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Updated: May 22, 2025
In the observation of human character itself du Maurier always perceived the broad and distinctive features; the broad ones of type rather than the subtle ones of individuals; things for him were either black or white, beautiful or ugly.
It was the very monotony of the place, the even conditions under which it was possible to work there in his day when it was farther away than it is in the present age of "tubes" that assisted the building up of the remarkable record in Punch the indispensable contribution made every week by du Maurier to the journalism which, in the days when the fashionable world counted several influential journals devoted to itself, placed Punch in its unique position among them.
It is not impossible that these were prepared long in advance of publication, for they are in a very much earlier manner than the illustrations we have been speaking of. In them du Maurier has not yet emerged from the influence of Leech the first influence we encountered when a few years previously he joined himself to the band of those who solicit the publishers for illustrative work.
Du Maurier cry aloud to her on behalf of his brother-authors, he whose housetop is the sun, whose voice reaches from the summits of the Rockies to the pampas of La Plata, and echoes from the ice-floes of Labrador to the cliffs of Cape Horn? Will he not tell her that even as "the crimes of Clapham" are "chaste in Martaban," so the stamps of the States are the waste-paper of the London mails. Mr.
"His behaviour to Casaubon, says Grotius to Du Maurier , proves his love to learning; and before he left Paris he gave me some evident marks of his good-will." It had been determined in the King's Council to do something for Grotius; but it was long before this resolution had its effect.
Du Maurier and she were soon on a brother and sisterly footing, and they ever remained so. Of the pleasant evenings we of the circle spent together I recall one in particular. My sister had been singing one song after another; my father was engaged in an animated conversation with Stefani, the pianist, on the relative merits of Mendelssohn and Schumann.
The foul calumny stung him with indignation; and though he did not think it deserved to be confuted, he wrote of it to the Lord Keeper, and in a letter on this subject to Du Maurier he calls God to witness, that he had never seen any of the Spanish Ambassadors, and that there was not a man in the United Provinces who wished better to his Country.
"This discourse," said Maurice to Chatillon, "proceeds from evil intention." Thus the prisoners had disappeared from human sight, and their enemies ran riot in slandering them. Yet thus far no public charges had been made. "Nothing appears against them," said du Maurier, "and people are beginning to open their mouths with incredible freedom.
Whenever in a picture a thing looks preposterous except in the art of caricature, and du Maurier was not a caricaturist the representation of it in the picture is a bad one.
Another shorter prose skit of du Maurier's which is included in the same book satirises the splendid sort of hero, who conceals beneath a mask of indifference the power to do anything on earth better than anybody else. These prose skits show the neat irony that Punch was willing to encourage by attaching du Maurier to the literary, as well as to the artistic, staff.
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