Sir Max Beerbohm Papers, 1900-1956
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MAX BEERBOHM AS a LITERARY CRITIC by BEVERLY JOAN
MAX BEERBOHM AS A LITERARY CRITIC by BEVERLY JOAN NORBY B.A., University of British Columbia, 1949 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, 1967 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and Study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by h.i>s representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of ENGLISH The University of British Columbia Vancouver 8, Canada Date October, 1967 ABSTRACT The purpose of this thesis has been to define Max Beerbohm's critical literary principles, to evaluate his con• tribution to aesthetic criticism and thereby to determine his place in the critical tradition. The methods of investi• gation have been: to study the formative influences on the development of his critical principles and to evaluate the results of their application in Max's essays and dramatic criticisms. From this study it is evident that as a man and as an artist Max was "formed" during the Eighteen-nineties. By nature he was an intellectual dandy who always preferred strong, narrow creative personalities like himself. He was detached, fastidious, witty, and humane, and he was noted for his wisdom and sound common sense, even as a very young man. -
Culture and Fantastical Fiction 1843-1973 Paul Mcadam
Durham E-Theses Negotiating the real: Culture and fantastical ction 1843-1973 McAdam, Paul How to cite: McAdam, Paul (2005) Negotiating the real: Culture and fantastical ction 1843-1973, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2864/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk McAdam 1 Abstract Paul McAdam Negotiating the Real: Culture and Fantastical Fiction 1843-1973 This dissertation examines the growth and practice of two distinct reading techniques, with reference to fantastical fiction from 1843 to 1973. While acknowledging that specific reading practices are not exclusive to particular groups or individuals, it is proposed, broadly, that readers fall into two categories: those who tend to be distanced from the text and approach it analytically; those who tend to embrace the text and immerse themselves in its narrative. -
Max Beerbohm Prints
Max Beerbohm Caricatures A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum Acquisition Information Gift of Helen Farr Sloan Extent 5 items Access Restrictions Unrestricted Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation Max Beerbohm Caricatures, Helen Farr Sloan Library & Archives, Delaware Art Museum 1 Biography of Max Beerbohm Max Beerbohm was born in London, England on Aug. 24, 1872. He was educated at Charterhouse and Merton College, Oxford. He was a critic, essayist and caricaturist. He contributed to the famous Yellow Book while still an undergraduate at Oxford. As a half brother of the actor-manager Herbert Beerbohm Tree, Max was a brilliant dramatic critic of the Saturday Review from 1898 to 1910, succeeding George Bernard Shaw. In 1910 he married an American actress, Florence Kahn and went to live in Rapallo, Italy (except for the duration of the two World Wars). A charming, witty, and elegant man, Beerbohm was a brilliant parodist and the master of a polished prose style. His works include A Christmas Garland (1912), a collection of parodies on such authors as Joseph Conrad and Thomas Hardy; Zuleika Dobson (1911), an amusing satire on Oxford; Seven Men (1919), stories; and And Even Now (1920) and Mainly on the Air (1947), essays. Beerbohm was accomplished at drawing, and he published several volumes of excellent caricatures, including The Poet’s Corner (1904) and Rossetti and His Circle (1922). He was knighted in 1939 on his return from Italy, where he had lived from 1910. -
Ye Olde English Humourists
TIF - Ye Olde English Humourists S. UNIAN SAMBAR August 2, 2019 A few of the British humorists (from left to right): Wyndham Lewis, A A Milne, Max Beerbohm | Howard Coster, CC BY-NC-ND 3.0, Wikipedia An affectionate tribute to the low-brow humorists of the British Empire who wrote in the early-mid 20th century. Or is this a symptom of "a post-colonial condition brought on by the native collaborator’s false nostalgia for colonial master narratives"? Is there any good reason for reading dreadfully anachronistic low-brow stuff from the days of the Empire, still less for enjoying it, and least of all for writing about it? Of course not, but there could be some lame excuses. Being a superannuated scholar in