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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..acc0218 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #67604 (https://www.gutenberg.org/ebooks/67604) diff --git a/old/67604-0.txt b/old/67604-0.txt deleted file mode 100644 index db7c25f..0000000 --- a/old/67604-0.txt +++ /dev/null @@ -1,625 +0,0 @@ -The Project Gutenberg eBook of A Peep into the Past, by Max Beerbohm - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: A Peep into the Past - -Author: Max Beerbohm - -Release Date: March 10, 2022 [eBook #67604] - -Language: English - -Produced by: Donald Cummings from images generously made available by - The Internet Archive/American Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK A PEEP INTO THE PAST *** - - - - - - A PEEP INTO THE PAST - - - - -_This Edition is limited to 300 copies printed from type on Japan -Vellum, and the type distributed._ - - - - - [Illustration] - - - - - A PEEP INTO THE PAST - - By - MAX BEERBOHM - - - PRIVATELY PRINTED - 1923 - - - - - INTRODUCTION - - -This hitherto unpublished essay was written by Max Beerbohm for the -first number of _The Yellow Book_, but it was held over to make way -for his famous _Defence of Cosmetics_, which duly appeared in April, -1894. Whether this change was made because of the impending Wilde -scandal it is, of course impossible to say with certainty, but the -probabilities favour this explanation. The Wilde case did not come -to the ears of the general public until the spring of 1895, just one -year after the founding of _The Yellow Book_, but literary London was -aware of what was happening long before that date, and already in -1894 Wilde’s friends were very anxious about the recklessness of his -behaviour. It is significant that Oscar Wilde, the archetype of the -Decadent Nineties, did not contribute either to _The Yellow Book_ or -_The Savoy_, which were the literary organs of that whole movement. It -is difficult not to see some connection between the remarkable absence -of Wilde’s name from these periodicals and the fact that this brilliant -essay on him was never published. - -The essay itself is one of the deftest and cleverest pieces of writing -which Max Beerbohm has ever achieved. In it one can see how from the -very beginning of his career Beerbohm was destined to be the satirist -of the period with which he is associated, although he never displayed -any of the qualities――or defects――of the Decadents. No cartoon of his -is more devastating and illuminating than this solemn buffoonery of -Wilde in terms of a domesticity as preposterous as Wilde’s own pose -of diabolism. At the same time Wilde had no more devoted admirer or -faithful friend. It is characteristic of the good nature of Max’s -satire that it does not necessarily imply disapproval. It is just his -fun. - - - - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - - - - - A PEEP INTO THE PAST - - -Oscar Wilde! I wonder to how many of my readers the jingle of this name -suggests anything at all? Yet, at one time, it was familiar to many and -if we search back among the old volumes of Punch, we shall find many a -quip and crank out at its owner’s expense. But time is a quick mover -and many of us are fated to outlive our reputations and thus, though at -one time Mr. Wilde, the old gentleman, of whom we are going to give our -readers a brief account, was in his way quite a celebrity; today his -star is set, his name obscured in this busy, changeful city. - -Once a welcome guest in many of our Bohemian haunts, he lives now a -life of quiet retirement in his little house in Tite Street with his -wife and his two sons, his prop and mainstay, solacing himself with -many a reminiscence of the friends of his youth, whilst he leaves -his better-known brother, William, to perpetuate the social name of -the family. Always noted for his tenacious memory, it is one of the -old gentleman’s keenest pleasures to regale a visitor from the outer -world with stories of the late Mr. Frank Niles, Mr. Godwin, the -architect, Mr. Robert Browning or the Earl of Lytton, who was not the -only member of the upper ten thousand to honour Mr. Wilde with his -personal friendship. “All, all are gone, the old familiar faces” and -with the quiet resignation of one who knows that he is the survivor of -a bygone day, Mr. Wilde tends more and more to exist in its memory or -to solace himself with the old classics of which he was ever so earnest -a student, with his Keats and his Shakespeare, his Joseph Miller and -the literal translations of the Greek Dramatists. Not that he is a mere -_laudator temporis acti_, a bibliophile and nothing more. He still -keeps up his writing, is still the glutton for work that he always -was. He has not yet abandoned his old intention of dramatising Salome -and the amount of journalistic