"Caricature is rough truth"
About this Quote
Meredith’s line lands like a sketch made with a knife: caricature isn’t a lie, it’s truth with the politeness stripped out. Calling it “rough” matters. He’s not praising distortion for its own sake; he’s admitting that social reality often becomes visible only when it’s exaggerated. A caricature grabs the feature everyone notices but no one says aloud - vanity, hypocrisy, pretension - and enlarges it until denial looks ridiculous. That roughness is the point: it breaks the spell of good manners.
The subtext is a defense of comedy as moral perception. Victorian culture prized decorum, sincerity, and “character,” yet it ran on rigid class codes and public performance. Meredith, who wrote novels that anatomize courtship, status, and self-deception, understood that people are most revealing when they’re trying not to be. Caricature is a way of forcing the mask to fit so tightly it shows its seams. It can feel cruel because it refuses the comforting fiction that we are all complex, balanced, and privately noble. It insists that in public life, our dominant habits are what others actually encounter.
Contextually, the line sits in a 19th-century argument about realism: should art mirror life faithfully, or heighten it to expose its mechanics? Meredith sides with the satirists and the stage. A “faithful” portrait can flatter; a caricature can diagnose. It’s also a warning. If caricature is rough truth, then the rougher the society - the more status-obsessed and performative - the more accurate the caricature starts to feel.
The subtext is a defense of comedy as moral perception. Victorian culture prized decorum, sincerity, and “character,” yet it ran on rigid class codes and public performance. Meredith, who wrote novels that anatomize courtship, status, and self-deception, understood that people are most revealing when they’re trying not to be. Caricature is a way of forcing the mask to fit so tightly it shows its seams. It can feel cruel because it refuses the comforting fiction that we are all complex, balanced, and privately noble. It insists that in public life, our dominant habits are what others actually encounter.
Contextually, the line sits in a 19th-century argument about realism: should art mirror life faithfully, or heighten it to expose its mechanics? Meredith sides with the satirists and the stage. A “faithful” portrait can flatter; a caricature can diagnose. It’s also a warning. If caricature is rough truth, then the rougher the society - the more status-obsessed and performative - the more accurate the caricature starts to feel.
Quote Details
| Topic | Truth |
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