the humourless—indeed outrightly dismal—discipline of Economics which obliges one to relate human beings to such things as closed, compact, convex subsets of n-dimensional Euclidean space could be a major excuse for reading this species of literature. Also for taking pleasure in it, simply as an act of revenge for all those grim-death axioms and theorems which are inflicted on the economist by the compulsions of a life-time of wage-slavery and survival through scholarly publishing. And an excuse for writing about it is the canny suspicion that the author is not alone in his sneaking, shameful, guilty appreciation of the chuckle-headed and politically incorrect scribblings of a lost generation of English humourists, and that there are other closet aficionados of this brand of mentally arrested wit who might actually have some interest in (covertly) reading articles of the present type. -
A CHRISTMAS GARLAND Woven by MAX BEERBOHM
A CHRISTMAS GARLAND woven by MAX BEERBOHM LONDON MCMXXI WILLIAM HEINEMANN First printed, October, 1912. New Impressions, October, 1912; December, 1912; December, 1912; July, 1918; September, 1918; March, 1931. Copyright, 1912. BY THE SAME AUTHOR THE WORKS OF MAX BEERBOHM MORE YET AGAIN A CHRISTMAS GARLAND THE HAPPY HYPOCRITE ZULIEKA DOBSON SEVEN MEN AND EVEN NOW CARICATURES OF TWENTY-FIVE GENTLEMEN THE POETS' CORNER THE SECOND CHILDHOOD OF JOHN BULL A BOOK OF CARICATURES FIFTY CARICATURES NOTE Stevenson, in one of his essays, tells us how he "played the sedulous ape" to Hazlitt, Sir Thomas Browne, Montaigne, and other writers of the past. And the compositors of all our higher-toned newspapers keep the foregoing sentence set up in type always, so constantly does it come tripping off the pens of all higher-toned reviewers. Nor ever do I read it without a fresh thrill of respect for the young Stevenson. I, in my own very inferior boyhood, found it hard to revel in so much as a single page of any writer earlier than Thackeray. This disability I did not shake off, alas, after I left school. There seemed to be so many live authors worth reading. I gave precedence to them, and, not being much of a reader, never had time to grapple with the old masters. Meanwhile, I was already writing a little on my own account. I had had some sort of aptitude for Latin prose and Latin verse. I wondered often whether those two things, essential though they were (and are) to the making of a decent style in English prose, sufficed for the making of a style more than decent. -
ZACKS-DISSERTATION.Pdf (2.094Mb)
Copyright by Aaron Shanohn Zacks 2012 The Dissertation Committee for Aaron Shanohn Zacks Certifies that this is the approved version of the following dissertation: Publishing Short Stories: British Modernist Fiction and the Literary Marketplace Committee: Michael Winship, Supervisor Mia Carter Alan Friedman Wayne Lesser Ira Nadel Publishing Short Stories: British Modernist Fiction and the Literary Marketplace by Aaron Shanohn Zacks, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2012 Acknowledgements I would not have completed this project without the professional and personal support of many people. Michael Winship proved a challenging and supportive Director who knew when to push, when to lay off, and, in my weaker moments, when all I needed was a little encouragement. A compliment from Michael means a great deal, and I will always remember mine. I have truly enjoyed sharing this experience with him and hope we will stay in touch. I am thankful to Alan Friedman and Mia Carter, who offered valuable comments on drafts of the dissertation as well as work I produced throughout my time in graduate school. I owe special thanks to Wayne Lesser, who supported me in a variety of ways in his role as Graduate Adviser and stepped in as a member of my committee to ensure that I could defend in Summer 2012. My debt to Ira Nadel goes back farther than to the rest of my committee, as he advised me when I was applying to graduate schools in 2002. -
A Christmas Garland Online
