The Works of Max Beerbohm · Chapters
Chapters explained
Chapter companions for The Works of Max Beerbohm by Max Beerbohm.
Chapter 1
Epigraph
The epigraph presents a portrait of the author as a scholar, quietly assured in his achievements and resolute in his intention not to offend.
Chapter 2
The Works of Max Beerbohm
A bibliography of the works of Max Beerbohm, compiled by John Lane.
Chapter 3
Dandies and Dandies
Beerbohm reflects on the philosophy and practice of dandyism, arguing that the true dandy is an artist who works within the conventions of his age, exemplified by the legacy of Beau Brummell. He contrasts Brummell's restrained, enduring style with the more flamboyant but ultimately lesser art of Count D'Orsay, and discusses the social, aesthetic, and psychological reasons for the triumph of modern costume.
Chapter 4
A Good Prince
The narrator describes an encounter with a young prince in the Green Park, praising his serene demeanor and the public's adoration. The prince's life is portrayed as simple and blameless, with only a single scandalous incident mentioned—striking the wife of an ex-Premier. The narrative highlights the prince's innocence, his fondness for a pet lamb, and the public's sympathy during his teething pains, ending with a hopeful note on his future.
Chapter 5
1880
The author reflects on the social and aesthetic transformation of English society around 1880, marking the rise of the Aesthetic movement, the Mashers, and the convergence of art and high society. He critiques the limitations of contemporary memoirs and newspapers for historical research, and highlights key political figures and cultural shifts that defined the era.
Chapter 6
King George the Fourth
This chapter presents a revisionist defense of King George IV, arguing that he has been unfairly maligned by historians like Thackeray. It portrays George as a giver of tone who brought refinement to society, a patron of the arts, and a figure whose life was a poem in praise of pleasure. The essay critiques the moralizing Victorian perspective and emphasizes the aesthetic unity of George's life, from his flamboyant reign to his secluded, decadent decline.
Chapter 7
The Pervasion of Rouge
Beerbohm argues that the Victorian era's obsession with naturalness and simplicity is ending, and a new epoch of artifice and cosmetics is dawning. He defends the use of makeup as a means for women to achieve perfection and control over their expression, linking it to broader cultural shifts toward gambling and elaborate living. He critiques the hypocrisy of those who decry artifice while embracing it, and predicts that the 'era of rouge' will elevate both women and society.
Chapter 8
Poor Romeo!
The chapter recounts the disastrous theatrical debut of Mr. Coates as Romeo in Bath, his subsequent humiliation by Miss Tylney Long, and his descent into eccentric dandyism and notoriety. The narrator investigates conflicting accounts, uncovers the role of Miss Tylney Long's cruel letter, and reflects on Coates's tragicomic legacy.
Chapter 9
Diminuendo
Beerbohm reflects on his disillusionment at Oxford, his encounter with Walter Pater, and his decision to retreat from the chaotic modern world into a quiet suburban life dedicated to intellectual contemplation rather than active pursuit of sensation.
Chapter 10
The Works of Max Beerbohm
A bibliography of the works of Max Beerbohm, compiled by John Lane.
Chapter 11
The Bibliography of the Works of Max Beerbohm
This chapter presents a chronological bibliography of Max Beerbohm's published works from 1886 to 1896, listing his early writings, caricatures, and contributions to periodicals such as The Yellow Book, The Sketch, and Pick-Me-Up, with notes on reprints and parodies.
Chapter 12
Personalia
This chapter collects biographical notices and interviews about Max Beerbohm, including his birth announcement, interviews from The Sketch and Woman magazine, and details of his residence after leaving Oxford.
Chapter 13
Portraits of Mr. Max Beerbohm
A collection of portraits and references to Max Beerbohm from various publications and artists, including a sketch from 'The Sketch,' a lithograph from 'Oxford Characters' by Will Rothenstein, a pastel by an unknown artist, a painting by Walter Sickert featuring King George IV, and a mention in 'Woman' magazine.
Chapter 14
Endnotes
The endnotes provide citations, explanations, and contextual anecdotes related to the main text, including references to Lady Freake's salon, the 'Jersey Lily' epithet for Mrs. Langtry, the introduction of a dance step by the Prince of Wales, a contemporary description of aesthetic costumes, a note on James Whistler, and etymological theories for the term 'Masher'.
