George Grossmith

Mr Charles Pooter is a respectable man. He has just moved into a very desirable home in Holloway with his dear wife Carrie, from where he commutes to his job of valued clerk at a reputable bank in the City. Unfortunately neither his dear friends Mr Cummings and Mr Gowing, nor the butcher, the greengrocer''s boy and the Lord Mayor seem to recognise Mr Pooter''s innate gentility, and his disappointing son Lupin has gone and got himself involved with a most unsuitable fiancee... George and Weedon Grossmith''s comic novel, perfectly illustrated by Weedon, is a glorious, affectionate caricature of the English middle-class at the end of nineteenth century.

The Diary Of A Nobody George Grossmith, Weedon Grossmith - Mr Pooter is a man of modest ambitions, content with his ordinary life. Yet he always seems to be troubled by disagreeable tradesmen, impertinent young office clerks and wayward friends, not to mention his devil-may-care son Lupin with his unsuitable choice of bride. Try as he might, he cannot avoid lifes embarrassing mishaps. In the bumbling, absurd, yet ultimately endearing figure of Pooter, the Grossmiths created an immortal comic character and a superb satire on the snobberies of middle-class suburbia - one which also sends up late Victorian crazes for spiritualism and bicycling, as well as the fashion for publishing diaries by anybody and everybody

The Diary of a Nobody is a satirical, slapstick comedy about a Victorian family trying to work their way up in society. With a pompous dad, an accident prone son and a story full of shenanigans, its easy to see how it paved the way for sitcoms like Modern Family and Schitts Creek. Written by the brothers George and Weedon Grossmith, this is a raucous tale that gives a window to the great British serial comedy.

In "A Society Clown: Reminiscences," George Grossmith presents an engaging exploration of the late Victorian theatrical scene, merging humor with keen social observation. Written in a lively, episodic style that reflects his roots in comic performance, the book is structured as a series of recollections that highlight the eccentricities and charm of the society he inhabited. Grossmiths narrative is rich with witty anecdotes and satirical commentary, effectively illuminating both the glamour and absurdity of his eras social dynamics, as he recounts his experiences with notable personalities of the time. George Grossmith was an influential figure in the British theatrical landscape, best known for his performances in the Gilbert and Sullivan operettas. His unique position in society as a comic actor afforded him intimate insights into not just the theater, but also the complexities of Edwardian life. These reminiscences draw from his rich repository of experiences, weaving together autobiography and social critique, thus providing a retrospective view of a vibrant cultural moment that shaped modern entertainment. Recommended for scholars and enthusiasts of Victorian literature alike, "A Society Clown" serves not only as a captivating biography but also as a critical document reflecting the social mores of the time. Readers will appreciate Grossmiths sharp wit and the authenticity of his observations, making this work a delightful read for anyone interested in the intersection of humor, art, and society.

Why should I not publish my diary? I have often seen reminiscences of people I have never even heard of, and I fail to seebecause I do not happen to be a Somebodywhy my diary should not be interesting. My only regret is that I did not commence it when I was a youth.

It was one dark, dank, dreary, dismal night in February, 1888 (I believe that is the way to commence a book, no matter what the subject be), when the present writer might have been seen standing, with other gentlemen, in a sombre dining-room brilliantly illuminated with one ceiling-lamp buried in a deep red shade. We were standing round the dining-room table, each with a dinner-napkin in the left hand; while the right hand was occupied in moving back chairs, to permit of the departure of the ladies for the drawing-room. I could not help thinking that, as they filed off, the ladies looked like queens; while we (especially with the aid of the serviettes) looked like waiters. The gentlemen drew their chairs round the host, and wine was languidly passed round. A tall gentleman, with a heavy beard, to whom I had not been introduced, approached me, and sat by my side. He passed me the spirit-lamp, for which I thanked him while lighting my cigarette. He then commenced a conversation in earnest."Did you see that Mr. is writing his reminiscences?""Yes.""Dont you think it rather a pity that he should do so?""Why a pity?" I asked in reply to his question."Well, I always think the moment a man begins to write his reminiscences he is bound, more or less, to make an ass of himself.""In what way?" I asked."In the first place, he is hampered by having to be so egotistical. He must talk about himself, which is never a nice thing to do. He cannot very well tell stories in his own favour; and if he tells them against himself, he affects humility: if he talks about his distinguished acquaintances, he becomes a snob; in short, I can only repeat my former observation, that he is bound to make an ass of himself."For a moment or two I did not know what to say, for my conscience smote me. At last I said:"I am very pleased to hear your candid, and certainly unbiassed, opinion; for I have just accepted an offer from Mr. Arrowsmith to do a shilling book of my own reminiscences for the Bristol Library Series."

Why should I not publish my diary? I have often seen reminiscences of people I have never even heard of, and I fail to seebecause I do not happen to be a Somebodywhy my diary should not be interesting. My only regret is that I did not commence it when I was a youth.

In "A Society Clown: Reminiscences," George Grossmith offers a captivating glimpse into the world of Victorian theatrical life, blending humor and candid memoir. Through his witty prose, Grossmith captures the essence of a society that straddles the line between high art and popular entertainment, painting a vivid portrait of his experiences on and off the stage. The book is characterized by its lively anecdotes and sharp satire, reflecting the intricacies of social dynamics and artistic expression during a time of significant cultural transformation in England. As a performer and writer, Grossmiths narrative style is both engaging and reflective, presenting a multifaceted view of the performing arts and its impact on society. George Grossmith was not only a celebrated comic actor but also a writer whose career spanned several significant productions, including his famed role in the Savoy operas alongside W.S. Gilbert and Arthur Sullivan. His diverse experiences in the theater and social settings provided him with rich material and insights, motivating him to reflect on the nature of performance, humor, and the roles individuals play within society. Grossmiths unique perspective as an insider offers an invaluable contribution to the understanding of the periods cultural landscape. This book is highly recommended for those interested in theatrical history, Victorian literature, and the intersection of humor and social commentary. Grossmiths reminiscences serve not only as a personal account but also as a mirror reflecting the complexities of his time. Readers will appreciate his wit and wisdom, providing both entertainment and thoughtful introspection.

