George Du Maurier, the Satirist of the Victorians by T. Martin Wood
page 59 of 142 (41%)
page 59 of 142 (41%)
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same refinement of technique that is evident as in Mrs. Gaskell's tale.
One of du Maurier's greatest characteristics was charm. One is forced into ringing changes upon the word in the description of his work. But charm it is, more than ever, that characterises his illustrations to _The Story of a Feather_. The initial letters in this book afford him a succession of opportunities for displaying that inventive genius which is evident wherever he turns to the province of pure fancy. It was not for nothing apparently that he was the son of an inventor. We have already spoken of his power in these days in the emotional use of light and shade. It is perhaps even in this light book--in the illustration reproduced opposite--that we have one of the best examples of this power. But this book is all through a gold-mine of the work of the real du Maurier. Another work in which his art is to be found at this time is Shirley Brooks's _Sooner or Later_ (1868). The novel does not seem treated with quite the same reverence and enthusiasm which has characterised his work in the books we have just described, but it is among the representative examples of his illustration in the sixties. This story also passed as a serial through _Cornhill_. In the same year, with E.H. Corbould, he provides illustrations to _The Book of Drawing-room Plays_, &c., a manual of indoor recreation by H. Dalton. 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. From the point of view of our subject the book does not repay much study. In 1876, in illustrations to _Hurlock Chase, or |
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