exquisite delicacy, tremendous strength,—which also exist, which even the pessimist grants to be compensatory, and which, when genuine, are utterly beyond the reach of any ridicule that pretends to sanity or justice. Such then,—humorously truthful and suitably proportioned,—is the general character of the satiric stratum which runs, widening and narrowing, through the great vein of Victorian fiction.
In the legitimate novel there are two main devices of revealing the ludicrous; the direct, whereby the author in his own reflections and comments points it out; and the dramatic, whereby he shows it by means of incident and character. The latter method is again subdivisible into two modes, by the use of the two contrasting types of actors, humorous and humorists. The first are allowed to betray themselves, their very unconsciousness adding to the piquancy of the situation. For this the favorite technical tool is the dramatic monologue. The second are the witty protagonists. They stand in loco scriptoris and express that detection of absurdity for which the humorless humorous furnish the occasion.[1]
When we consult our original list, we find the two extremes have been cut off, as Peacock and Butler belong entirely to the other department. The remaining eleven have produced about one hundred twenty novels in the stricter sense, not including short stories, tales, sketches, or burlesques. It must be noted that this restriction rules
- ↑ These types may be summarized for convenience in a topical outline:
I. Direct.
II. Dramatic.
1. Situation.
2. Character.
a. Witty protagonists.
b. Comical antagonists.
