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diff --git a/old/67604-h/67604-h.htm b/old/67604-h/67604-h.htm deleted file mode 100644 index 576be61..0000000 --- a/old/67604-h/67604-h.htm +++ /dev/null @@ -1,1008 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - - <title> - A Peep into the Past, by Max Beerbohm—A Project Gutenberg eBook - </title> - - <link rel="coverpage" href="images/cover.jpg" /> - - <style type="text/css"> - -/* DACSoft styles */ - -body { - margin-left: 10%; - margin-right: 10%; -} - -/* General headers */ -h1 { - text-align: center; /* all headings centered */ - clear: both; -} - -/* Chapter headers */ -h2 { - text-align: center; - font-weight: bold; - margin: .75em 0; -} - -div.chapter { - page-break-before: always; -} - -.nobreak { - page-break-before: avoid; -} - -/* Indented paragraph */ -p { - margin-top: .51em; - margin-bottom: .49em; - text-align: justify; - text-indent: 1em; -} - -/* Unindented paragraph */ -.noi {text-indent: 0em;} - -/* Centered unindented paragraph */ -.noic { - text-indent: 0em; - text-align: center; -} - -/* Drop caps */ -p.cap {text-indent: 0em;} - -p.cap:first-letter { - float: left; - padding-right: 3px; - font-size: 250%; - line-height: 83%; -} - -.x-ebookmaker p.cap:first-letter { - float: left; - padding-right: 3px; - font-size: 250%; - line-height: 83%; -} - -/* Non-standard paragraph margins */ -.p2 {margin-top: 2em;} -.p6 {margin-top: 6em;} - -/* Horizontal rules */ -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: 33.5%; - margin-right: 33.5%; - clear: both; -} - -hr.chap { - width: 65%; - margin-left: 17.5%; - margin-right: 17.5%; -} - -/* Physical book page and line numbers */ -.pagenum { /* uncomment the next line for invisible page numbers */ - /* visibility: hidden; */ - position: absolute; - right: 3%; -/* left: 92%; */ - font-size: x-small; - font-style: normal; - font-weight: normal; - font-variant: normal; - text-align: right; - color: gray; -} /* page numbers */ - -/* Alignment */ -.right {text-align: right;} - -/* Small fonts and lowercase small-caps */ -.smfont { - font-size: .8em; -} - -/* Illustration caption */ -/* Images */ -img { - max-width: 100%; /* no image to be wider than screen or containing div */ - height:auto; /* keep height in proportion to width */ -} - -.figcenter { - margin: auto; - text-align: center; - page-break-inside: avoid; - max-width: 90%; /* div no wider than screen, even when screen is narrow */ -} - -/* Transcriber's notes */ -.tnote { - background-color: #E6E6FA; - margin-left: 10%; - margin-right: 10%; - padding: .5em; -} - -.tntitle { - font-size: 1.25em; - font-weight: bold; - text-align: center; - clear: both; -} - -/* Title page borders and content. */ -.halftitle { - font-size: 1.5em; - text-align: center; - clear: both; -} - -.author { - font-size: 1.25em; - text-align: center; - clear: both; -} - - </style> - </head> -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of A Peep into the Past, by Max Beerbohm</p> -<div style='display:block; margin:1em 0'> -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 <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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