Chapter I: Preface

If the following monograph were to be presented from the point of view of a proponent, the author would be put triply on the defensive in relation to the theme. For, from one cause or another, the trio of terms in the title lies under a certain blight of critical opinion.

Satire, being a thistle “pricked from the thorny branches of reproof,” cannot expect to be cherished in the sensitive human bosom with the welcome accorded to the fair daffodil or the sweet violet. It must be content to be admired, if at all, from a safe distance, with the cold eye of intellectual appraisal.

Victorianism has the distinction of being the only period in literature whose very name savors of the byword and the reproach. To be an Elizabethan is to be envied for the gift of youthful exuberance and an exquisite joy in life. To be a Queen Annian (if the phrase may be adapted) is to be respected for the accomplishments of mature manhood,--a dignified mein, ripened judgment, and polished wit. To be a Victorian--that indeed provokes the question whether ’twere better to be or not to be. The chronological analogy cannot, however, be carried out, for the Victorian, whatever the cause of his unfortunate reputation, can hardly be accused of senility. On the contrary, the impression prevails that the startled ingenuousness, for instance, with which he opened his eyes at Darwin, Ibsen, and the iconoclasts in Higher Criticism; the vehemence with which he opposed and refuted and fulminated against everything hitherto undreampt of in his philosophy; the complacency with which he viewed himself and his achievements, were attributes more appropriate to adolescence than to any later time of life. Withal there was little of the grace and gayety of youth, and not much more of the poise and humor of manhood. That the Victorian was never at ease, in Zion or elsewhere, that he was prone to take himself and his disjointed times very seriously, without achieving a proportionate reformation, is a charge from which he never can be acquitted. To our modern authorities, especially such dictators as Shaw and Wells, contemplating him from the vantage ground of a higher rung in the ladder of civilization, the Victorian looks as Wordsworth did to Lady Blandish, like “a very superior donkey,” protected by the side-blinders of conventionality, saddled and bridled by authority, and ridden around in a circle by sentiment (most tyrannical of drivers), with much cracking of whip and raising of dust, but no real change of intellectual or spiritual locality. Nor can all the cavorting fun of Dickens, all the pungent playfulness of Thackeray, all the sardonic gibes of Carlyle, all the grotesque gesturing of Browning, all the winged irony of George Eliot and Matthew Arnold, not even all the quips and cranks in _Punch_ itself, avail to quash the indictment. The Victorian may be defended, appreciated, exonerated even; he may in time succeed in living it down. But to live it down is not quite the same as to have had nothing that had to be lived down.

The Novel has been called the Cinderella of Literature. And it is true that while she may be useful, indispensable, a secret favorite of the whole family, no magic wand can give her the real enchantment of a caste that survives the stroke of twelve. She may act as the drudge to fetch and carry our theories, or the playmate to amuse our idle hours, but she must be kept in her place, and her place is with neither the esthetic aristocracy of poetry nor the didactic patricianism of philosophy and criticism. She has, indeed, recently been fitted with a golden slipper, but her Prince hails from the Kingdom of Dollars, and his rank is recorded in Bradstreet instead of the Peerage.

The indifferent or repellent nature of a subject, even though triple distilled, has nothing to do, however, with its value as a topic for investigation. I present this study neither as apologist nor enthusiast. If we expand Browning’s “development of a soul” to include the mental as well as the spiritual stages, as the poet himself did in actual practice, we must agree with him that “little else is worth study.” So persistent and insistent in the mind of man has been, and still is, the satiric mood, so devoted has he been from immemorial ages to the habit of story-telling (and seldom for the mere sake of the story), so voluminous and emphatic did he become in the nineteenth century, that no complete account of him can be rendered up until, amid the infinite variety of his aspects, he has been viewed as a Victorian satirist, using as his medium the English novel.

Whatever the result of this observation may be, the process has been one of continual delight, tempered by despair; for one enters as it were a room of tremendous size not only full of curious and challenging objects (over-furnished perhaps), but supplied also with numerous doors opening into other apartments, and these ask an amount of time and attention which only the span of a Methuselah could place at one’s disposal.

