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The Mirrors of Downing Street Some Political Reflections by a Gentleman with a Duster by Harold Begbie Public men must expect criticism, and no criticism is so good for them, and therefore for the State, as criticism of character; but their position is difficult, and they may justly complain when those to whom they have spoken in the candour of private conversation make use of such confidences for a public purpose. If here and there I have in any degree approached this offence, let me urge two excuses. First, inspired by a pure purpose I might very easily have said far more than I have said: and, second, my purpose is neither to grind my own axe (as witness my anonymity) nor to inflict personal pain (as witness my effort to be just in all cases), but truly to raise the tone of our public life. It is the conviction that the tone of our public life is low, and that this low tone is reacting disastrously in many directions, which has set me about these studies in political personality. There is too much dust on the mirrors of Downing Street for our public men to see themselves as others see them. Some of that dust is from the war; some of it is the old-fashioned political dust intended for the eyes of the public; but I think that the worst of all hindrances to true vision is breathed on the mirrors by those self-regarding public men in whom principle is crumbling and moral earnestness is beginning to moulder. One would wipe away those smears. My duster is honest cotton; the hand that holds it is at least clean; and the energy of the rubbing is inspired solely by the hope that such labour may be of some benefit to my country. I think our statesmen may be better servants of the great nation they have the honour to serve if they see themselves as others see them-others who are not political adversaries, and who are more interested in the moral and intellectual condition of the State than in the fortunes of its parties. We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.

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British Decadent literature was a radical attack on conventional morality and middle-class taste, its insistence on the autonomy of the art and its exploration of sexuality, dissipation, and depravity at odds with the literary and social establishment. Yet this counter-cultural narrative has obscured the often reactionary and elitist tendencies of Decadent writers and artists of the fin de siècle. Decadent Conservatism offers the first in-depth examination of the intersection of Decadence and conservatism, arguing that underpinning both was the desire to find alternatives to liberal modernity. Both Decadents and conservatism turned to the past to uncover values and models of social organisation that could offer stability in a chaotic world. From well-known figures such as Oscar Wilde and W.B. Yeats, through to the forgotten editors of short-lived periodicals, important female aesthetes such as Michael Field, and politicians such as Arthur Balfour, Decadent Conservatism challenges conventional understandings of the relationship between aesthetics, politics, and the past in late-Victorian Britain. Through a series of thematic chapters exploring the alternative communities created by little magazines, the politics of Individualism, investments in monarchy and religion, Folk Decadence, and jingoistic and nationalist responses to the Second Anglo-Boer war, this study offers a new, and much messier, picture of fin-de-siècle literary politics. It will be of interest to those working on Victorian literature and modernism, as well as social, political, and cultural history of the period 1880-1920.