Victorian Caricature by Alice Meynell — Read

There has been no denunciation, and perhaps even no recognition, of a certain social immorality in the caricature of the mid-century and earlier. Literary and pictorial alike, it had for its aim the vulgarizing of the married woman. No one now would read Douglas Jerrold for pleasure, but it is worth while to turn up that humourist's serial,

"Mrs. Caudle's Curtain Lectures," which were presumably considered good comic reading in the "Punch" of that time, and to make acquaintance with a certain ideal of the grotesque. Obviously to make a serious comment on anything which others consider or have considered humorous is to put oneself at a disadvantage. He who sees the joke holds himself somewhat the superior of the man who would see it, such as it is, if he thought it worth his eyesight. The last-named has to bear the least tolerable of modern reproaches -- that he lacks humour; but he need not always care. Now to turn over Douglas Jerrold's monologues is to find that people in the mid-century took their mirth principally from the life of the "arriere boutique". On that shabby stage was enacted the comedy of literature. Therefore we must take something of the vulgarity of Jerrold as a circumstance of the social ranks wherein he delighted. But the essential vulgarity is that of the woman. There is in some old "Punch" volume a drawing by Leech -- whom one is weary of hearing named the gentle, the refined -- where the work of the artist has vied with the spirit of the letterpress. Douglas Jerrold treats of the woman's jealousy, Leech of her stays. They lie on a chair by the bed, beyond description gross.