“... in the station clerk who shared a shack with a shunter which they called ‘Utopia’. He read Shaw, Wells and Russell, and stopped saluting the laird (but not the doctor, the minister or the teacher) because he ‘contributed nothing to the community’ and wasn’t very intelligent: ‘There’s naething in him except what he puts in with a spoon.’ By ...”

“... like ‘the golden rule is that there are no golden rules,’ made by people like George Bernard Shaw. The Yale Book lists these under the names of their authors, along with brief indications of their provenance and reliability. Books of quotations are no longer sources of things you might want to say or cite – after all, you can Google and copy and paste ...”

“... crescent of Michael Searles’s Paragon – and while Dulwich is less monumental, it does have John Soane’s Picture Gallery and the buildings of Dulwich College, ranging from mannered Georgian to Barry’s lurid neo-Gothic, with the remnants of the Crystal Palace nearby and the bizarre tower of Charles Townsend’s Horniman Museum overlooking it ...”

“... sa vie et ses ouvrages’, is plagiarised from two articles in the Southern Literary Messenger by John R. Thompson and John M. Daniel. Daniel’s article is plagiarised in its turn from Griswold’s obituary of Poe – a fraud within a fraud within a fraud. Traduttore: tradittore. If, as the Italians say, to translate is to ...”

“... directors, like Jonathan Miller, spoiled the show. ‘In the Fifties,’ she said, ‘when Byam Shaw was producing at Stratford, nobody spoke of Byam Shaw’s Macbeth but of Olivier’s Macbeth, the greatest Macbeth I have ever seen.’ Was this ‘Olivier’s Macbeth’ better than the ‘Olivier’s Macbeth’ that ...”

“... an expression of Britain’s shifting ‘governing traditions’. Both quote from the memoirs of John Robert Clynes, Labour leader between 1921 and 1922 and lord privy seal in 1924. Reflecting on meeting George V, Clynes could ‘not help marvelling at the strange turn of Fortune’s wheel’ that had brought him and his colleagues ‘to this pinnacle beside ...”

“... satisfyingly inevitable one. In a recent reply to Clementi, the Hong Kong poet Leung Ping Kwan (in John Minford’s translation) resists the urge to gloat and tempers anger with ruefulness: That rhapsodic rhetoric of yours   takes the measure of us,   trusses us tight in a wire cage of tradition,   condescends,   strews a little casual scholar’s ink ...”

“... feminism. These themes are negotiated through the lore and literature available to Joyce: Ibsen, Shaw, Hauptmann, Freud, Have-lock Ellis, Krafft-Ebing, Charles Albert, Otto Weininger, and many other rhetoricians of sex. The lore is informative, though it is bound to excite the reader into thinking that Joyce was permanently retarded in the matter of ...”

“... then further fictionalising their situation in The New Machiavelli. The editor of the Spectator, John St Loe Strachey, a pillar of the National Social Purity Crusade (no, really), foamed at the novel’s ‘poisonous and pernicious teaching’, finding it ‘in its essence depraved’ (the book, it should be said, contains no description of sexual activity ...”

“... spotting the sources, mostly from recent progressive English buildings by Voysey or Norman Shaw (a London Scot), and some Scottish ones, by the Glaswegian J.J. Burnet. One influence behind the vaguely Scottish Baronial east elevation in Dalhousie Street is the little-known James MacLaren, a gifted Scottish architect who died young. Mackintosh loved ...”

“... When Johnson was depressed she was ‘pipped’, and when she was Cleopatra in the local am-dram (Shaw, of course, not Shakespeare), ‘the play went simply marvellously! Raging success’ and had ‘awfully good notices’ in the local paper. She was born in 1912 and grew up the adored only child in a fractious household of women, with her mother, Amy, her ...”

“... frivolity and public school backbone, was educated at Haileybury and Cambridge. As the critic John Peter has put it, ‘parts of the Criterion resembled a supplement to the Tablet – while, incomprehensibly, other parts were crowded with Marxists and moderns.’ Read was an anarchist who accepted a knighthood, a champion of avant-garde art who also ...”

“... for the wider struggle; she writes approvingly of egalitarian marriages, such as that of John Stuart Mill and Harriet Taylor, but is less interested in – perhaps even a little suspicious of – women who were sexually free or who publicly challenged gender roles. She skates over the divisions in the movement, and rather than predict possible ...”

“... the antecedents of Webb’s Red House in the work of Butterfield and Pugin and indeed in John Nash, who might claim, if any one architect could, to have invented the architecture Muthesius so admired. But to the Edwardians Nash was still despicable as a stucco-peddling Neoclassicist, his houses ‘cheerless’ and ‘rectangular’. It was to the ...”

“... he does not call these pieces poems.’ From the heart of the London literary establishment Sir John Squire described The Waste Land as a poem for which ‘a grunt would serve equally well.’ Eliot’s 1925 collection, which included ‘Gerontion’, seemed to Squire ‘obscure so inconsequent . . . Why on earth he bothers to write at all is difficult to ...”