David Ellis
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780199546657
- eISBN:
- 9780191701443
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199546657.003.0022
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter discusses the lives and works of Max Beerbohm and Enoch Soames. Max Beerbohm published an elegant and ingenious short story about literary fame in 1919, while Enoch Soames is a typical ...
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This chapter discusses the lives and works of Max Beerbohm and Enoch Soames. Max Beerbohm published an elegant and ingenious short story about literary fame in 1919, while Enoch Soames is a typical poet from the 1890s, outlandishly dressed and devoted to French literature. When Beerbohm meets Soames, Soames confesses his frustration and admits that a great artist's faith in himself, and in the verdict of posterity, is not enough to keep him happy.Less
This chapter discusses the lives and works of Max Beerbohm and Enoch Soames. Max Beerbohm published an elegant and ingenious short story about literary fame in 1919, while Enoch Soames is a typical poet from the 1890s, outlandishly dressed and devoted to French literature. When Beerbohm meets Soames, Soames confesses his frustration and admits that a great artist's faith in himself, and in the verdict of posterity, is not enough to keep him happy.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0010
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This chapter suggests a new reading of one of Pound's most contested works in terms of the contexts provided in Part I. In particular, Pound's parody of aestheticism is compared to Beerbohm's in ...
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This chapter suggests a new reading of one of Pound's most contested works in terms of the contexts provided in Part I. In particular, Pound's parody of aestheticism is compared to Beerbohm's in Seven Men. The critical tradition has been excessively preoccupied with trying to identify the speakers and ‘originals’ of each section of Mauberley. It argues that, seen in relation to the growing interest in portrait collections, composite portraiture, the disturbances in auto/biography, and imaginary art‐works, this poem sequence can be read as a parody of the forms of literary memoir, through which Pound also explores autobiography.Less
This chapter suggests a new reading of one of Pound's most contested works in terms of the contexts provided in Part I. In particular, Pound's parody of aestheticism is compared to Beerbohm's in Seven Men. The critical tradition has been excessively preoccupied with trying to identify the speakers and ‘originals’ of each section of Mauberley. It argues that, seen in relation to the growing interest in portrait collections, composite portraiture, the disturbances in auto/biography, and imaginary art‐works, this poem sequence can be read as a parody of the forms of literary memoir, through which Pound also explores autobiography.