In it the Grossmith brothers not only created an immortal comic character but produced a clever satire of their society. The diary is a wonderful portrait of the class system and the inherent snobbishness of the suburban middle classes. It sends up contemporary crazes for Aestheticism, spiritualism and bicycling, as well as the fashion for publishing diaries by anybody and everybody.

"A Society Clown: Reminiscences" by George Grossmith. Published by e-artnow. e-artnow publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgottenor yet undiscovered gemsof world literature, we issue the books that need to be read. Each e-artnow edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

El Diario de un don nadie es uno de los grandes clásicos de la literatura humorística británica, y resulta bastante sorprendente, dada la influencia que tuvo en la literatura posterior, que no existiera una edición en nuestra lengua. El narrador y protagonista del libro, Charles Pooter, es un personaje gris con aspiraciones a entrar en la alta sociedad, de la que imita todo lo que está a su alcance, y al mismo tiempo es un pobre hombre perseguido por la mala suerte. De sus controversias y conflictos con el servicio, su esposa y su joven y díscolo sobrino surgen algunas de las escenas más divertidas de un libro que mantiene al lector con una sonrisa a lo largo de toda la lectura. Humor británico del bueno.

Mr Pooter is a man of modest ambitions, content with his ordinary life. Yet he always seems to be troubled by disagreeable tradesmen, impertinent young office clerks and wayward friends, not to mention his devil-may-care son Lupin's unsuitable choice of bride. Try as he might, he cannot avoid life's embarrassing mishaps. In the bumbling, absurd yet ultimately endearing figure of Pooter, the Grossmiths created an immortal comic character and a superb satire on the snobberies of middle-class suburbia - one which also sends up late Victorian crazes for Aestheticism, spiritualism and bicycling, as well as the fashion for publishing diaries by anybody and everybody.

The Diary of a Nobody is an English novel written by George Grossmith. It originated as an intermittent serial in Punch magazine in 188889 and first appeared in book form, with extended text and added illustrations, in 1892. The Diary records the daily events in the lives of a London clerk, Charles Pooter, his wife Carrie, his son Lupin, and numerous friends and acquaintances over a period of 15 months. Before their collaboration on the Diary, the brothers each pursued successful careers on the stage. George originated nine of the principal comedian roles in the Gilbert and Sullivan operas over 12 years from 1877 to 1889. He also established a national reputation as a piano sketch entertainer and wrote a large number of songs and comic pieces. Before embarking on his stage career, Weedon had worked as an artist and illustrator. The Diary was the brothers only mature collaboration. Most of its humour derives from Charles Pooters unconscious and unwarranted sense of his own importance, and the frequency with which this delusion is punctured by gaffes and minor social humiliations. In an era of rising expectations within the lower-middle classes, the daily routines and modest ambitions described in the Diary were instantly recognised by its contemporary readers, and provided later generations with a glimpse of the past that it became fashionable to imitate. Although its initial public reception was muted, the Diary came to be recognised by critics as a classic work of humour, and it has never been out of print. It helped to establish a genre of humorous popular fiction based on lower or lower-middle class aspirations, and was the forerunner of numerous fictitious diary novels in the later 20th century. The Diary has been the subject of several stage and screen adaptations, including Ken Russells "silent film" treatment of 1964, a four-part TV film scripted by Andrew Davies in 2007, and a widely praised stage version in 2011.

It was one dark, dank, dreary, dismal night in February, 1888 (I believe that is the way to commence a book, no matter what the subject be), when the present writer might have been seen standing, with other gentlemen, in a sombre dining-room brilliantly illuminated with one ceiling-lamp buried in a deep red shade. We were standing round the dining-room table, each with a dinner-napkin in the left hand; while the right hand was occupied in moving back chairs, to permit of the departure of the ladies for the drawing-room. I could not help thinking that, as they filed off, the ladies looked like queens; while we (especially with the aid of the serviettes) looked like waiters. The gentlemen drew their chairs round the host, and wine was languidly passed round. A tall gentleman, with a heavy beard, to whom I had not been introduced, approached me, and sat by my side. He passed me the spirit-lamp, for which I thanked him while lighting my cigarette. He then commenced a conversation in earnest."Did you see that Mr. is writing his reminiscences?""Yes.""Dont you think it rather a pity that he should do so?""Why a pity?" I asked in reply to his question."Well, I always think the moment a man begins to write his reminiscences he is bound, more or less, to make an ass of himself.""In what way?" I asked."In the first place, he is hampered by having to be so egotistical. He must talk about himself, which is never a nice thing to do. He cannot very well tell stories in his own favour; and if he tells them against himself, he affects humility: if he talks about his distinguished acquaintances, he becomes a snob; in short, I can only repeat my former observation, that he is bound to make an ass of himself."For a moment or two I did not know what to say, for my conscience smote me. At last I said:"I am very pleased to hear your candid, and certainly unbiassed, opinion; for I have just accepted an offer from Mr. Arrowsmith to do a shilling book of my own reminiscences for the Bristol Library Series."