ed of Mr. du Maurier, whose famous drawing, "Are You Intense?" is
perhaps the particular favourite of all his satiric _Punch_ work; Mr.
Soapley and Mr. Todeson, who vie with each other in vulgar servility
and sycophancy; the Herr Professor, ponderously humorous in smoking-room
or boudoir; and Anatole, the bridegroom, happy and dapper in the Bois de
Boulogne; Titwillow and the ex-Jew at the Club--what an assemblage of
carefully differentiated specimens of London's characteristic
inhabitants! That many of them are often accepted, universally quoted as
types, apart from any express reference to _Punch_ or to its artist, is
the best testimony of the truth of his irony; for they are as
recognisable in the real world as the Jacques, the Becky Sharps, and the
Pecksniffs of other brains. And besides these there are the general
characters so accurately presented to us--the refined lady with the very
old face and frontal grey or white curls whom Mr. du Maurier used to
draw, I believe, from the person of Mrs. Hamilton Aaede; the charming
young ladies for whom, in succession, his wife and daughters have sat;
and the delightful little ones to whom Professor Ruskin paid partial
tribute when he declared, a little cruelly, perhaps, that the "charm of
his extremely intelligent, and often exquisitely pretty children, is
dependent, for the greater part, on the dressing of their back hair and
the fitting of their boots."

The admirable setting in which Mr. du Maurier frames his series of jokes
is testimony to his genius. He follows Leech's plan of such series
("Servantgalism," "The Rising Generation," etc.), but the quality of the
thought and its presentation is as much more elaborate than Leech's as
his method of draughtsmanship is more complicated. These series or
formulae, in their chief heads and subtle variations, display the quality
of his mind. If you turn to the volumes for 1888 (XCIV. and XCV.) you
will find examples of no fewer than nine of them: (1) Things one would
rather have left unsaid; (2) Things one would rather have expressed
differently; (3) Social Agonies; (4) Feline Amenities; (5) Our
Imbeciles; (6) Typical Modern Developments; (7) Studies in Evolution;
(8) Nincompoopiana; and (9) What our Artist has to put up with;--the
last-named, however, a vein which Keene began to work as early as 1854.

His talent, too, in devising the legends, or "cackle," for the drawings
is uniformly happy, unsurpassed by any man who ever wrot