m8ui2 [DOWNLOAD] A Christmas Garland Online [m8ui2.ebook] A Christmas Garland Pdf Free Max Beerbohm *Download PDF | ePub | DOC | audiobook | ebooks Download Now Free Download Here Download eBook #11401470 in Books 2015-12-02Original language:EnglishPDF # 1 9.00 x .16 x 6.00l, .23 #File Name: 151964217268 pages | File size: 26.Mb Max Beerbohm : A Christmas Garland before purchasing it in order to gage whether or not it would be worth my time, and all praised A Christmas Garland: 1 of 1 people found the following review helpful. a favorite artist!By SarahBeautiful art to go with Christmas decorations0 of 0 people found the following review helpful. Unusual stories of ChristmasBy Andrea K.If you really enjoy language and excellent writers, you will like this book. Some of the stories are a real challenge to read, done in dialect, but the whole book is interesting and delightful !!0 of 0 people found the following review helpful. purchaseBy Joanne WhittingtonI love to read and this was exactly what I wanted. I loved these stories and will get more later. Max Beerbohm was a well known English essayist in the early 20th century, and he is best known today for the 1911 novel Zuleika Dobson. From the Back CoverFew writers have possessed Max Beerbohm's talent for parody, and 'A Christmas Garland' is perhaps the best collection of parodies ever written in English. Here are glorious, often loving spoofs of Beerbohm's well-known contemporaries - Henry James, George Bernard Shaw, Thomas Hardy, Joseph Conrad, Rudyard Kipling, H. G. Well, George Meredith, John Galsworthy, and others - woven together by a Christmas theme and by the inventiveness of Beerbohm's comic art.About the AuthorSir Henry Maximilian "Max" Beerbohm was an English essayist, parodist, and caricaturist. -
Kipling's Poems
E.M. Forster and the Legacy of Aestheticism: “Kipling’s Poems” (1909) and Forster’s Dialogue with Max Beerbohm Margaret D. Stetz University of Delaware Abstract E.M. Forster’s 1909 lecture on Rudyard Kipling’s poetry was a key document in his devel- opment as a critic. He used this talk as an occasion to re-examine his relationship to the “Art-for-Art’s-Sake” principles of the late-Victorian Aesthetic Movement, which contin- ued to guide influential contemporaries such as the artist and author, Max Beerbohm, with whom Forster had both personal and professional connections. Distinguishing his own responses to Kipling from those of Beerbohm, as expressed through the latter’s savagely satirical visual works, was a necessary step in Forster’s forging of an individual voice for the modern age. But despite Forster’s wish always to avoid labels and to escape being identified with inflexible positions, he turned in his later years to open advocacy of Art for Art’s Sake. Keywords: E.M. Forster, Max Beerbohm, Rudyard Kipling, Aestheticism, Modernism 240 Margaret D. Stetz In a tribute to E.M. Forster that appeared in the 5 June 2020 issue of the Times Liter- ary Supplement (UK) in the midst of a global pandemic, Robert Douglas-Fairhurst has spoken of him as the champion of those who wish to evade lockdowns of one kind or another: “Nearly every character we are asked to admire in his fiction is trying to escape from something: the unforgiving grip of the past, or the hollow rituals of conven- tion, or the geographical boundaries and social limitations of England” (2020, 10). -
The Happy Hypocrite a Fairy Tale for Tired Men by Max Beerbohm John Lane the Bodley Head Ltd
THE HAPPY HYPOCRITE A FAIRY TALE FOR TIRED MEN BY MAX BEERBOHM JOHN LANE THE BODLEY HEAD LTD. Published Sq. 16mo April 1897 Reprinted December 1897 Reprinted February 1904 Reprinted May 1908 Reprinted May 1913 Cr. 4to Illus. Edition October 1918 Cr. 8vo Edition December 1919 Reprinted February 1922 Reprinted August 1924 Reprinted July 1928 Made and Printed in Great Britain by Turnbull & Spears, Edinburgh CONTENTS I II III IV V BY THE SAME AUTHOR The Happy Hypocrite I None, it is said, of all who revelled with the Regent, was half so wicked as Lord George Hell. I will not trouble my little readers with a long recital of his great naughtiness. But it were well they should know that he was greedy, destructive, and disobedient. I am afraid there is no doubt that he often sat up at Carlton House until long after bedtime, playing at games, and that he generally ate and drank far more than was good for him. His fondness for fine clothes was such that he used to dress on week-days quite as gorgeously as good people dress on Sundays. He was thirty-five years old and a great grief to his parents. And the worst of it was that he set such a bad example to others. Never, never did he try to conceal his wrong-doing; so that, in time, every one knew how horrid he was. In fact, I think he was proud of being horrid. Captain Tarleton, in his account of Contemporary Bucks, suggested that his Lordship's great Candour was a virtue and should incline us to forgive some of his abominable faults. -
A Glossary of Literary Terms
