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72 PEACOCK in it. He terrified a meek curate, who came to persuade him to leave his burning home, by shouting at him, " By the immortal gods I will not move." He carried on a desultory full of correspondence with Lord Broughton, literary humour and literary sentiment. He practised small benevolences and small tyrannies, liked to see smiling faces about him, and declined to believe seriously in the unhappiness of others. He was a thoroughly good-natured, selfish old man. In old age he had to pay the penalty that awaits those who live by the head and not by the heart. He had kind acquaintances, but he had no real friends. He had nothing to look back upon but a series of more or less amusing events and a tale of successful achievements no high enterprises, no splendid failures, no passionate affections. Before him lay nothing but his books, his dinner, and a literary reputation. Capable biographers can make pretty pictures of the white-haired scholar surrounded by his favourite authors. They can turn his petulant limitations and querulous prejudices into exquisite foibles, his despotisms into quaint impetuosity, his insensibility to human want and misery into mellow wisdom. But we cannot forget that the last years of those who have never pas-
PEACOCK 73 sionately pursued impossible ideals or loved imperfect human beings are probably more attractive to the biographers who record than to the men and women who have to endure them.
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LIBRARY of CALIFORNIA MHDtC0 LMMvct
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POT-BOILERS BT CLIVE BELL T LONDON
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CONTENTS PAGE FOREWORD i MONTAIGNE
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FOREWORD DEAR GEOFFREY WHITWORTH, C
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FOREWORD 3 Naturally, by so obligin
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FOREWORD 5 I have said that the edi
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FOREWORD 7 I write more fluently no
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FOREWORD 9 amiss with Mr. Bennett's
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FOREWORD ii is bound to turn the be
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FOREWORD 13 " La Princesse de Cleve
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FOREWORD 15 Mr. Bennett is not so w
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MONTAIGNE IN FACSIMILE 1 LET it be
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MONTAIGNE 19 Montaigne was thorough
Page 33 and 34: MONTAIGNE 21 by, his subject, but,
Page 35 and 36: MONTAIGNE 23 moral code and the met
Page 37 and 38: MONTAIGNE 25 Indeed, this admiratio
Page 39 and 40: MONTAIGNE 27 not inappropriate, the
Page 41 and 42: IBSEN 29 the romantic, invited to s
Page 43 and 44: IBSEN 31 political thinker or a soc
Page 45 and 46: IBSEN 33 greatness of Ibsen's art t
Page 47 and 48: IBSEN 35 or his life to the ideal,
Page 49 and 50: IBSEN 37 Ibsen's social and politic
Page 51 and 52: IBSEN 39 tolerate. Men long for the
Page 53 and 54: MISS COLERIDGE i THE greatest art i
Page 55 and 56: MISS COLERIDGE 43 without demur tha
Page 57 and 58: MISS COLERIDGE 45 Here is the first
Page 59 and 60: MISS COLERIDGE 47 a shrinking fasti
Page 61 and 62: MISS COLERIDGE 49 picture. Her life
Page 63 and 64: PEACOCK 51 are as amateurish as the
Page 65 and 66: PEACOCK 53 was folly, who judged ev
Page 67 and 68: PEACOCK 55 century living in the ni
Page 69 and 70: PEACOCK 57 the Conservative party ;
Page 71 and 72: PEACOCK 59 Peacock's attitude towar
Page 73 and 74: PEACOCK 61 curiosity and ; just as
Page 75 and 76: PEACOCK 63 A letter to Hookham, dat
Page 77 and 78: PEACOCK 65 who claims attention for
Page 79 and 80: PEACOCK 67 His epitaph I wrote, as
Page 81 and 82: PEACOCK 69 his relations with Shell
Page 83: PEACOCK 71 most entertaining, and p
Page 87 and 88: BOSWELL'S LETTERS 75 they created a
Page 89 and 90: BOSWELL'S LETTERS 77 the sheer trut
Page 91 and 92: BOSWELL'S LETTERS 79 Boswell tells
Page 93 and 94: BOSWELL'S LETTERS 81 plexities bese
Page 95 and 96: CARLYLE'S LOVES AND LETTERS 83 ten
Page 97 and 98: CARLYLE'S LOVES AND LETTERS 85 tere
Page 99 and 100: CARLYLE'S LOVES AND LETTERS 87 What
Page 101 and 102: CARLYLE'S LOVES AND LETTERS 89 with
Page 103 and 104: CARLYLE'S LOVES AND LETTERS 91 gues
Page 105 and 106: CARLYLE'S LOVES AND LETTERS 93 degr
Page 107 and 108: CARLYLE'S LOVES AND LETTERS 95 high
Page 109 and 110: CARLYLE'S LOVES AND LETTERS 97 a gr
Page 111 and 112: THE LYSISTRATA 1 At XdjOtrey Te/xev
Page 113 and 114: Rogers to give THE LYSISTRATA 101 u
Page 115 and 116: THE LYSISTRATA 103 and arguments od
Page 117 and 118: THE LYSISTRATA 105 war, came forth
Page 119 and 120: THE LYSISTRATA 107 ludicrous ; but
Page 121 and 122: THE LYSISTRATA 109 Fiercely they st
Page 123 and 124: THE LYSISTRATA in artist than party
Page 125 and 126: THE LYSISTRATA 113 Have inspired th
Page 127 and 128: TRELAWNY'S LETTERS 1 ANY one who ha
Page 129 and 130: TRELAWNY'S LETTERS 117 book we find
Page 131 and 132: TRELAWNY'S LETTERS 119 As Trelawny
Page 133 and 134: TRELAWNY'S LETTERS 121 though he co
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TRELAWNY'S LETTERS 123 we should ha
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TRELAWNY'S LETTERS 125 are his lite
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SOPHOCLES IN LONDON 127 realism and
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SOPHOCLES IN LONDON 129 And what is
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SOPHOCLES IN LONDON 131 our eccentr
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SOPHOCLES IN LONDON 133 the latest
