it is obvious that the only cure for his ailment is the simple but drastic one of removing the cloak. So long indeed as there are masks, there will be fingers that itch to pluck them off. The time may come,--we can scarcely affirm that it now is,--when masks shall have vanished from the faces of a seraphic race. But in the nineteenth century they were very much in evidence; and quite as palpably in evidence were the spying eyes and the encroaching fingers of the nineteenth-century satirists. PART II METHODS CHAPTER I THE ROMANTIC The implication behind that sage instruction, “First catch your hare,” is that after the catching the rest will be easy. But, admitting that the second step cannot antedate the first, we are still confronted by the fact that the achievement of the first must be followed by the second in order to be rendered efficacious. “How serve him up?” is the next question. It is the question of method, the problem of ways and means, and a most important one it is in the case of satire, for it is here that the element of humor finds its field of operations. In its cause and effect satire is serious, nominally at least. In the connecting link, the means reaching from design to end, it must use wit or humor. A certain object is perceived by a certain observer to be ridiculous. How is he to make it seem ridiculous to other observers, whose unaided perception may not equal his? He is able to do it by drawing upon the common fund of human experience and idea in regard to humor. If the satirist can subsume his object under one of the universally recognized categories, he makes it _ipso facto_ absurd. So automatic is this effect that only the analytic spectator will stop to question the justice of the classification. Socrates dangling in a basket, Volpone caught in his own trap, Hudibras gawkily playing the Cavalier, Atticus monopolizing the throne but fearful of pretenders, Southey routing infernal legions by the mere offer to read aloud his poem, Ichabod Crane fleeing when only Brom Bones pursued,--these are ludicrous to the imagination, whether or not the sentence is ratified by the intellect. Humoristic devices are so numerous as to call for some classification, the choice of any one being made at the expense of other possibilities. The traditional cleavage between the Horatian and the Juvenalian types is characteristically described by Saintsbury:[85] “From Horace and Persius downward there have been two satiric manners:--one that of the easy well-bred or would be well-bred man of the world who suspends everything on the adunc nose and occasionally scratches with still more adunc claws, the other that of the indignant moralist reproving the corruptions of the times.”