matter that he quietly produces and -contributes anonymously to various periodicals is surprising. Only last -year an undergraduate journal called the _Spirit Lamp_ accepted a poem -of his in which there were evidences that he has lost little of his old -talent for versification. - -Mr. Wilde is an early riser. Every morning, winter and summer at 4:30 -A. M. his portly form――(he is in appearance not unlike Sir William -Harcourt and still stands six foot three in his slippers)――may be seen -bending over the little spirit-kettle, at which he boils himself his -cup of hot cocoa. Donning his work-a-day clothes, he proceeds at once -to his study and commences work, continuing steadily to breakfast, -which he takes in company with his wife and sons. Himself most regular -in his habits, he is something of a martinet about punctuality in his -household and perhaps this accounts for the constant succession of -page-boys, which so startles the neighbourhood. Breakfast over, the -master of the house enjoys his modest cigarette――no costly cigar nor -precious meerschaum ever passes his lips――he is a strict believer in -simplicity of life as the handmaiden of hard work. He never nowadays -even looks at the morning papers, so wholly has he cut himself off from -society, though he still goes on taking in the Athenaeum, in the hopes -that it may even now do the same to him. So without dawdling over the -perusal of news, he immediately resumes work and does not desist until -the stroke of twelve, when punctually he folds up his papers, wipes -his pen, puts away his books of references and starts for an hour’s -walk up and down the King’s Road, Chelsea. With his tall, bowed figure, -carefully brushed silk hat and frockcoat which though old-fashioned -was evidently cut by a good tailor, old Mr. Wilde is well-known to all -frequenters of the thoroughfare. The trades people, too, know him well -and often waylay him as he attempts to pass on. - -After early dinner, the time is passed pleasantly in reading Ruskin to -his two youngsters; after that more literary work, a light supper, a -glass of grog and bed-time. But not always rest! Often, his good lady -tells me, has she woken at three or four in the morning to find her -husband still sitting up in bed or pacing up and down the bedroom in -parturition of that same joke of which he sketched for her the outline -as they were retiring to rest. Yes, and it is in this indomitable -perseverance, this infinite capacity for taking pains, this “grit,” -as they call it in the North, that lies Mr. Wilde’s secret. True that -the whole body of his signed works is very small――a book of parodies -upon Rossetti, a few fairy-tales in the manner of Hans Anderson, an -experimental novel in the style of Poe, a volume of essays, which -Mr. Pater is often obliged blushingly to repudiate, a French play -written in collaboration with Mr. Louÿs and one or two English ones -in collaboration with Mr. G. R. Sims. But surely we must judge an -artist, not so much by his achievement as by his methods of procedure -and though such a story as the The Theory of Mr. W. S. (I came across -a copy of it lately at an old book-stall in Vigo Street) occupied only -the extreme middle of no more than forty pages, the author has given -me his word that it took him six months hard unremitting labour to -complete. - -After all, it is not so much as a literary man that Posterity will -forget Mr. Wilde, as in his old capacity of journalist. The visit -to America, that is still so fresh in the old gentleman’s memory, -doubtless influenced his style in no small degree and many an old -pressman can testify to the great vivacity and humour of their -colleague, though they may envy the indomitable vitality which enables -one so far past his meridian to continue “producing.” Perhaps the most -startling feature of his career was the manner in which, putting his -broad shoulder to the wheel, he was able so late in life to strike out -into dramatic writing――a branch that he had never till then attempted. -When Mr. Sydney Cooper contributed to the last Academy but one a -picture of a hunt scene, everyone was surprised, but that Oscar Wilde -should have written a four act play and got it produced by a London -manager, fairly beat all records of senile enterprises. We critics were -really touched and――who will blame us for it?