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  PRAISE FOR ZULEIKA DOBSON

  AND MAX BEERBOHM

  “Mr. Beerbohm in his way is perfect … He has brought personality into literature, not unconsciously and impurely, but so consciously and purely that we do not know whether there is any relation between Max the essayist and Mr. Beerbohm the man. We only know that the spirit of personality permeates every word that he writes … He is without doubt the prince of his profession.”

  —VIRGINIA WOOLF

  “Beerbohm was a genius of the purest kind. He stands at the summit of his art.”

  —EVELYN WAUGH

  “Zuleika Dobson is a highly accomplished and superbly written book whose spirit is farcical. It is a great work—the most consistent achievement of fantasy in our time … So funny and charming, so iridescent yet so profound.”

  —E. M. FORSTER

  “Perfectly delightful … All style and wit, a pretty fantasy served up in exquisite, ornamented prose.”

  —MICHIKO KAKUTANI

  “I read Zuleika Dobson with pleasure. It represents the Oxford that the two World Wars have destroyed with a charm that is not likely to be reproduced anywhere in the world for the next thousand years.”

  —BERTRAND RUSSELL

  “Of comic novels that have quaffed the elixir of ‘classic’: Zuleika Dobson by Max Beerbohm.”

  —CYNTHIA OZICK

  “Among the masked dandies of Edwardian comedy, Max Beerbohm is the most happily armored by a deep and almost innocent love of himself as a work of art.”

  —V. S. PRITCHETT

  “In his best stories there is more than a whisper of magic realism—a murmur, however distant, of questions about the nature of reality.”

  —JOHN MORTIMER

  “Elegantly stylized satire.”

  —THE NEW YORKER

  “Erudite and lively.”

  —THE VILLAGE VOICE

  “Graceful, witty, and charming.”

  —SEWANEE REVIEW

  “Max Beerbohm, I dare say (and I believe it has been said before), is the most subtly gifted English essayist since Charles Lamb. It is not surprising that he has (now for many years) been referred to as ‘the incomparable Max,’ for what other contemporary has never once missed fire, never failed to achieve perfection in the field of his choice? Whether in caricature, short story, fable, parody, or essay, he has always been consummate in grace, tact, insouciant airy precision.”

  —CHRISTOPHER MORLEY

  “The greatest of English comic artists.”

  —THE TIMES (LONDON)

  “A perfect fantasy.”

  —THE NEW YORK REVIEW OF BOOKS

  “There is no doubt about the cool irony of the style, or the fact that it’s unlike any other book that’s ever been written.”

  —THE NEW YORK TIMES

  “Quintessentially English comic novel: sparkling with irony and affectionate critique of a country.”

  —THE WEEKLY STANDARD

  “If Zuleika Dobson is too frivolous to be certified as ‘canonical,’ it is clearly a perennially revivable minor classic, uniquely redolent of a particular time and place.”

  —L. A. TIMES

  ZULEIKA DOBSON

  SIR HENRY MAXIMILIAN “MAX” BEERBOHM (1872–1956) was the youngest of nine children born in London to well-to-do Lithuanian immigrants. As a boy he showed no propensity for writing or artwork, but despite the lack of formal training, upon entering Merton College, Oxford, he quickly became known for his essays and caricatures (and for being a dandy). When The Strand Magazine published thirty-six of his drawings in 1892, his career took off, and he left school without a degree. (Oxford would later give him an honorary degree.) He went to America briefly, to write press releases for his brother’s theatrical company, then returned to England and wrote essays and drew caricatures for his friend Aubrey Beardsley’s The Yellow Book magazine, among other publications. Some of his work around this time concerned the trial of Oscar Wilde, whom he’d befriended while a student. The trial, particularly Wilde’s defense of “the love that dare not speak its name,” moved him greatly. In 1896, he published his first book, a collection of his essays called The Works of Max Beerbohm, and the first of many collections of his caricatures, Caricatures of Twenty-five Gentlemen. Two years later he succeeded George Bernard Shaw as drama critic for the Saturday Review, a position he retained until 1910, when he married American actress Florence Kahn (Evelyn Waugh speculated it was a mariage blanc), and moved to a house overlooking the Mediterranean in Rapallo, Italy. Despite Florence’s death, in 1951, and despite becoming popular in England as a BBC commentator, Beerbohm would remain in Italy until his own death, decades later at age eighty-three, just after marrying his former secretary and companion, Elisabeth Jungmann.

