The Pacific commercial advertiser. [volume] (Honolulu, Hawaiian Islands) 1885-1921, 1896-10-26
GEORGE DU MAURIER.

The death of Du Maurier has removed
one more of distinguished galaxy OF
London artists. But Du Maurier was
more than an artist; he was as sue
cessful with the pen as he was with
the pencil, and his name is household
word in every part of the world where
the English language is spoken.
From 1860, when his first work ap-
peared. Du Maurier's work has weekly
appeared in Punch, and illustrations
of his were for several years published
monthly in Harper's Magazine. His
style was as distinct as that of John
Leech or Charles Dana Gibson. Once
acquainted with his work, no one could
fail to recognize it, even when I'M
signed. 1t was graceful, clever and de-
cided in type. There was never indie
cision in it, and the picture told the
story. During his long connection with
Punch he produced types which have
become almost household words. He
made war upon the aesthetic craze long
before Gilbert and Sullivan produced
Patience" The foibles of the day
were ever being attacked. The vulgari-
Nv of the rich, purseproud millionaire,
the pomposity of the empty-headed no
bility, filled with pride of birth; the
arrogance of bishops, the humors OF the
street, all were portrayed and good hu-
moredIy laughed at.
1t is a great pity that Du Maur1er'
art was interrupted by means of the
old fashioned wood engraving. Had it
been interpreted through the medium
EMPLOYED by Life, Sketch and dozens
of other modern and up to date publi-
cations it would have been more perma-
nent. Much of the delicacy of the origi-
nal work was lost, and Du Maurier used
himself to complain of the wood en-
gravers' butchery of his best work.
1t was only few years ago that Du
Maurier surprised the world with his
novel, peter Ibbetson." Those who
read it in the pages of the magazine
it was published in recognized the
touch of a master hand, but Peter ID
betson' had not a great success at first
1t was only after the publication anC
marvellous popularity of ''Trilby' thai
the bulk of readers enquired after the
previous story. One more work of fic'
ton has come from the gifted pen. anc
then, just at the moment OF success, Il
dropped from fingers forever.
Du Maurier's style is peculiarly pleas
r;,.ili nd
uuisite grace in every paragraph of h1i
works. And yet, oddly enough, he de
lighted in mystical thoughts. The
dream life of Peter Ibbetson,' the hyp
notism of ''Trilby' show curious train
of thought. But what would have been
spoiled by less delicate hand only
added a charm when handled by him
In another way Du Maurier's works
are charming and peculiar. We have
had authors who have illustrated the1l
own works, notably Thackeray, who
drew the illustrations to the New
combs;" but Thackeray was only
carieaturist, and no one forms hi:
ideals of the characters in that i'm
mortar Work from IndChoAoS iii""'A &"
lions. Whereas Du Maurier realized
his ideal with his pencil, and in repre-
senting ''Trilby'' on the stage, tn
nearer the characters are to the illus
trations, the greater their success.
That Du Maurier's works will be
come classics there is little doubt, an
through them his art work will be re
membered, and not sink into the semi
oblivion OF such men as John Leech
H. K. Brown, and even CruickshanB
who are known to a generation passin
away, but unknown to those of tn
present day.