――agreed to withhold those -criticisms which we should otherwise have been forced to make upon -the production. It was a pretty occasion and anyone who was present, -as I was at the first night, will look back with affection at its -memory. The play itself a chapter of reminiscences――the audience good -natured and respectful――the hearty calls of “Author”――and finally his -appearance before the curtain, bowing with old fashioned grace to the -Public, whom he has served so faithfully. Those of us who had known him -in the old days, observed that he seemed for the moment dazed and noted -with feelings of pity that in his great excitement he had forgotten to -extinguish his cigarette, an oversight that the Public was quick to -pardon in the old gentleman. - -Not long ago, wishing to verify one or two facts for an article I was -writing upon the life of the Early Victorian Era and knowing that Mr. -Sala was out [of] town, I paid a visit to the little house in Tite -Street. I found everything there neat and clean and, though, of course, -very simple and unpretentious, bearing witness to womanly care and -taste. As I was ushered into the little study, I fancied that I heard -the quickly receding _frou-frou_ of tweed trousers, but my host I -found reclining, hale and hearty, though a little dishevelled upon the -sofa. With one hand, readjusting the nut-brown Georgian wig that he -is accustomed to wear, he motioned me with a courteous gesture of the -other to an armchair. - -The old gentleman was unaffectedly pleased to receive a visit from -the outer world, for, though he is in most things “a praiser of past -times,” yet he is always interested to hear oral news of the present, -and many young poets can testify to the friendly interest in their -future taken by a man who is himself contented to figure in their past. -As it was, when I had enriched myself from the storehouse of his still -unclouded memory, we fell to talking about things in general, and I -was struck by the quaint humour which still pervades his talk as well -as by the delightfully old-fashioned way in which he rolls out his -well-rounded periods. Many a modern conversationalist, I thought, might -do worse than take a hint or two from his style. Nor has he lost any -of that old Irish readiness for which he was once famed. It is said -that a dinner given once at which many were present, Mr. Whistler, then -quite a young boy, perpetrated some daring epigram and Wilde, beaming -kindly across the table, said, to encourage him, “How I wish I had said -that!” Young impudence cried, “You will, Sir, you will.” “No. I won’t,” -returned the elder man, quick as thought and young impudence relapsed -into silence abashed. Since then, the old journalist has contracted -a strange habit of chuckling to himself inordinately at whatever he -says and to such a degree has this habit grown upon him that at the -last dinner-party he ever attended it was decided that he had the rare -faculty of keeping a whole table perfectly serious, whilst he himself -was convulsed with laughter. I think, however, it is only one of the -mannerisms of age and certainly I found him as amusing as ever he was -and as prone to utter those bulls which are an Irishman’s privilege -and are known in England by the rather pretentious name of paradox. -One instance will suffice. After we had chatted together for a while -somebody entered to say that an old lady had called for the character -of her new page-boy and as my host with his passion for literary work -seemed anxious to write it, I felt I had better take my leave. Just -as I was leaving the room I observed that the weather had become very -sultry and I feared we should have a storm. “Ah, yes,” was the reply, -“I expect we shall soon _see_ the thunder and _hear_ the lightning!” -How delightful a perversion of words! I left the old gentleman -chuckling immoderately at his little joke. - - - MAX BEERBOHM. - - - * * * * * - - - Transcriber’s Notes: - - ――A facsimile of author’s manuscript precedes the text content. - - ――Text in italics is enclosed by underscores (_italics_). - - ――Punctuation and spelling inaccuracies were silently corrected. - - ――Archaic and variable spelling has been preserved. - - ――Variations in hyphenation and compound words have been preserved. - -*** END OF THE PROJECT GUTENBERG EBOOK A PEEP INTO THE PAST *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. 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You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: A Peep into the Past</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Max Beerbohm</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: March 10, 2022 [eBook #67604]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Donald Cummings from images generously made available by The Internet Archive/American Libraries.)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK A PEEP INTO THE PAST ***</div> - - -<div class="figcenter" id="cover"> - <img src="images/cover.jpg" alt="cover" title="cover" /> -</div> - - - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p class="noi halftitle">A PEEP INTO THE PAST</p> -</div> - - - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p class="noi"><i>This Edition is limited to 300 copies printed from type -on Japan Vellum, and the type distributed.