false-sublime

I think of his books, of his grandiose style, gorgeous as his early waistcoats and gold chains, the prose often made up of bad blank verse, leavings from his long coxcombical strain to be a poet; of his false-sublime and his false-romantic, of his rococo personages, monotonously magnificent; of his pseudo-Jewish stories, and his braggart assertions of blood, played off against the insulting pride of the proudest aristocracy in the world, and combined with a politic perseverance to be more English than the English; of his naïve delight in fine clothes and fine dishes and fine company; of his nice conduct of a morning and evening cane; of his morbid self-consciousness of his gifts and his genius; of his unscrupulous chase of personal success and of Fame that shadow which great souls cast, and little souls pursue as substance; of his scrupulous personal rejection of Love Love, the one touch of true romance in his novels and his pecuniary marriage for his career's sake, after the manner of his tribe; of his romanesque conception of the British aristocracy, which he yet dominates, because he is not really rooted in the social conceptions which give it its prestige, and so is able to manœuvre it artistically from without, intellect detached from emotion: to play English politics like a game of chess, moving proud peers like pawns, with especial skill in handling his Queen; his very imperturbability under attack, only the mediæval Jew's self-mastery before the grosser-brained persecutor.

Israel Zangwill - Dreamers of the Ghetto