Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

From its magnificent first sentence, "None, it is said, of all who revelled with the Regent, was half so wicked as Lord George Hell..." The Happy Hypocrite exerts a hypnotizing charm. Sir Max Beerbohm's 'fairy tale for tired men' is one of the pinnacles of 1890s chic and elegance. His famously rich style, laced with equal parts of tenderness and severity, serves up a story of love, and, more importantly, what we will do for it. George Hell's life as a Regency buck is turned upside down when Jenny Mere, a dancer, arrives in his life. It only remains for him to live up to the pure expectations of this lowly girl. Will he succeed, or will his old wicked habits die hard? Will the world let him forget them? He decides that certain extraordinary measures are necessary to achieve this lofty aim, but never guesses just how much power his love has - and is miraculously transformed. First published in Volume XI of the legendary Yellow Book in 1896, this beautiful fable crowned Beerbohm's reputation as a weaver of glorious fabrics of prose. This edition reproduces George Sheringham's splendid illustrations, first seen in the edition of 1915. Born in 1872, Max Beerbohm was a regular contributor to magazines, a playwright, a novelist and, crucially, an essayist and caricaturist. He married Florence Kahn in 1910; they moved to Rapallo in Italy and stayed there, apart from the periods of the two world wars, for the rest of their lives. Knighted in 1939, Sir Max died in 1956.

Yesterday I found in a cupboard an old, small, battered portmanteau which, by the initials on it, I recognised as my own property. The lock appeared to have been forced. I dimly remembered having forced it myself, with a poker, in my hot youth, after some

If I were seeing over' a house, and found in every room an iron cage let into the wall, and were told by the caretaker that these cages were for me to keep lions in, I think I should open my eyes rather wide. Yet nothing seems to me more natural than a fire in the grate. oubtless, when I began to walk, one of my first excursions was to the fender, that I might gaze more nearly at the live thing roaring and raging behind it; and I dare say I dimly wondered by what blessed dispensation this creature was allowed in a domain so peaceful as my nursery. I do not think I ever needed to be warned against scaling the fender. I knew by instinct that the creature within it was dangerous - fiercer still than the cat which had once strayed into the room and scratched me for my advances. As I grew older, I ceased to wonder at the creature's presence and learned to call it the fire, ' quite lightly. There are so many queer things in the world that we have no time to go on wondering at the queerness of the things we see habitually. It is not that these things are in themselves less queer than they at first seemed to us. It is that our vision of them has been dimmed.

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.