Books by Max Beerbohm

George Hell is a shallow man, fond of gambling, drinking, and womanizing. Set in his socialite ways, George does whatever it takes to satisfy his desires. However, when cupid strikes George with his arrow, his lavish life is thrown into disarray. Now head over heels for a young dancer named Jenny, George immediately proposes to her, confident that no woman can resist him. But, after Jenny rejects George, claiming that she would only marry a man with the face of a saint, George is forced to reflect on his lifestyle. First, he attempts to buy a solution, going to a shop to buy a mask of a saint's face. Now assuming a new identity of George Heaven, George proposes to Jenny once again, hoping that his new identity will trick Jenny into falling in love with him. When she agrees to marry him, George is delighted that his plan worked, but cannot abandon his charade. Slowly, with the help of Jenny's love, George is able to let go of his vain nature, growing to be a better person. However, as Jenny and George enjoy their new, happy life, George's ex-lover, La Gambogi, resents the sentiment. Determined to prove that George is not the man he says he is, La Gambogi sets out to expose George's true face. Featuring masterful storytelling and themes of redemption, true love, and morality, The Happy Hypocrite by Max Beerbohm is a bright comedy with a valuable message. With complex characters and exemplary prose, Beerbohm's work is clever and entertaining, inspiring laughter and reflection. First published in 1897, The Happy Hypocrite continues to be humorous centuries later, appealing to the wit of modern readers. This edition of The Happy Hypocrite by Max Beerbohm features an eye-catching new cover design and is printed in a font that is both modern and readable. With these accommodations, The Happy Hypocrite caters to a contemporary audience while preserving the original levity of Beerbohm's work.

In 1909, ten years had elapsed since Max Beerbohm's last volume of essays. In the time which had passed, his style had evolved to become a little more elegiac, a little less over-consciously clever. Yet Again gave full voice to his new mode, moulded by constant journalism into a superb clear flow. Still present are trenchantly funny criticism of banality, gorgeous erudition, countered expectations and, most of all, delicious irony. In ¿Seeing People Off we are asked to examine the terrible truth behind awkward goodbyes; in A Club in Ruins the strange and lugubrious magnetism of dying buildings is surveyed; in Ichabod¿ the author shamefacedly asks himself why he should mind that all the labels have been cleaned from his luggage; in The House of Commons Manner he bemoans the surprising lack of skill in speaking of the august members of that house; and in Dulcedo Judiciorum a full account is rendered of the superiority of the entertainment provided by the law courts over that of the theatre. Alongside seventeen other brilliant essays, there is here also a special section of nine imaginative depictions inspired by famous artworks.

Max Beerbohm presents in More a collection of twenty brilliantly amusing essays. In a wide-ranging tour through both the inspiring and the ridiculous in English fin de siecle society, Beerbohm casts a veiled critical drubbing here, and a wistful though sprightly appreciation there, thoroughly entertaining us and accurately spearing his victims. Some of his most noted work appeared in this second little volume when it was first published in 1899. In "Punch" he asks us if the magazine's terrible dullness is not our own fault; in An Infamous Brigade the question is revolved as to whether the fire engine is not an infernal machine designed to dampen our pleasure; in The Blight on the Music Halls we must critically consider the relative merits of vulgarity and refinement; in Ouida the famed enthusiastic author's wild colour and occasional infelicities are justly celebrated; in Arise, Sir - -! the decorations offered to literary time-servers are the saucy target; in A Cloud of Pinafores the cult of childlike simplicity tempts the author's tongue, and sharpens its point... With razor-edged wit and a perfect ear for irony, Max Beerbohm delivers us in More twenty further reasons to call him the finest, and funniest, essayist of his era.

Max Beerbohm's erudite wit and playful conceits represent the pinnacle of the Aesthetic period's capacity to laugh at itself whilst celebrating itself. This book was the author's first, and was presented by him (with tongue lodged firmly in cheek) as a 'collected works', an august memorial to a brilliant career. Included are all seven of his major early essays: Dandies and Dandies on the important distinction between true Regency foppery and its cruder modern notion; A Good Prince portraying the future Edward VIII as an already demanding baby monarch; 1880 and its very recent but already intriguingly faded charms; King George the Fourth rigorously reappraising the Regent; The Pervasion of Rouge celebrating the return of artifice after far too long a naturalcy; Poor Romeo! imagining the story behind a laughing-stock of the Regency stage; and Diminuendo charting the author's own course, firstly to disillusion, and then to retirement in outmoded greatness at the age of 23! Though these essays were justly acclaimed in their time, their magnificence is such that they also demand the highest accolades in ours, replete as they are with undiminished colour and spectacle, humour and barbed excellence. MAX BEERBOHM was born in 1872. He attended Merton College in Oxford, but left without completing his degree. He was a regular contributor to magazines (where these essays originally appeared) and a caricaturist of world renown. He married Florence Kahn in 1910. They moved to Rapallo in Italy and stayed there, apart from the period of the two world wars, for the rest of their lives. Knighted in 1939, Sir Max died in 1956.

Originally published in 1943, this book presents the content of the Rede Lecture for that year, which was delivered by Max Beerbohm at Cambridge University. This book will be of value to anyone with an interest in Lytton Strachey and the Bloomsbury Group.