It must be admitted, though, that it is a happier lot to stand before open doors, even in dismay at the illimitable vistas, than to confront closed doors or none at all. And I wish in this connection to offer my tribute of appreciation and admiration to one who has prëeminently the scholar’s talisman of Open Sesame into the many and rich realms of literature. It was my good fortune to prepare this study under the direction of Professor Ashley H. Thorndike, of Columbia University, by whose benignly severe criticism so many students have profited, by whose sure taste and searching wisdom so many have been guided. To him, to his colleagues in the English Department, and to the other officers of the University who helped to make my term of residence the satisfaction it has been, it is a pleasure to express my gratitude. To my Stanford colleague, Miss Elisabeth Lee Buckingham, I am indebted for the drudgery of copy-reading, both in manuscript and in proof, and for many valuable suggestions.

F. T. R.

CONTENTS

_PART I_

PREMISES

CHAPTER I

THE SATIRIC SPIRIT
PAGE

Various interpretations because of various manifestations.
Chief constituents, criticism and humor. Relation of these in
the formula. Testimony of satirists as to the presence of
humor, criticism being taken for granted. The satiric motive;
temperamental cause and ethical intent. Testimony as to both.
Symposium on the discrepancy between prospectus and
performance. The realizable ideal. Objects: empiric data on
vice, folly, and deception. Reason for universal criticism
and ridicule of deception. Criteria of good satire.
Difficulties, limitations, and real function 1

CHAPTER II

THE CONFLUENCE

Relationship between satire and fiction. Ancient but incomplete
and uneven alliance. Union in the nineteenth century. The
Victorian novelists. Their chronology and background.
Classification as satirists. Testimony of the novelists
themselves as to satire 41

_PART II_

METHODS

CHAPTER I

THE ROMANTIC

Possible methodic categories. Reason for present choice.
Proportion of the romantic or fantastic type. Peacock and
Butler. Lytton and Disraeli. Thackeray and Meredith.
Characteristics of this form of satire: wit, invention,
exaggeration, and concentration 59

CHAPTER II

THE REALISTIC

Character of Victorian realism. Nature of realistic satire.
Subdivisions, based on authors’ methods and devices. The direct
or didactic satirists: Lytton, Thackeray, Dickens, Meredith.
Satire in plot or situation: _Martin Chuzzlewit_, _Vanity Fair_,
_The Egoist_. Minor episodes. Satire expressed by witty
characters, of various types 84

CHAPTER III

THE IRONIC

Verbal and philosophic irony. Banter and sarcasm. The Irony
of Fate. Relation of irony to satire. Differing opinions.
Distribution of irony among the novelists. Direct or verbal:
present in varying degrees in practically all. Crystallized
and pervasive forms. Irony in circumstance: Trollope, Eliot,
and Meredith. Subdivisions: dramatic irony; the reversed wheel
of fortune, the granted desire; the lost opportunity.
Meredithian irony directed against the ironic interpretation
of life 121

_PART III_

OBJECTS

CHAPTER I

INDIVIDUALS

Personalities the original and primitive element in satire.
Effect of this influence upon the satiric product, and of this
in turn upon the attitude toward satire. Citations. In fiction
no hard and fast line between real and imaginary characters.
Lack of personal satire among the novelists. Its prevalence
limited to the earlier writers: Peacock, Lytton, Disraeli, and
Thackeray before 1850 167

CHAPTER II

INSTITUTIONS

Victorian attitude toward established institutions. Satire
directed against the following: Society, including the home,
woman, marriage; the State, including politics, sociology, law,
charities and corrections, war; the Church, treated both by
partisans on the inside, and pagans on the outside; the School,
signifying education, from the fireside to the college;
Literature and the Press; the English as a nation. Lack of
complementary reconstruction 179

CHAPTER III

TYPES

Impossibility of maintaining fixed classes. Unity and emphasis
secured by artificial devices. Several human traits temptingly
vulnerable, though all some form of deceit. Hypocrisy the
specialty of Dickens, Folly, of Dickens and Meredith,
Snobbishness, of Thackeray, Sentimentality and Egoism, of
Meredith. Scattered fire against vulgarity, fanaticism, and
other targets. Combination and interplay of traits in one
character exemplified by Trollope’s Lady Carbury 229

_PART IV_

CONCLUSIONS

CHAPTER I

RELATIONSHIPS

The various novelists compared as to respective quality,
quantity, and range of satirical element. Discussion of the
merging of satire into cynicism, tragedy, and idealism on the
critical side, and into comedy, wit, and philosophic humor, on
the humorous. Relation to intellect and emotion. Relative
ranking of satirists influenced by these considerations 269