Page:Satire in the Victorian novel (IA satireinvictoria00russrich).pdf/255

 his work, as if he were waiting at a mouse's hole," finally catches his mouse, though only to be eluded again.

A perfect modern instance of the bubble pricked by the ancient Socratic method is that of Mr. Curdle, eminent dramatic critic. He has been talking big about the Unities of the Drama. Nicholas innocently asks what they might be. He is informed:

"Mr. Curdle coughed and considered. 'The unities, sir,' he said, 'are a completeness—a kind of universal dovetailedness with regard to place and time—a sort of a general oneness, if I may be allowed to use so strong an expression. I take those to be the dramatic unities, so far as I have been enabled to bestow attention upon them, and I have read much upon the subject and thought much. I find, running through the performances of this child,' said Mr. Curdle, turning to the Phenomenon, 'a unity of feeling, a breadth, a light and shade, a warmth of colouring, a tone, a harmony, a glow, an artistical development of original conceptions, which I look for, in vain, among older performers. I don't know whether I make myself understood?'

"'Perfectly,' replied Nicholas.

"'Just so,' said Mr. Curdle, pulling up his neckcloth. 'That is my definition of the unities of the drama.'"

The great trio, Pecksniff, Bagstock, and Heep, occur in the three successive novels of the six years ending with the mid-century. Pecksniff is the most gratuitous offender, for he encases himself in piety and benevolence, and inserts his falseness into every word, every deed, every relation of life. Heep's specious humility is as unrelaxed and vigilant, but it is more of a means to an end and not, like Pecksniff's, an end in itself. He fawns and flatters and cheats for the benefits to be derived from such policies.