  SARA LODGE, a senior lecturer in English at the University of St. Andrews, is the author of Thomas Hood and Nineteenth-Century Poetry: Work, Play, and Politics and Jane Eyre: A Reader’s Guide to Criticism.

  THE NEVERSINK LIBRARY

  I was by no means the only reader of books on board the Neversink. Several other sailors were diligent readers, though their studies did not lie in the way of belles-lettres. Their favourite authors were such as you may find at the book-stalls around Fulton Market; they were slightly physiological in their nature. My book experiences on board of the frigate proved an example of a fact which every book-lover must have experienced before me, namely, that though public libraries have an imposing air, and doubtless contain invaluable volumes, yet, somehow, the books that prove most agreeable, grateful, and companionable, are those we pick up by chance here and there; those which seem put into our hands by Providence; those which pretend to little, but abound in much. —HERMAN MELVILLE, WHITE JACKET

  ZULEIKA DOBSON

  Originally published by William Heinemann, London, 1911

  Copyright © 1911 by Sir Henry Maximilian Beerbohm

  Afterword copyright © 2014 by Sara Lodge

  A modified version of the afterword was first published in the

  December 26, 2011, issue of The Weekly Standard.

  Melville House Publishing

  145 Plymouth Street

  Brooklyn, NY 11201

  and

  8 Blackstock Mews

  Islington

  London N4 2BT

  mhpbooks.com facebook.com/mhpbooks @melvillehouse

  Library of Congress

  Cataloging-in-Publication Data

  Beerbohm, Max, Sir, 1872–1956.

  Zuleika Dobson : or, An Oxford love story / Max Beerbohm.

  pages cm.

  ISBN 978-1-61219-292-5 (pbk.)

  ISBN 978-1-61219-293-2 (ebk.)

  1. College students—Fiction. 2. Oxford (England)—

  Fiction. I. Title. II. Title: Zuleika Dobson. III. Title: Oxford

  love story.

  PR6003.E4Z4 2014

  823′.912—dc23

  2013037392

  Design by Christopher King

  v3.1

  Contents

  Cover

  Title Page

  Copyright

  Dedication

  Chapter I

  Chapter II

  Chapter III

  Chapter IV

  Chapter V

  Chapter VI

  Chapter VII

  Chapter VIII

  Chapter IX

  Chapter X

  Chapter XI

  Chapter XII

  Chapter XIII

  Chapter XIV

  Chapter XV

  Chapter XVI

  Chapter XVII

  Chapter XVIII

  Chapter XIX

  Chapter XX

  Chapter XXI

  Chapter XXII

  Chapter XXIII

  Chapter XXIV
>
  Afterword: By Sara Lodge

  Illi Almae Matri

  A NOTE TO THE 1922 EDITION

  I was in Italy when this book was first published. A year later (1912) I visited London, and I found that most of my friends and acquaintances spoke to me of Zu-like-a—a name which I hardly recognised and thoroughly disapproved. I had always thought of the lady as Zu-leek-a. Surely it was thus that Joseph thought of his Wife, and Selim of his Bride? And I do hope that it is thus that any reader of these pages will think of Miss Dobson.

  M.B.

  Rapallo, 1922

  I

  THAT OLD BELL, PRESAGE OF A TRAIN, HAD JUST sounded through Oxford station; and the undergraduates who were waiting there, gay figures in tweed or flannel, moved to the margin of the platform and gazed idly up the line. Young and careless, in the glow of the afternoon sunshine, they struck a sharp note of incongruity with the worn boards they stood on, with the fading signals and grey eternal walls of that antique station, which, familiar to them and insignificant, does yet whisper to the tourist the last enchantments of the Middle Age.

  At the door of the first-class waiting-room, aloof and venerable, stood the Warden of Judas. An ebon pillar of tradition seemed he, in his garb of old-fashioned cleric. Aloft, between the wide brim of his silk hat and the white extent of his shirt-front, appeared those eyes which hawks, that nose which eagles, had often envied. He supported his years on an ebon stick. He alone was worthy of the background.