</i></p> -</div> - - - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<div class="figcenter" id="title_pg"> - <img src="images/title_pg.jpg" alt="title page" title="title page" /> -</div> -</div> - - - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h1 class="nobreak">A PEEP INTO THE PAST</h1> - -<p class="p2 noic">By</p> - -<p class="noi author">MAX BEERBOHM</p> - -<p class="p6 noic">PRIVATELY PRINTED</p> - -<p class="noic">1923</p> -</div> - - - - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum"><a id="Page_3"></a>[3]</span></p> - -<h2 class="nobreak" id="INTRODUCTION">INTRODUCTION</h2> -</div> - - -<p>This hitherto unpublished essay was written -by Max Beerbohm for the first number of <cite>The -Yellow Book</cite>, but it was held over to make way -for his famous <cite>Defence of Cosmetics</cite>, which duly -appeared in April, 1894. Whether this change -was made because of the impending Wilde scandal -it is, of course impossible to say with certainty, -but the probabilities favour this -explanation. The Wilde case did not come to -the ears of the general public until the spring -of 1895, just one year after the founding of <cite>The -Yellow Book</cite>, but literary London was aware -of what was happening long before that date, -and already in 1894 Wilde’s friends were very -anxious about the recklessness of his behaviour. -It is significant that Oscar Wilde, the archetype -of the Decadent Nineties, did not contribute -either to <cite>The Yellow Book</cite> or <cite>The Savoy</cite>, which -were the literary organs of that whole movement. -It is difficult not to see some connection -between the remarkable absence of Wilde’s name -from these periodicals and the fact that this brilliant -essay on him was never published.</p> - -<p>The essay itself is one of the deftest and cleverest<span class="pagenum"><a id="Page_4"></a>[4]</span> -pieces of writing which Max Beerbohm -has ever achieved. In it one can see how from -the very beginning of his career Beerbohm was -destined to be the satirist of the period with -which he is associated, although he never displayed -any of the qualities—or defects—of the -Decadents. No cartoon of his is more devastating -and illuminating than this solemn buffoonery -of Wilde in terms of a domesticity as -preposterous as Wilde’s own pose of diabolism. -At the same time Wilde had no more devoted -admirer or faithful friend. It is characteristic -of the good nature of Max’s satire that it does -not necessarily imply disapproval. It is just -his fun.</p> - - - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<div class="figcenter" id="i_manu1"> - <img src="images/i_manu1.jpg" alt="Page 1" title="Page 1" /> -</div> - -<div class="figcenter" id="i_manu2"> - <img src="images/i_manu2.jpg" alt="Page 2" title="Page 2" /> -</div> - -<div class="figcenter" id="i_manu3"> - <img src="images/i_manu3.jpg" alt="Page 3" title="Page 3" /> -</div> - -<div class="figcenter" id="i_manu4"> - <img src="images/i_manu4.jpg" alt="Page 4" title="Page 4" /> -</div> -</div> - - - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum"><a id="Page_9"></a>[9]</span></p> - -<h2 class="nobreak" id="PEEP">A PEEP INTO THE PAST</h2> -</div> - - -<p class="cap">Oscar Wilde! I wonder to how many -of my readers the jingle of this name suggests -anything at all? Yet, at one time, it -was familiar to many and if we search back -among the old volumes of Punch, we shall find -many a quip and crank out at its owner’s expense. -But time is a quick mover and many of us are -fated to outlive our reputations and thus, though -at one time Mr. Wilde, the old gentleman, of -whom we are going to give our readers a brief -account, was in his way quite a celebrity; today -his star is set, his name obscured in this busy, -changeful city.</p> - -<p>Once a welcome guest in many of our Bohemian -haunts, he lives now a life of quiet retirement in -his little house in Tite Street with his wife and his -two sons, his prop and mainstay, solacing himself -with many a reminiscence of the friends of his -youth, whilst he leaves his better-known brother, -William, to perpetuate the social name of the -family. Always noted for his tenacious memory, -it is one of the old gentleman’s keenest pleasures -to regale a visitor from the outer world with stories -of the late Mr. Frank Niles, Mr. Godwin, the<span class="pagenum"><a id="Page_10"></a>[10]</span> -architect, Mr. Robert Browning or the Earl of -Lytton, who was not the only member of the -upper ten thousand to honour Mr. Wilde with his -personal friendship. “All, all are gone, the old -familiar faces” and with the quiet resignation of -one who knows that he is the survivor of a bygone -day, Mr. Wilde tends more and more to exist in -its memory or to solace himself with the old classics -of which he was ever so earnest a student, with his -Keats and his Shakespeare, his Joseph Miller and -the literal translations of the Greek Dramatists. -Not that he is a mere <i lang="la" xml:lang="la">laudator temporis acti</i>, a -bibliophile and nothing more. He still keeps up -his writing, is still the glutton for work that he -always was. He has not yet abandoned his old -intention of dramatising Salome and the amount -of journalistic matter that he quietly produces and -contributes anonymously to various periodicals is -surprising. Only last year an undergraduate -journal called the <cite>Spirit Lamp</cite> accepted a poem of -his in which there were evidences that he has lost -little of his old talent for versification.