The Works of Max Beerbohm - Max Beerbohm (electric book reader .txt) 📗

the doom of swift rebellions, but I doubt even if any soever gradual evolution will lead us astray from the general precepts of Mr. Brummell’s code. At every step in the progress of democracy those precepts will be strengthened. Every day their fashion is more secure, corroborate. They are acknowledged by the world. The barbarous costumes that in bygone days were designed by class-hatred, or hatred of race, are dying, very surely dying. The costermonger with his pearl-emblazoned coat has been driven even from that Variety Stage, whereon he sought a desperate sanctuary. The clinquant corslet of the Swiss girl just survives at bals costumés. I am told that the kilt is now confined entirely to certain of the soldiery and to a small cult of Scotch Archaïcists. I have seen men flock from the boulevards of one capital and from the avenues of another to be clad in Conduit Street. Even into Oxford, that curious little city, where nothing is ever born nor anything ever quite dies, the force of the movement has penetrated, insomuch that tasselled cap and gown of degree are rarely seen in the streets or colleges. In a place which was until recent times scarcely less remote, Japan, the white and scarlet gardens are trod by men who are shod in boots like our own, who walk⁠—rather strangely still⁠—in close-cut cloth of little colour, and stop each other from time to time, laughing to show how that they too can furl an umbrella after the manner of real Europeans.

It is very nice, this universal acquiescence in the dress we have designed, but, if we reflect, not wonderful. There are three apparent reasons, and one of them is aesthetic. So to clothe the body that its fineness be revealed and its meanness veiled has been the aesthetic aim of all costume, but before our time the mean had never been struck. The ancient Romans went too far. Muffled in the ponderous folds of a toga, Adonis might pass for Punchinello, Punchinello for Adonis. The ancient Britons, on the other hand, did not go far enough. And so it had been in all ages down to that bright morning when Mr. Brummell, at his mirror, conceived the notion of trousers and simple coats. Clad according to his convention, the limbs of the weakling escape contempt, and the athlete is unobtrusive, and all is well. But there is also a social reason for the triumph of our costume⁠—the reason of economy. That austerity, which has rejected from its toilet silk and velvet and all but a few jewels, has made more ample the wardrobes of Dives, and sent forth Irus nicely dressed among his fellows. And lastly there is a reason of psychology, most potent of all, perhaps. Is not the costume of today, with its subtlety and sombre restraint, its quiet congruities of black and white and grey, supremely apt a medium for the expression of modern emotion and modern thought? That aptness, even alone, would explain its triumph. Let us be glad that we have so easy, yet so delicate, a mode of expression.

Yes! costume, dandiacal or not, is in the highest degree expressive, nor is there any type it may not express. It enables us to classify any “professional man” at a glance, be he lawyer, leech or whatnot. Still more swift and obvious is its revelation of the work and the soul of those who dress, whether naturally or for effect, without reference to convention. The bowler of Mr. Jerome K. Jerome is a perfect preface to all his works. The silk hat of Mr. Whistler is a real nocturne, his linen a symphony en blanc majeur. To have seen Mr. Hall Caine is to have read his soul. His flowing, formless cloak is as one of his own novels, twenty-five editions latent in the folds of it. Melodrama crouches upon the brim of his sombrero. His tie is a Publisher’s Announcement. His boots are Copyright. In his hand he holds the staff of The Family Herald.

But the dandy, in no wise violating the laws of fashion, can make more subtle symbols of his personality. More subtle these symbols are for the very reason that they are effected within the restrictions which are essential to an art. Chastened of all flamboyance, they are from most men occult, obvious, it may be, only to other artists or even only to him they symbolise. Nor will the dandy express merely a crude idea of his personality, as does, for example, Mr. Hall Caine, dressing himself always and exactly after one pattern. Every day as his mood has changed since his last toilet, he will vary the colour, texture, form of his costume. Fashion does not rob him of free will. It leaves him liberty of all expression. Every day there is not one accessory, from the butterfly that alights above his shirt front to the jewels planted in his linen, that will not symbolise the mood that is in him or the occasion of the coming day.

On this, the psychological side of foppery, I know not one so expert as him whom, not greatly caring for contemporary names, I will call Mr. Le V. No hero-worshipper am I, but I cannot write without enthusiasm of his simple life. He has not spurred his mind to the quest of shadows nor vexed his soul in the worship of any gods. No woman has wounded his heart, though he has gazed gallantly into the eyes of many women, intent, I fancy, upon his own miniature there. Nor is the incomparable set of his trousers spoilt by the perching of any dear little child upon his knee. And so, now that he is stricken with seventy years, he knows none of the bitterness of eld, for his toilet-table is an imperishable altar, his wardrobe a quiet nursery and very constant harem. Mr. Le V. has many disciples, young men who look to him for guidance in