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Behind the economy of word and gesture in the conversational method of to-day there lies the history of the long struggle of the race through volubility to refinement of expression. Du Maurier's Punch pictures take their place in the field of psychology in which the modern novel has secured its greatest results, and the best appreciation of his Punch work was written in the eighties by Mr.
But during the greater part of his life du Maurier's literary gift remained unknown to the general public, though more than one editor under whom he served on Punch urged him to take a writer's salary and be on the literary as well as on the artistic staff. It was said that he relied with comfort upon this second talent to support him in the event of his sight failing him altogether.
The Blue-stocking, constantly running her nervous fingers up her forehead into her hair, has given to Girton a style of its own, equivalent to none at all. Fashion is more sensible than most things. If it changes with a rapidity that dazzles man, is not that only because man is stupid? To study hair-dressing in du Maurier's pictures, is to study the growth of the nineteenth-century woman's mind.
Robin stood up because she could not well refuse to do so, but she coloured because she was suddenly ashamed. "You're not little, but you're not tall," her mother said. "That's against you. It's the fashion for women to be immensely tall now. Du Maurier's pictures in Punch and his idiotic Trilby did it. Clothes are made for giantesses.
This is the conversation in the hall between two ladies leaving a party in one of du Maurier's most characteristic drawings. On every side there are footmen and a crowd of guests cloaking and departing. Of Mrs. Ponsonby de Tomkyns Mr.
Indeed, the later you appear to-morrow morning, the better pleased we shall all be!" We hope we have performed the funeral of the less deserving side of his work, thereby releasing the immortal part of it to the fuller recognition due to it from connoisseurs. All du Maurier's drawings in his best period are distinguished by the sharpness of contrast between black and white in them.
Thackeray bulks more largely in the diary than even du Maurier, for du Maurier's genius in the table conversation was wholly for asides. We have already mentioned his comparative lack of interest in the debates over the large cartoon. And this Silver himself draws attention to: "Du M. and H.S. generally mute when the 'L.C. is discussed."
It was a time when George Du Maurier's "Trilby" was in the full swing of its great popularity, when the name of the sinister Svengali was on every lip, and certain young eccentrics found huge delight in attracting attention to themselves by parading the Avenue attired as "Taffy," the "Laird," and "Little Billee."
Lucky no one on the stairs, or they'd have been killed." April 4, 1866. "In reference to a Ball on the Haymarket stage 'Would you like to go? said S.B. to du Maurier. But du Maurier's dancing days are over only cares for dinners now! Fancy the old fogydom of thirty!" November 7, 1868.
The "r" in Whistler, on the other hand, clearly indicates the literary faculty of the author of "The Gentle Art of Making Enemies." And if Du Maurier's real future was hinted in his orthography, Leech and Tenniel and Phil May and Linley Sambourne have vindicated their "l's."
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