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The text explains how Beerbohm’s chosen audience differs from other caricaturists, emphasizing his satire as a social good and contrasting his intimate, friend-centered mode with mass-oriented cartooning that targets public opinion and political 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is portrayed as using mass-production techniques and wielding wider public influence, while Max’s drawings are intimate, more like soliloquies for friends, even when intended for limited 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Books  \nLONDON and NEW YORK  \nI943  \nTHE KING PENGUIN BOOKSEditor:N.B.L.PevsnerTechnical Editor:R.B.Fishenden  \n# ACKNOWLEDGMENTS\n\nThe editor wishes to thank the Trustees of the Tate Gallery forpermission to reproduce plates I-4,and to Sir William Rothensteinfor permission to reproduce one of his portrait drawings ofSir Max Beerbohm.  \nMADE IN GREAT BRITAIN  \nText Pages  \nSet in Monotype Baskerville atTHE CURWEN PRESs,PLAISTOw  \nThe cover design is a reproduction ofSIR MAx BEERBOHM'soriginal design forThe Poet's Corner  \nPUBLISHED BY  \nPENGUIN BOOKS LIMITEDWEST DRAYTON,MIDDLESEENGLAND  \nColour PlatesMade and printed byJoHN SwAIN &Sons LTD.  \nPENGUIN BOOKS INC.245 FIFTH AVENUENEW YORK  \n‘MAX'  \nBy JoHN RoTHENSTEIN  \nMAx BEERBOHM is a leisurely perfectionist who eversince his earliest years has avoided all uncongenialwork;so it is that the nine published volumes of hisdrawings and the nine published volumes of his essaysand stories,which represent the greater part of his life'swork,contain only his maturest and most personalreflections upon the subjects which have aroused hisinterest.Anybody who peruses these eighteen volumes(which,being slender as well as infinitely entertaining,requires no effort whatsoever)can hardly fail to forma vivid and precise idea of Max's character,intellect,outlook on life,opinion of his contemporaries and ofthe problems of the day,and of his appearance;even anotion of his voice and manner.These eighteen volumesconstitute,in effect,a portrait of a man as completein its way as Boswell's Johnson.It is,appropriately,a less massive work,yet it reveals,although indirectly,as much of the essential Max as the other of the essentialJohnson.  \nTo add anything of value to such a portrait would bedifficult at any time,but to introduce Max to theimmense public which reads Penguin Books is a par-ticularly difficult undertaking.For Max has no lovefor the public,and has an antipathy for the democratic,collectivist age into which he has lived.A drawing,forinstance,such as that in which he makes a proletarianboy exclaim,before a portrait of a supercilious aristocrat,‘That's the kind of class-consciousness I'd like’,is achallenge to prevailing ideals.But Max's is a challengewhich should be met,not with impatience but withgratitude,for few things are more salutary to societythan satire.  \nWe are fortunate in having among us two carica-  \nturists of the first order:Low,who mercilessly flood-  \nlights the iniquities and follies in what was,untilyesterday,the accepted order of things,and adumbratesa saner world-society;and Max,who illumines thevirtues of the traditional way of life,and ridicules allchange which has not some overwhelming justification.  \nLow and Max,in most things opposites,differ innothing so much as the publics to which they appeal.During the half-dozen years prior to I939,when thestruggle against Fascism became a conflict of guns,airplanes and tanks,as well as a conflict of ideas,Low wielded extraordinary power.Both Hitler andMussolini are reputed to have winced under the lashof his ridicule.Appeasers were afraid he would embroilus with the Axis.He showed the people of Englandhow to distinguish,with a facility disquieting to some,their enemies from their friends.And he lassoed LordBaldwin with adhesive tape and trussed him up witha neatness which would have done credit to a cowboy.Low shows a singular understanding of the predicamentof the ordinary man,beset,as he is everywhere,byimminent and deadly dangers,and weighed down byterrifying responsibilities.And to the ordinary man,as he laughs at Low's cartoons,the world appearsa saner,a less unintelligible place.  \nTo Max the idea of addressing the mass of the peoplewould hardly occur.His drawings are so intimate asto be almost soliloquies;but soliloquies easily com-prehensible to his friends.For","cbCaingdtlc9x9M8","https://ap.wps.com/l/cbCaingdtlc9x9M8","pdf",2193753,48,"English","# Introduction\n## Beerbohm’s character and artistic scope\n## Satire, public audience, and social challenge\n## Caricaturists contrasted: Low and Max","[{\"question\":\"Who is the introduction written by, and what role is mentioned?\",\"answer\":\"The introduction is by John Rothenstein, identified as Director of the Tate Gallery.\"},{\"question\":\"How does the text characterize Max Beerbohm’s approach to his work?\",\"answer\":\"Max Beerbohm is described as a leisurely perfectionist who avoids uncongenial work, producing mature and personal reflections through his published volumes.\"},{\"question\":\"What comparison does the introduction make between Max Beerbohm and the caricaturist Low?\",\"answer\":\"Low is portrayed as using mass-production techniques and wielding wider public influence, while Max’s drawings are intimate, more like soliloquies for friends, even when intended for limited reproduction.\"}]","The Poet’s Corner - Introduction | PDF",1790683752,74]