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THE FLIGHT OF THE DRAGON * No one w
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THE FLIGHT OF THE DRAGON 137 nings
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THE FLIGHT OF THE DRAGON 139 ripe a
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Greek or Christian in the primitive
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THE FLIGHT OF THE DRAGON 143 the sp
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THE FLIGHT OF THE DRAGON 145 jobber
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WILLIAM MORRIS 147 " William Morris
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WILLIAM MORRIS 149 that much of the
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WILLIAM MORRIS 151 in the Floods "
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WILLIAM MORRIS 153 next morning for
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WILLIAM MORRIS 155 affairs and priv
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PERSIAN MINIATURES 157 1258 (the ye
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PERSIAN MINIATURES 159 thirteenth c
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PERSIAN MINIATURES 161 It is, in fa
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PERSIAN MINIATURES 163 I will sugge
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COUNTERCHECK QUARREL- SOME I HASTEN
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COUNTERCHECK QUARRELSOME 167 does n
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169 the beauty of gems or of a butt
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COUNTERCHECK QUARRELSOME 171 The po
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COUNTERCHECK QUARRELSOME 173 they h
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THE LONDON SALON 175 But there is m
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THE LONDON SALON 177 how admirable
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II ENGLISH POST-IMPRESSIONISTS IT i
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ENGLISH POST-IMPRESSIONISTS 181 for
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ENGLISH POST-IMPRESSIONISTS 183 int
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ENGLISH POST-IMPRESSIONISTS 185 I c
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ENGLISH POST-IMPRESSIONISTS 187 the
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AN EXPENSIVE " MASTERPIECE " 189 I
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AN EXPENSIVE " MASTERPIECE " 191 ow
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AN EXPENSIVE " MASTERPIECE " 193 ar
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MARCHAND 195 5) would have been jus
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MARCHAND 197 shall be glad to hear
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V THE MANSARD GALLERY 1 THE collect
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THE MANSARD GALLERY 201 appreciate
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THE MANSARD GALLERY 203 ever, more
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THE MANSARD GALLERY 205 lacks sensi
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THE MANSARD GALLERY 207 saying so.
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CONTEMPORARY ART IN ENGLAND ONLY la
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CONTEMPORARY ART 211 and independen
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CONTEMPORARY ART 213 is tolerated b
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CONTEMPORARY ART 215 far more intel
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CONTEMPORARY ART 217 to visit the L
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CONTEMPORARY ART 219 before a great
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CONTEMPORARY ART 221 tending ever t
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CONTEMPORARY ART 223 burgher who ma
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CONTEMPORARY ART 225 its too willin
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CONTEMPORARY ART 227 Our critics an
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CONTEMPORARY ART 229 of the Royal A
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ART AND WAR* AN acquaintance of min
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ART AND WAR 233 between ends and me
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ART AND WAR 235 them there are bett
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ART AND WAR 237 had escaped restora
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ART AND WAR 239 emotion or the pass
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ART AND WAR 241 continued existence
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ART AND WAR 243 is my mission. They
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ART AND WAR 245 Kublai Khan, that c
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BEFORE THE WAR IT is to me a strang
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BEFORE THE WAR 249 and some of the
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BEFORE THE WAR 251 essence of socie
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BEFORE THE WAR 253 with Beardsleyes
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BEFORE THE WAR 255 beneath the scan
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ABBAS, Shah, 163 Abbassi, Riza, 162
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Marinetti, 88 Marivaux, 9, 10 Marqu
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BY THE SAME AUTHOR ART Fourth Impre
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PRESS OPINIONS ON "ART" " Mr. Bell
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