The Perfect Gentleman — Key Ideas to Explore

The Two-Headed Ideal

Bergengren's opening gambit is a contrast between two versions of the Perfect Gentleman. He quotes Emerson's definition—'a man of truth, lord of his own actions'—and then imagines Walter Pater describing a portrait: 'the eyelids are a little weary. He is older than the tea things among which he sits.' This pairing establishes a central tension: the moral ideal versus the fashionable popinjay. The author does not resolve the contradiction but instead traces its historical roots, citing the Gentleman's Pocket Library as a fossil of eighteenth-century striving. The language here is mock-scholarly, with phrases like 'fossil remains' and 'any literary savant may restore the original,' yet the tone remains light. Bergengren's own position is elusive; he seems to admire Emerson's ideal while acknowledging the allure of the popinjay. The essay thus becomes a meditation on the gap between aspiration and imitation, a theme that recurs throughout the collection.

The Art of Lying in Bed

In the essay 'The Lier in Bed,' Bergengren elevates a mundane activity to a fine art. He distinguishes between the 'riot of egoism' that characterizes half-awake daydreaming and the true artist's respect for 'essential verities.' The true lier in bed, he argues, 'will treat his ego like the child it is; and, taking example from a careful mother, tie a rope to it when he lets it out to play.' This metaphor is characteristic of Bergengren's method: he takes a homely image and extends it into a principle. He speculates about the wooden pillows of the Japanese and the heated platforms of northern China, grounding his observations in concrete cultural details. The essay includes a short poem—'My bed has legs / To run away / From Here and Now / And Everyday'—which captures the whimsical, inward-turning quality of the state he describes. The prose here is more relaxed, almost conversational, as if the author is thinking aloud.

The Bore's Confession

'To Bore or Not to Bore' opens with a quotation from Thomas Carlyle, who begged to be taken away from a monologuing dinner companion. Bergengren then turns the lens on himself, admitting that he has often been that bore: 'How often have I myself, my adieus seemingly done, my hat in my hand and my feet on the threshold, taken a fresh grip, hat or no hat, on the pump-handle.' The metaphor of pumping—Carlyle's 'pumped into'—is extended with self-deprecating humor. Bergengren notes the 'glassiness of the staring eye and a starchiness in the smiling lip' that signals his listeners' distress. He imagines a correspondence school advertisement: 'STOP BEING A BORE! If you bore people you can't be loved.' The essay is structured as a confession, but it also offers a subtle analysis of social anxiety. The voice is intimate, almost apologetic, yet the observations are precise. Bergengren does not offer a solution; instead, he leaves the reader with the uncomfortable recognition that the line between guest and bore is thin.

Bergengren's essays reward attention to their shifts in register—from mock-heroic to confessional, from scholarly citation to whimsical verse. The collection is best read not as a guide to manners but as a series of performances, each essay adopting a slightly different persona. Readers may notice how the author uses concrete objects (a hat, a pump, a bed) to anchor abstract reflections. The tone is consistently ironic but never cruel; Bergengren includes himself in his own critique. Approach these pieces as you would a conversation with a witty, self-aware friend—one who knows he is sometimes a bore but hopes you will forgive him.