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 *edy, and Lytton's to the near-contemporary Byron. Mrs. Gaskell had Jane Austen and Crabbe and the whole gallery of eighteenth-century village vignettes for her humors of rural life; while her Mary Barton probably reached back to Sybil, as it did forward to the line of economic novels. Thackeray had a large store to draw on for his burlesques, as did Lytton and Butler for their pseudo-Utopias.

Nor is there any abrupt termination to satiric affairs as the Victorians left them at the end of the century. The years stand as sign posts along the way, and not as barriers across it. The changes they call our attention to were less patent to those in and by whom they were working than to us with our perspective. From our moderate distance we are able to discern not only the evolutionary process but some of its results.

In a national award the satiric prize would undoubtedly go to the French, whose genius for satire not only gave them preëminence among the peoples in that line, but gave their satire precedence over their other literature. But with this exception, the total effect of satire in the Victorian novel ranks artistically with the highest at large, and surpasses some other elements of the fiction itself. For the nineteenth-century novel is undeniably didactic, and therefore, while it gains in point, significance, and intellectual interest, it loses in romantic interest and esthetic purity. It is here that satire becomes its salvation, for by giving much of the criticism a humorous turn it counteracts the didactic effect, enhances delight, and, to readers of a sensitive response, makes a point that would not be sharpened by increased vehemence. No invective against the Countess de Saldar could be so illuminating as Lady Jocelyn's thorough relish of her as a specimen. It is of a piece with Mr. Bennet's enjoyment