Max Beerbohm’s Poet Caricatures
|October 18, 2012|
A selection of poet caricatures by Max Beerbohm.
Coleridge, table-talking, 1904
Oscar Wilde, 1916
Henrik Ibsen, Receiving Mr William Archer in Audience, 1904
Lord Byron, shaking the dust of England from his shoes, 1904
Riverside Scene. Algernon Swinburne Takes his Great New Friend Gosse to See Gabriel Rossetti, 1916
Mr. Matthew Arnold. To him, Miss Mary Augusta, his niece: “Why Uncle Matthew, oh why, will you not be always wholly serious”, 1904
Ned [Burne-Jones] and Topsy [William Morris] settled in the settle at Red Lion Square, 1917
William Shakespeare, his method of work, 1904
Robert Burns, having set his hand to the plough, looks back at Highland Mary, 1904
Inherent Vice’s Two Directions
The jokes certainly strike one as sophomoric and the latter one as clichéd, further below Pynchon’s intelligence than one would like to think he would stoop, at least in print. Discounting them and moving on, or throwing the book across the room as Parker half implies we should do, however, would be to lose sight of “that high magic to low puns”.
Auden, Larkin and Love
I was prompted to revisit these ancient questions anew by a long footnote about a single line in the new Complete Poems edition of Philip Larkin’s poetry. The footnote refers to “An Arundel Tomb” contains a provocative remark about that the poem’s celebrated, controversial, closing line, the one about the true nature of immortality: “What will survive of us is love.”
Plato, Our Comrade?
Not surprisingly, there have already been critics of Badiou’s translation. The first is that his translation breaks the formal rules of translation to such a degree that the original meaning of the text has lost its significance. But this critique is inadequate at face value because Badiou’s hyper-translation is forthright in its intention of taking Plato’s concepts and modifying them into his own lexicon.