so different, somehow; the very girls themselves have grown a head taller, and look serious, stately, and dignified, like Olympian goddesses, even when they are dancing and playing lawn-tennis.

I for one should no more dream of calling them the darlings than I should dare to kiss them under the mistletoe, were I ever so splendid a young captain. Indeed I am too prostrate in admiration--I can only suck the top of my stick and gaze in jealous ecstasy, like one of Leech's little snobs. They are no longer pretty as their grandmothers were--whom Leech drew so well in the old days! They are _beautiful_!

And then they are so cultivated, and _know_ such a lot--of books, of art, of science, of politics, and theology--of the world the flesh, and the devil. They actually think for themselves; they have broken loose and jumped over the ring-fence; they have taken to the water, these lovely chicks, and swim like ducklings, to the dismay of those good old cocks and hens, their grandparents! And my love of them is tinged with awe, as was Leech's love of that mighty, beautiful, but most uncertain quadruped, the thoroughbred horse--for, like him, when they are good, they are very, very good, but when they are bad, they are horrid. We have changed other things as well: the swell has become the masher, and is a terrible dull dog; the poor little snob has blossomed into a blatant 'Arry, and no longer wears impossible hats and iron heels to his boots; he has risen in the social scale, and holds his own without fear or favour in the Park and everywhere else. To be taken for a haristocrat is his dream!--even if he be pelted for it. In his higher developments he becomes a "bounder," and bounds away in most respectable West End ball-rooms. He is the only person with any high spirits left--perhaps that is why high spirits have gone out of fashion, like boxing the watch and wrenching off door-knockers!

And the snob of our day is quite a different person, more likely than not to be found hobnobbing with dukes and duchesses--as irreproachable in dress and demeanour as Leech himself. Thackeray discovered and christened him for us long ago; and he is related to most of us, and moves in the best society. He has even ceased to brag of his intimacy with the great, they have become so commonplace to him; and if he swaggers at all, it is about his acquaintance with some popular actor or comic vocalist whom he is privileged to call by his christian-name.

And those splendid old grandees of high rank, so imposing of aspect, so crushing to us poor mortals by mere virtue not of their wealth and title alone, but of their high-bred distinction of feature and bearing--to which Leech did such ample justice--what has become of them?

They are like the snows of yester-year! They have gone the way of their beautiful chariots with the elaborate armorial bearings and the tasselled hammercloth, the bewigged, cocked-hatted coachman, and the two gorgeous flunkies hanging on behind. Sir Gorgeous Midas has beaten the dukes in mere gorgeousness, flunkies and all--burlesqued the vulgar side of them, and unconsciously shamed it out of existence; made swagger and ostentation unpopular by his own evil example--actually improved the manners of the great by sheer mimicry of their defects. He has married his sons and his daughters to them and spoiled the noble curve of those lovely noses that Leech drew so well, and brought them down a peg in many ways, and given them a new lease of life; and he has enabled us to discover that they are not of such different clay from ourselves after all. All the old slavish formulae of deference and respect--"Your Grace," "Your Ladyship," "My Lord"--that used to run so glibly off our tongues whenever we had a chance, are now left to servants and shopkeepers; and my slight experience of them, for one, is that they do not want to be toadied a bit, and that they are very polite, well-bred, and most agreeable people.

Du Maurier opens by describing his craft as 'portraying, by means of little pen-and-ink strokes, lines, and scratches, a small portion of the world in which we live.' He immediately distinguishes two kinds of critics: the paying public, whose verdict is final, and the expert fellow-craftsman, who values manner over matter. This framing sets up a sustained comparison between John Leech and Charles Keene, the two artists he examines in detail.

Leech's Instinctive Appeal

Du Maurier characterizes Leech's art as a 'happy kind' that 'goes straight to the heart of the multitude.' He compares Leech's drawings to simple, enduring tunes like 'Home, Sweet Home'—melodies that need little accompaniment to charm. Leech's lines, though not always technically refined, possess a 'sweet and true natural voice' that Du Maurier calls 'the magic of nature.' He notes that Leech often depicted 'manly British pluck and honesty' and physical beauty, which may have limited his appeal abroad but endeared him to the national audience. Du Maurier suggests that Leech's popularity, while greater than Keene's, rests on qualities that do not travel as well as Keene's more purely artistic merits.

Keene's Mastery of Economy

In contrast, Du Maurier presents Keene as a 'very Sebastian Bach in his counterpoint,' whose knowledge of harmony in black and white is complete. He praises Keene's economy: 'his lines are as few as can be—he is most economical in this respect and loves to leave as much white paper as he can.' A French painter is quoted saying Keene could 'frame a gust of wind' with a half-dozen strokes. Du Maurier argues that Keene's achievement is one of 'consummate knowledge of effect' and 'certainty of execution,' appealing more to brother-artists than to the general public. He notes that Keene's work gains appreciation from foreign experts, who are not distracted by his perceived shortcomings in depicting English social nuances.

A Musical Parallel for Two Approaches

Du Maurier develops an extended musical analogy to clarify the difference between the two artists. Leech's drawings are like 'Volkslieder—national airs' that directly reach the national heart, while Keene's are more like the work of a professional singer whose 'aesthetic achievement is all the greater' but whose tunes are 'less obviously sweet.' He observes that Leech's popularity has been greater in England, but Keene is 'as much admired by the artists of France and Germany as by our own—if not more.' The comparison underscores Du Maurier's central argument: that artistic merit and popular appeal do not always coincide, and that Keene's craftsmanship, though less immediately winning, may prove more enduring among those who understand the technical challenges of the craft.

The Role of the Critic and the Public

Du Maurier returns to his opening distinction between the public critic and the expert critic, suggesting that the expert is 'some years in advance of that other critic, the public, who may, and probably will, come round to his way of thinking in time.' This observation frames his comparison of Leech and Keene as a case study in how artistic reputation evolves. He implies that Keene's current lesser popularity may eventually be corrected as the public learns to appreciate his technical mastery. The essay thus becomes not only a portrait of two artists but also a meditation on the dynamics of critical reception and the gap between immediate pleasure and lasting artistic value.

Du Maurier's essay rewards readers who attend to his careful distinctions between instinct and training, national taste and cosmopolitan judgment. The musical analogy he employs is not decorative but structural, shaping his argument about why some art pleases instantly while other art demands a more educated eye. Readers may find it useful to compare Du Maurier's own illustrations—listed in the front matter—with the works of Leech and Keene he discusses, to see how his principles apply to his own practice.

There’s something tender about how Leech’s easy charm lingers while Keene’s craft commands respect—both earned, both real. It put me in mind of that old collection of quiet interviews, Little Visits with Great Americans, Vol. 2 (of 2) Or Success, Ideals and How to Attain Them — Edition Insights, where success feels less like a summit than a series of modest, human choices. I still think about that distinction sometimes.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

How did this book work for you?

Your answers remain private and are stored only in this browser.

Your progress 0 / 10
1

What is your current status with this title?

2

How much did you enjoy the reading experience?

3

Would you recommend this book to another reader?

4

Did the language feel accessible?

Related eBooks