George du Maurier Criticism
George du Maurier (1834-1896) was an influential English illustrator and novelist known for his contributions to Punch magazine and for pioneering themes of the unconscious mind in literature. Born in Paris to a French father and English mother, Du Maurier's early life in France and subsequent move to London shaped his multifaceted career. Initially pursuing science, he returned to France to study art, only to lose sight in one eye, which led him back to England where he became a celebrated illustrator.
Du Maurier's novels, especially Trilby (1894), a groundbreaking bestseller, introduced the iconic character Svengali, a villainous mesmerist. As noted by Nina Auerbach, the novel explores themes of control and transformation, with Trilby, the titular character, manipulated by Svengali's hypnotic powers. His first novel, Peter Ibbetson (1891), praised by contemporaries like Henry James for its innovative blend of dream and reality, delves into the protagonist's subconscious experiences, capturing Du Maurier's own childhood and early life. However, as Leonee Ormond critiques, while its Passy scenes are commendable, the novel lacks cohesion.
His last novel, The Martian, posthumously published in 1897, combines autobiographical elements with speculative themes such as shared consciousness and automatic writing, though it was the least well received. Du Maurier’s social circles included luminaries like Henry James who encouraged his transition to writing. Derek Pepys Whiteley offers insights into his life and connections within literary and artistic communities.
Du Maurier's exploration of psychological themes and his satirical illustrations left a lasting impact, even if his literary reputation waned in the twentieth century. The enduring term "Svengali" reflects his influence, though, as Jonathan H. Grossman discusses, Trilby also critiqued bohemian lifestyles and explored anti-aestheticism, often drawing comparisons to Oscar Wilde's works. Despite his waning fame, his contributions to literature and art remain significant, as evidenced by Mary Titus highlighting the influence of Trilby on later works like Willa Cather's Song of the Lark.
Contents
- Principal Works
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Essays
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George Du Maurier
(summary)
In the following excerpt from an essay originally written in 1883, James provides an extensive examination of Du Maurier's contributions to Punch, with particular attention to his characterization of the English and French people.
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Life of George du Maurier
(summary)
In the following essay, Whiteley provides an overview of Du Maurier's life and work, focusing most extensively on his circle of literary and artist friends.
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Peter Ibbetson
(summary)
In the following essay, Ormond critiques Du Maurier's Peter Ibbetson, finding the Passy scenes laudable but the rest of the novel somewhat unsatisfactory and disjointed.
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Magi and Maidens: The Romance of the Victorian Freud
(summary)
In the following excerpt, Auerbach analyzes the two main characters of Trilby—Svengali as master/mesmerist and Trilby as metamorphosing heroine.
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Artists, Models, Real Things, and Recognizable Types
(summary)
In the following excerpt, Banta briefly discusses why Du Maurier's Trilby is superior to Henry James's “The Real Thing.”
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Cather's Creative Women and DuMaurier's Cozy Men: The Song of the Lark and Trilby
(summary)
In the following excerpt, Titus discusses how Willa Cather's Song of the Lark is indebted to Du Maurier's Trilby in its portrayal of male and female characters.
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The Mythic Svengali: Anti-Aestheticism in Trilby
(summary)
In the following essay, Grossman examines anti-aestheticism in Trilby, including comparisons with Oscar Wilde's work and a discussion of bohemia and homosexuality in the novel.
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George Du Maurier
(summary)
- Further Reading