✵ A Glossary of Literary Terms NINTH EDITION M. H. ABRAMS Cornell University Geoffrey Galt Harpham National Humanities Center Australia • Brazil • Japan • Korea • Mexico • Singapore • Spain United Kingdom • United States A Glossary of Literary Terms, © 2009, 2005 Wadsworth Cengage Learning Ninth Edition M. H. Abrams, Geoffrey ALL RIGHTS RESERVED. No part of this work covered by the copyright herein may be reproduced, transmitted, Galt Harpham stored, or used in any form or by any means graphic, electronic, or mechanical, including but not limited to photocopying, recording, scanning, digitizing, taping, Publisher: Michael Rosenberg Web distribution, information networks, or information Managing Development Editor: storage and retrieval systems, except as permitted un- Karen Judd der Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of Senior Editorial Assistant: the publisher. Megan Garvey Content Project Manager: For product information and technology Jessica Rasile assistance, contact us at Cengage Learning Academic Resource Center, Production Technology Analyst: 1-800-423-0563 Jamison MacLachlan For permission to use material from this text or Senior Art Director: product, submit all requests online at Cate Rickard Barr www.cengage.com/permissions. Senior Print Buyer: Betsy Donaghey Further permissions questions can be e-mailed to Text Permissions Editor: Margaret [email protected]. Chamberlain-Gaston Production Service/Compositor: Library of Congress Control Number: 2008924505 Newgen ISBN-13: 978-1-4130-3390-8 Cover Design: Ross Carron Design ISBN-10: 1-4130-3390-3 Wadsworth Cengage Learning 25 Thomson Place Boston, MA 02210 USA Cengage Learning products are represented in Canada by Nelson Education, Ltd. For your course and learning solutions, visit academic.cengage.com. -
Proquest Dissertations
85J UNIV .J.:. ...UOII AWA ~ ECOLE DES GRADUES MAX BEERBOHM, ESSAYIST by Henry Raymond Imbleau •WttOTHiQUK. * Thesis submitted to the Faculty of Arts of the University of Ottawa.in partial fulfilment of the requirements for the degree of Master of Arts. /f*z * Ottawa\ Canada, 1962. UNIVERSITY OF OTTAWA - SCHOOL OF GRADUATE STUDIES UMI Number: EC55739 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform EC55739 Copyright 2011 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 UNIVERSITE D'OTTAWA ~ ECOLE DES GRADUES ACKNCWLEDG31EKT This thesis was prepared under the guidance of Dr. EJimett 0'Grady3 Chairman of the Department of English. Gratitude is here expressed for his interest and help. UNIVERSITY OF OTTAWA ~ SCHOOL OF GRADUATE STUDIES UNIVERSITE D'OTTAWA - ECOLE PES GRADUES CURRICULUM STUDIORUM NAME: Ilenry Raymond Imbleau BORN: October 10, 1937, Renfrew, Ontario, Canada B.A. Saint Patricks College, Ottawaj 1960. UNIVERSITY OF OTTAWA ~ SCHOOL OF GRADUATE STUDIES UNIVERSITE D-OTTAWA - ECOLE PES GRADUES TABLE OF CONTENTS Chapter Page INTRODUCTION v 1. -
Biographical Glossary
Biographical Glossary All entries are British unless otherwise noted. Ackerley, Joseph Randolph (1896–1967). Literary editor, author, and close friend of Forster’s. He was the literary editor of The Listener from 1935 to 1959. He is also the author of My Dog Tulip (1956) and We Think the World of You (1960). Auden, Wystan Hugh (1907–73). Poet and intimate friend of Isherwood’s. Major works of poetry include The Orators (1932), The Age of Anxiety: A Baroque Eclogue (1947), The Shield of Achilles (1955), and City Walls and Other Poems (1969). He collaborated with Isherwood on three plays: The Dog Beneath the Skin (1935), The Ascent of F6 (1936), and On the Frontier (1939). Bachardy, Don (1934– ). American painter and Isherwood’s companion from 1953 until Isherwood’s death in 1986. His drawings have been pub- lished in several books: October (1983), Last Drawings of Christopher Isherwood (1990), and Stars in My Eyes (2000). His paintings and drawings are in the collections of the National Portrait Gallery in London, the Metropolitan Museum of New York, and other major art institutions. Barger, Harold (1907–89). Professor of Economics at Columbia University form 1937 to 1975. He graduated from King’s College, Cambridge, and the London School of Economics. Baxter, Walter (1915– ). Author of a novel, Look Down in Mercy (1951), which was considered controversial. He had previously owned a restaurant in London. Beerbohm, Henry Maximilian (Max) (1872–1956). Humorist and essay- ist. Author of Zuleika Dobson (1911). His A Christmas Garland (1912) con- tains parodies of contemporary literary writers, such as Henry James, Joseph Conrad, and H.