vided for. His fight for fame was long and hard; and his life was interrupted, like that of other men, by sickness and pain. In the stoop in his gait, in the lines in his face, you saw the man who had reached his Ithaca by no mere yachting over summer seas. And hence, no doubt, the utter absence in him of all that conventionalism which marks the man of quiet experience and habitual conformity to the world. In the streets, a stranger would have known Jerrold to be a remarkable man; you would have gone away speculating on him. In talk, he was still Jerrold;—not Douglas Jerrold, Esq., a successful gentleman, whose heart and soul you were expected to know nothing about, and with whom you were to eat your dinner peaceably, like any common man. No. He was at all times Douglas the peculiar and unique,—with his history in his face, and his genius on his tongue,—nay, and after a little, with his heart on his sleeve. This made him piquant; and the same character makes his writings piquant. Hence, too, he is often quaint,—a word which describes what no other word does, always conveying a sense of originality, and of what, when we wish to be condemnatory, we call egotism, but which, when it belongs to genius, is delightful.
As he became better known, he wrote in higher quarters. "Men of Character" appeared in "Blackwood,"—a curious collection of philosophical stories;—for artist he was not; he was always a thinker. He had a way of dressing up a bit of philosophical observation into a story very happily. He had much feeling for symbol, and, like the old architects, would fill all things, pretty or ugly, with meaning. When one reads these stories, one does not feel as if it were the writer's vocation to be a story-teller, but as if he were using the story as a philosophical toy. And it was fortunate for him that he fell on an age of periodicals, a class of works which just suited his genius. He and the modern development of periodical literature grow up together, and grew prosperous together. He was never completely known in England till after the establishment of "Punch." An independent and original organ just suited him, above all; for there he had the full play which he required as a humorist, and as a self-formed man with a peculiar style and experience. "Punch" was the "Argo" which conveyed him to the Golden Fleece.
Up to the time of the appearance of this journal, Jerrold had scattered himself very freely over periodical literature. He had conquered a position. He had formed his mind. He had seen the world in many phases, and besides his knowledge of London, had varied his experience of that city by a lengthened residence in France. Still, he had not yet caught the nation,—there being many degrees of celebrity below that stage of it; and now, in middle life, his best and crowning success was to begin.
I believe that Jerrold had long desiderated a "Punch"; but it is certain that the present famous periodical of that name was. started by his son-in-law, Mr. Henry Mayhew. For a while it had no great success, and the copyright was sold for a small sum to Messrs. Bradbury and Evans. Success came, and such a success that "Punch" must always last as part of the comic literature of England. That literature is rich in political as well as other forms of satire; and from various causes, about the time of "Punch," political satire was at a low ebb. The newspapers no longer published squibs as they once had done. The days of the Hooks and Moores had gone by; there was nobody to do with the pen what H. B. did with the pencil. So "Punch" was at once a novelty and a necessity,—from its width of scope, its joint pictorial and literary character, and its exclusive devotion to the comic features of the age. "Figaro" (a satirical predecessor, by Mr. à Beckett) had been very clever, but wanted many of "Punch's" features, and was, above all, not so calculated to hit "society" and get into families.
Jerrold's first papers of mark in "Punch" were those signed "Q." His
