The Cecil Whig. [volume] (Elkton, Md.) 1841-current, 1894-09-15
George du MaurIer as anAuthor


The appearance of George du Maurier,
a lifelong artist, as the author OF 'Triiby'
is most interesting phenomenon. IL is
not less remarkable because this change
in the medium of expression is made at
an age when the exuberant joy in living
is supposed to be tempered into placid
ity, il not WEAKNESS. That man in
advanced years should ripon III his art,
and express himself in it with more
knowledge, subtety and breadth, is not
strange. IL is what we have I. right TO
expect of maturity, if the original forces
OF genins have not been SOU indered.
But that he should pass, in appearance
suddenly, from one art 20 another, and
IN that other earn fame that IS even
wider and dearer to the world than his
former reputation, does not fall within
our ordinary experience OF human yer
satility. 1t is true that all the arts are
alphabetically alIied-that, as the say
ing Is, all art is one-and that it some
times seems almost chance that directs
the method in which genius shall express
Itself. But the habit of expression be
comes as strong as any other habit, and
usually keeps man in the channel in
which he has achieved SUCCESS. Indeed
1t commonly incapacitates him for bust
ness in any other.
But has this transfer on Mr. du Maui
ler's part been sudden, or is it so singu
lar as 1t seems 1T first sight? As an
artist, Mr.. du Maurier has ALWAYS been
delineator of life, of the life that now
is, and his drawings have always told a
story. They have depicted, it is true,
social life, been full of fancy ard insight
but never ideal, and so clearly have they
told their story, by the aid usually OF
witty legends, also his own invention,
That they have hardly escaped the charge
OF being literary" In the long series
OF his drawings in PuncA, the story OF
the fashions and iads of London life, and
OF English country life for the last quar-.
ter of century has been SO ccmpleteiy
told that the historian of manners-per-
haps OF morals-cannot afford to ignore
this kindly cynical procession across the
artists stage. When Mr.. du Maurier
lays down the pencil and takes up the
pen is he SO much charging his method
of expression
How comes it that this artist of the
brush, with two steps opIy-the gemiris.
cent, physiological, tentative step in
Peter lbbetsoD," and the vivid .bs,,-
luteiy lifelille step in "Tril6y"-stands
in the very front rank of ali The British
writer's who represent life with the ideal
sympathy of the poet How does he dc
II, and do 1t with such absence Of appar-
cut effort, and with no more of self
CONSCIOUSNESS than Raphael exhibited
| when he drew line following q curye n,
the most exquisite known beauty? What
is his secret? Is it freedom of mind
freedom from artificial literary rules
absolute freedom from conventionslity
without the too common attendant OF
that-lack of taste and of a sense q,
artistic values ? Is it in his charming
spirit, kindness of heart, liberation bret
OF deep experience of human nature
(Which is very different from the bogu.
agnostic federation of evil some tim.
assumed by the apprentices in arD, ant
his frank delight in the enthusiasm anC
sentiment OF life What a pity thai
Thackeray could not have lived to reat
'Irilby," AMI to extend to his brothe
artist that royal welcome he always CAV,
to art which is simple and withou
| pretense