</p> - -<p>Mr. Wilde is an early riser. Every morning, -winter and summer at 4:30 A. M. his portly form—(he -is in appearance not unlike Sir William -Harcourt and still stands six foot three in his -slippers)—may be seen bending over the little -spirit-kettle, at which he boils himself his cup of<span class="pagenum"><a id="Page_11"></a>[11]</span> -hot cocoa. Donning his work-a-day clothes, he -proceeds at once to his study and commences -work, continuing steadily to breakfast, which he -takes in company with his wife and sons. Himself -most regular in his habits, he is something of a -martinet about punctuality in his household and -perhaps this accounts for the constant succession -of page-boys, which so startles the neighbourhood. -Breakfast over, the master of the house enjoys his -modest cigarette—no costly cigar nor precious -meerschaum ever passes his lips—he is a strict -believer in simplicity of life as the handmaiden of -hard work. He never nowadays even looks at the -morning papers, so wholly has he cut himself off -from society, though he still goes on taking in the -Athenaeum, in the hopes that it may even now -do the same to him. So without dawdling over the -perusal of news, he immediately resumes work -and does not desist until the stroke of twelve, -when punctually he folds up his papers, wipes his -pen, puts away his books of references and starts -for an hour’s walk up and down the King’s Road, -Chelsea. With his tall, bowed figure, carefully -brushed silk hat and frockcoat which though old-fashioned -was evidently cut by a good tailor, old -Mr. Wilde is well-known to all frequenters of the -thoroughfare. The trades people, too, know him -well and often waylay him as he attempts to pass on.</p> - -<p><span class="pagenum"><a id="Page_12"></a>[12]</span></p> - -<p>After early dinner, the time is passed pleasantly -in reading Ruskin to his two youngsters; after that -more literary work, a light supper, a glass of grog -and bed-time. But not always rest! Often, his -good lady tells me, has she woken at three or four in -the morning to find her husband still sitting up -in bed or pacing up and down the bedroom in -parturition of that same joke of which he sketched -for her the outline as they were retiring to rest. -Yes, and it is in this indomitable perseverance, -this infinite capacity for taking pains, this “grit,” -as they call it in the North, that lies Mr. Wilde’s -secret. True that the whole body of his signed -works is very small—a book of parodies upon -Rossetti, a few fairy-tales in the manner of Hans -Anderson, an experimental novel in the style of -Poe, a volume of essays, which Mr. Pater is often -obliged blushingly to repudiate, a French play -written in collaboration with Mr. Louÿs and one -or two English ones in collaboration with Mr. -G. R. Sims. But surely we must judge an artist, -not so much by his achievement as by his methods -of procedure and though such a story as the -The Theory of Mr. W. S. (I came across a copy -of it lately at an old book-stall in Vigo Street) -occupied only the extreme middle of no more -than forty pages, the author has given me his word -that it took him six months hard unremitting -labour to complete.</p> - -<p><span class="pagenum"><a id="Page_13"></a>[13]</span></p> - -<p>After all, it is not so much as a literary man -that Posterity will forget Mr. Wilde, as in his old -capacity of journalist. The visit to America, that -is still so fresh in the old gentleman’s memory, -doubtless influenced his style in no small degree -and many an old pressman can testify to the great -vivacity and humour of their colleague, though -they may envy the indomitable vitality which -enables one so far past his meridian to continue -“producing.” Perhaps the most startling feature -of his career was the manner in which, putting -his broad shoulder to the wheel, he was able so -late in life to strike out into dramatic writing—a -branch that he had never till then attempted. -When Mr. Sydney Cooper contributed to the last -Academy but one a picture of a hunt scene, everyone -was surprised, but that Oscar Wilde should -have written a four act play and got it produced -by a London manager, fairly beat all records of -senile enterprises. We critics were really touched -and—who will blame us for it?