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Satire in ‘The Diary of a Nobody’ By George And Weedon Grossmith

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Mr. Pooter is a man of unobtrusive aspirations, content with his conventional life. However he generally is by all accounts grieved by unpalatable tradesmen, rude youthful office agents and wayward companions, also his nonchalant child Lupin with his unsatisfactory decision of lady. In the blundering, preposterous, yet at last charming character of Pooter, the Grossmith siblings made a magnificent picture of the class framework and the inborn self-importance of the rural working class the suburbs – one which sends up the late Victorian rages for Aestheticism, mysticism and bicycling, and in addition the mold for distributing journals by anyone and everyone. Written in 1888 and initially distributed in wordy shape in Punch Magazine, this is a comic novel of Victorian behavior, portrayed by J. B. Priestley as ‘genuine humor…with its blend of silliness, incongruity and warmth.’

The type of the novel is fascinating, and extremely topical for a contemporary Victorian group of onlookers, used to perusing records of ‘popular lives’ composed as extensive diaries and regularly distributed by alleged ‘vanity presses’ (the creators would pay the printers to distribute their work). Charles Pooter, the ‘No one’ of the title, is a moderately aged assistant who lives in North London in the late 1880’s. He chooses to keep a journal of his life and guarantees the reader at the beginning that he ‘neglects to see – on the grounds that I don’t occur to be a Somebody – why my journal ought not intrigue.’ The Grossmith siblings are clearly caricaturizing an artificiality which they (and most likely numerous others) discovered very affected and haughty.

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Pooter is unquestionably not a ‘Someone’ – he is an extremely common man with an exceptionally dreary and conventional presence in a London suburb, however he has a huge measure of grandiosity, which is the character attribute in different essayists which the Grossmiths are mocking in this novel. It is sensible to accept that Pooter’s journal would uncover him to be a completely loathsome character, however the inverse is valid. Pooter is a standout amongst the most thoughtful and persisting characters of British comic fiction, portrayed in the Daily Telegraph in 1996 as an ‘ethical prime example’ and a ‘not too bad individual’. (Just to be reasonable, however, the Guardian depicted the character as a ‘slamming bore’!) Have a consider target groups of onlookers for each paper and you may get a few thoughts regarding what Pooter ‘remains’ the extent that readers are concerned.

Satire is a ‘kind of glass (as in a mirror) wherein viewers do for the most part find everyone’s face except their own’ – Jonathan Swift. A comedian is a ‘watchman of models, standards and realities’ somebody who attempts to revise, condemn or criticize the doltish things in the public arena, with the goal that they are featured thus that others can feel scorn and chuckle at them. As it were, a humorist gives you a chance to perceive what is senseless or absurd or amiss with the world we live in by making it funny. Satire is a type of challenge, as such.

The Grossmith’s parody numerous things in Victorian culture, however their parody is, overall, very delicate. They jab fun at grandiose individuals, as Pooter himself, however as we have stated, principally at the vainglorious ‘Somebodies’ and their monotonous journals. They likewise ‘send up’ Victorian designs and patterns, such as cycling (Cummings’ life appears to spin around the ‘Bike News’), mysticism and Aestheticism (we’ll manage them in more detail later). The Diary is additionally a nitty gritty representation of the Victorian class framework and it is here that we may see a somewhat more pointed humorous reason. The highbrow character of the rural working class and the new pattern towards money related theory and consumerism are pointedly caricaturized in Pooter’s dealings with ‘tradesmen’ and in Lupin’s associations with Murray Posh and Daisy Mutlar and his haggling on the share trading system.


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