Page:Satire in the Victorian novel (IA satireinvictoria00russrich).pdf/105

 Travels" is true enough, but would be more to the point if the Travels had been confined to Laputa.

Not only are our modern instances comparatively light in quality, but restricted in range. The fable, for example, is not represented at all, nor the allegory, though both forms have had a sort of revival in even more recent times. These deficiencies, if such they are, are easily accounted for by the fact that in the nineteenth century realism (in the liberal sense) was having its day, that it had taken especial possession of the Victorian novel, particularly in its satiric aspect, so that such scattered fantasies as we have may be regarded as the crumbs from an opulent table.

The marks of the satiric extravaganza are wit, invention, and exaggeration, In a general way the opposites of these may be called respectively humor, interpretation, and exposure; and it may be premised that these last will be found the characteristics of satiric realism.

Another contrast that may be anticipated is that when romance is used as a satiric vehicle it is built expressly for that purpose and carries its passenger in solitary state; while realism is a public carry-all, in which this fare is allowed a place along with the others.

Whether further generalization as to relative effectiveness is possible is a question that must be deferred until after the discussion of the complementary type.