  Came a whistle from the distance. The breast of an engine was descried, and a long train curving after it, under a flight of smoke. It grew and grew. Louder and louder, its noise foreran it. It became a furious, enormous monster, and, with an instinct for safety, all men receded from the platform’s margin. (Yet came there with it, unknown to them, a danger far more terrible than itself.) Into the station it came blustering, with cloud and clangour. Ere it had yet stopped, the door of one carriage flew open, and from it, in a white travelling dress, in a toque a-twinkle with fine diamonds, a lithe and radiant creature slipped nimbly down to the platform.

  A cynosure indeed! A hundred eyes were fixed on her, and half as many hearts lost to her. The Warden of Judas himself had mounted on his nose a pair of black-rimmed glasses. Him espying, the nymph darted in his direction. The throng made way for her. She was at his side.

  “Grand-papa!” she cried, and kissed the old man on either cheek. (Not a youth there but would have bartered fifty years of his future for that salute.)

  “My dear Zuleika,” he said, “welcome to Oxford! Have you no luggage?”

  “Heaps!” she answered. “And a maid who will find it.”

  “Then,” said the Warden, “let us drive straight to College.” He offered her his arm, and they proceeded slowly to the entrance. She chatted gaily, blushing not in the long avenue of eyes she passed through. All the youths, under her spell, were now quite oblivious of the relatives they had come to meet. Parents, sisters, cousins, ran unclaimed about the platform. Undutiful, all the youths were forming a serried suite to their enchantress. In silence they followed her. They saw her leap into the Warden’s landau, they saw the Warden seat himself upon her left. Nor was it until the landau was lost to sight that they turned—how slowly, and with how bad a grace!—to look for their relatives.

  Through those slums which connect Oxford with the world, the landau rolled on towards Judas. Not many youths occurred, for nearly all—it was the Monday of Eights Week—were down by the river, cheering the crews. There did, however, come spurring by, on a polo-pony, a very splendid youth. His straw hat was encircled with a riband of blue and white, and he raised it to the Warden.

  “That,” said the Warden, “is the Duke of Dorset, a member of my College. He dines at my table to-night.”

  Zuleika, turning to regard his Grace, saw that he had not reined in and was not even glancing back at her over his shoulder. She gave a little start of dismay, but scarcely had her lips pouted ere they curved to a smile—a smile with no malice in its corners.

  As the landau rolled into “the Corn,” another youth—a pedestrian, and very different—saluted the Warden. He wore a black jacket, rusty and amorphous. His trousers were too short, and he himself was too short: almost a dwarf. His face was as plain as his gait was undistinguished. He squinted behind spectacles.

  “And who is that?” asked Zuleika.

  A deep flush overspread the cheek of the Warden. “That,” he said, “is also a member of Judas. His name, I believe, is Noaks.”

  “Is he dining with us to-night?” asked Zuleika.

  “Certainly not,” said the Warden. “Most decidedly not.”

  Noaks, unlike the Duke, had stopped for an ardent retrospect. He gazed till the landau was out of his short sight; then, sighing, resumed his solitary walk.

  The landau was rolling into “the Broad,” over that ground which had once blackened under the fagots lit for Latimer and Ridley. It rolled past the portals of Balliol and of Trinity, past the Ashmolean. From those pedestals which intersperse the railing of the Sheldonian, the high grim busts of the Roman Emperors stared down at the fair stranger in the equipage. Zuleika returned their stare with but a casual glance. The inanimate had little charm for her.

  A moment later, a certain old don emerged from Blackwell’s, where he had been buying books. Looking across the road, he saw, to his amazement, great beads of perspiration glistening on the brows of those Emperors. He trembled, and hurried away. That evening, in Common Room, he told what he had seen; and no amount of polite scepticism would convince him that it was but the hallucination of one who had been reading too much Mommsen. He persisted that he had seen what he described. It was not until two days had elapsed that some credence was accorded him.