—agreed to withhold -those criticisms which we should otherwise -have been forced to make upon the production. -It was a pretty occasion and anyone who was -present, as I was at the first night, will look back -with affection at its memory. The play itself a -chapter of reminiscences—the audience good natured -and respectful—the hearty calls of “Author”—and<span class="pagenum"><a id="Page_14"></a>[14]</span> -finally his appearance before the curtain, -bowing with old fashioned grace to the Public, -whom he has served so faithfully. Those of us -who had known him in the old days, observed that -he seemed for the moment dazed and noted with -feelings of pity that in his great excitement he had -forgotten to extinguish his cigarette, an oversight -that the Public was quick to pardon in the old -gentleman.</p> - -<p>Not long ago, wishing to verify one or two -facts for an article I was writing upon the life of -the Early Victorian Era and knowing that Mr. -Sala was out [of] town, I paid a visit to the little -house in Tite Street. I found everything there -neat and clean and, though, of course, very simple -and unpretentious, bearing witness to womanly -care and taste. As I was ushered into the little -study, I fancied that I heard the quickly receding -<em>frou-frou</em> of tweed trousers, but my host I found -reclining, hale and hearty, though a little dishevelled -upon the sofa. With one hand, readjusting -the nut-brown Georgian wig that he is -accustomed to wear, he motioned me with a -courteous gesture of the other to an armchair.</p> - -<p>The old gentleman was unaffectedly pleased to -receive a visit from the outer world, for, though he -is in most things “a praiser of past times,” yet he -is always interested to hear oral news of the<span class="pagenum"><a id="Page_15"></a>[15]</span> -present, and many young poets can testify to the -friendly interest in their future taken by a man -who is himself contented to figure in their past. -As it was, when I had enriched myself from the -storehouse of his still unclouded memory, we fell -to talking about things in general, and I was -struck by the quaint humour which still pervades -his talk as well as by the delightfully old-fashioned -way in which he rolls out his well-rounded periods. -Many a modern conversationalist, I thought, -might do worse than take a hint or two from his -style. Nor has he lost any of that old Irish -readiness for which he was once famed. It is said -that a dinner given once at which many were -present, Mr. Whistler, then quite a young boy, -perpetrated some daring epigram and Wilde, -beaming kindly across the table, said, to encourage -him, “How I wish I had said that!” -Young impudence cried, “You will, Sir, you will.” -“No. I won’t,” returned the elder man, quick as -thought and young impudence relapsed into silence -abashed. Since then, the old journalist has -contracted a strange habit of chuckling to himself -inordinately at whatever he says and to such a -degree has this habit grown upon him that at the -last dinner-party he ever attended it was decided -that he had the rare faculty of keeping a whole -table perfectly serious, whilst he himself was convulsed<span class="pagenum"><a id="Page_16"></a>[16]</span> -with laughter. I think, however, it is only -one of the mannerisms of age and certainly I -found him as amusing as ever he was and as prone -to utter those bulls which are an Irishman’s -privilege and are known in England by the rather -pretentious name of paradox. One instance will -suffice. After we had chatted together for a while -somebody entered to say that an old lady had -called for the character of her new page-boy and -as my host with his passion for literary work -seemed anxious to write it, I felt I had better take -my leave. Just as I was leaving the room I observed -that the weather had become very sultry and I -feared we should have a storm. “Ah, yes,” was -the reply, “I expect we shall soon <em>see</em> the thunder -and <em>hear</em> the lightning!” How delightful a perversion -of words! I left the old gentleman chuckling -immoderately at his little joke.</p> - - -<p class="right">MAX BEERBOHM.</p> - - - - -<hr class="chap" /> -<div class="tnote"> -<p class="noi tntitle">Transcriber’s Notes:</p> - -<p class="smfont">A facsimile of author’s manuscript precedes the text content.</p> - -<p class="smfont">Punctuation and spelling inaccuracies were silently corrected.</p> - -<p class="smfont">Archaic and variable spelling has been preserved.</p> - -<p class="smfont">Variations in hyphenation and compound words have been preserved.</p> -</div> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK A PEEP INTO THE PAST ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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