  Yes, as the landau rolled by, sweat started from the brows of the Emperors. They, at least, foresaw the peril that was overhanging Oxford, and they gave such warning as they could. Let that be remembered to their credit. Let that incline us to think more gently of them. In their lives we know, they were infamous, some of them—“nihil non commiserunt stupri, saevitiae, impietatis.” But are they too little punished, after all? Here in Oxford, exposed eternally and inexorably to heat and frost, to the four winds that lash them and the rains that wear them away, they are expiating, in effigy, the abominations of their pride and cruelty and lust. Who were lechers, they are without bodies; who were tyrants, they are crowned never but with crowns of snow; who made themselves even with the gods, they are by American visitors frequently mistaken for the Twelve Apostles. It is but a little way down the road that the two Bishops perished for their faith, and even now we do never pass the spot without a tear for them. Yet how quickly they died in the flames! To these Emperors, for whom none weeps, time will give no surcease. Surely, it is sign of some grace in them that they rejoiced not, this bright afternoon, in the evil that was to befall the city of their penance.

  II

  THE SUN STREAMED THROUGH THE BAY-WINDOW of a “best” bedroom in the Warden’s house, and glorified the pale crayon-portraits on the wall, the dimity curtains, the old fresh chintz. He invaded the many trunks which—all painted Z. D.—gaped, in various stages of excavation, around the room. The doors of the huge wardrobe stood, like the doors of Janus’ temple in time of war, majestically open; and the sun seized this opportunity of exploring the mahogany recesses. But the carpet, which had faded under his immemorial visitations, was now almost entirely hidden from him, hidden under layers of fair fine linen, layers of silk, brocade, satin, chiffon, muslin. All the colours of the rainbow, materialised by modistes, were there. Stacked on chairs were I know not what of sachets, glove-cases, fan-cases. There were innumerable packages in silver-paper and pink ribands. There was a pyramid of bandboxes. There was a virgin forest of boot-trees. And rustling quickly hither and thither, in and out of this profusion, with armfuls of finery, was an obviously French maid. Alert, unerring, like a swallow she dipped and darted. Nothing escaped her, and she never rested. She had the ai
r of the born unpacker—swift and firm, yet withal tender. Scarce had her arms been laden but their loads were lying lightly between shelves or tightly in drawers. To calculate, catch, distribute, seemed in her but a single process. She was one of those who are born to make chaos cosmic.

  Insomuch that ere the loud chapel-clock tolled another hour all the trunks had been sent empty away. The carpet was unflecked by any scrap of silver-paper. From the mantel-piece, photographs of Zuleika surveyed the room with a possessive air. Zuleika’s pincushion, a-bristle with new pins, lay on the dimity-flounced toilet-table, and round it stood a multitude of multiform glass vessels, domed, all of them, with dull gold, on which Z. D., in zianites and diamonds, was encrusted. On a small table stood a great casket of malachite, initialled in like fashion. On another small table stood Zuleika’s library. Both books were in covers of dull gold. On the back of one cover BRADSHAW, in beryls, was encrusted; on the back of the other, A.B.C. GUIDE, in amethysts, beryls, chrysoprases, and garnets. And Zuleika’s great cheval-glass stood ready to reflect her. Always it travelled with her, in a great case specially made for it. It was framed in ivory, and of fluted ivory were the slim columns it swung between. Of gold were its twin sconces, and four tall tapers stood in each of them.

  The door opened, and the Warden, with hospitable words, left his grand-daughter at the threshold.

  Zuleika wandered to her mirror. “Undress me, Melisande,” she said. Like all who are wont to appear by night before the public, she had the habit of resting towards sunset.

  Presently Melisande withdrew. Her mistress, in a white peignoir tied with a blue sash, lay in a great chintz chair, gazing out of the bay-window. The quadrangle below was very beautiful, with its walls of rugged grey, its cloisters, its grass carpet. But to her it was of no more interest than if it had been the rattling court-yard to one of those hotels in which she spent her life. She saw it, but heeded it not. She seemed to be thinking of herself, or of something she desired, or of some one she had never met. There was ennui, and there was wistfulness, in her gaze. Yet one would have guessed these things to be transient—to be no more than the little shadows that sometimes pass between a bright mirror and the brightness it reflects.