Walter Jerrold

“ That mind was, as has been said, stored with a wealth from among the best of English literature, and when Lamb expressed himself it was always in pure literary fashion. He was a bookman writing for those who love things of the mind which can only be passed from generation to generation by means of books. In this we may recognize the reason—wholly unconscious to the writer—for the allusiveness of his style: it is often that subtle allusiveness which takes for granted as much knowledge in the reader as in the writer of the thing or passage to which allusion is made. ”

“ To know the boundaries of honour, to be judiciously valiant, to have a temperance which shall beget a smoothness in the angry swellings of youth, to esteem life as nothing when the sacred reputation of a parent is to be defended, yet to shake and tremble under a pious cowardice when that ark of an honest confidence is found to be frail and tottering, to feel the true blows of a real disgrace blunting that sword which the imaginary strokes of a supposed false imputation had put so keen an edge upon but lately ”

“ Hecate in Middleton has a Son, a low buffoon: the hags of Shakspeare have neither child of their own, nor seem to be descended from any parent. They are foul Anomalies, of whom we know not whence they are sprung, nor whether they have beginning or ending. As they are without human passions, so they seem to be without human relations. They come with thunder and lightning, and vanish to airy music. This is all we know of them.—Except Hecate, they have no names; which heightens their mysteriousness. Their names, and some of the properties, which Middleton has given to his Hags, excite smiles. ”

“ On 25th July, 1834, Coleridge died, and the blow was a terrible one to Charles Lamb; "we die many deaths before we die," he had said of the departure of friends; and the passing of Coleridge may be said to have come as a fatal shock, for he survived him but five months, and during that time was heard to say again and again, as though the fact were too stupendous to believe, not to be realized, "Coleridge is dead!" ”

“ The very diversity of theme and manner—this varying change from grave to gay, from lively to severe—is indeed but a reflection of life itself, which with the most fortunate of us dashes our smiles with tears, and even to the most unfortunate imparts something of pleasure and delight. ”

“ I am not content to pass away like a weaver's shuttle! These metaphors solace me not, nor sweeten the unpalatable draught of mortality. I care not to be carried with the tide, that smoothly bears human life to eternity ”

“ The "Essays of Elia" may fittingly be dealt with as at once the most representative and the finest of his writings. Great as is the range of their subjects, it will be found that they are more or less unified by the author's individuality both in point of view and in treatment, that they are all informed with what has been termed Lamb's calm and self-reposing spirit, that they are all more or less strongly marked by that style which, based upon a loving study of the Elizabethan and seventeenth-century writers, was yet for the most [71] part distinguished by concision and ease. ”

“ There have not been wanting matter-of-fact people (with whom our Elia has recorded his imperfect sympathy) who have accepted this essay as pure biography; because details tally with the author's life they think the whole must do so. We have but to follow the story of Lamb's life with understanding to realize how wrong is this impression. The closing dozen of essays in brief, grouped under the title of "Popular Fallacies," discuss certain familiar axioms and show them—in the light of fun and fancy—to be wholly fallacious. ”

“ You have bathed with stillness—O, when the spirit is sore fettered, even tired to sickness of the janglings and nonsense noises of the world, what a balm and a solace it is, to go and seat yourself for a quiet half hour, upon some undisputed corner of a bench, among the gentle Quakers! ”

“ Elia takes up an unconventional position and defends it with spirit. It is something of an impertinence to offer up thanks before an orgy of superfluous luxuries, a "grace" is only fitting for a poor man sitting down before the necessaries for which he may well feel thankful. Even such a theme Lamb finds a fruitful occasion for pertinent literary illustration and criticism, contrasting—from Milton's "Paradise Lost"—the feast proffered by the Tempter to Christ in the wilderness with "the temperate dreams of the divine Hungerer." ”

“ Thus it was that Leigh Hunt referred to the essays which without doubt stand as the most characteristic of Charles Lamb's contributions to literature. His reputation, as was recognized and acknowledged within a few years of his death, "will ultimately rest on the Essays of Elia, than which our literature rejoices in few things finer."
The intimate footing upon which he puts himself and his reader, is perhaps not so much a peculiarity of his own as it is the dominant note always in the work of your born essayist. ”

“ But the Lear of Shakespeare cannot be acted. The contemptible machinery by which they mimic the storm which he goes out in, is not more inadequate to represent the horrors of the real elements, than any actor can be to represent Lear: they might more easily propose to personate the Satan of Milton upon a stage, or one of Michael Angelo's terrible figures. The greatness of Lear is not in corporal dimension but in intellectual: the explosions of his passions are terrible as a volcano ”

“ The egotism of Elia's style in addressing his readers has been said to be founded on that of Sir Thomas Browne, and in a measure there can be little doubt that it was so—but only in a [106] measure, for it is something the same egotism as that of Montaigne, is, indeed, the natural attitude of the familiar essayist who must be egotistic, not from self-consciousness but from the lack of it. In putting his opinions and experiences in the first person, we feel that Lamb did so almost unconsciously, because it was for him the easiest way of expressing himself. ”

“ An encounter in a coach with a loquacious gentleman whom he took to be a school-master set Lamb musing on the differences between "The Old and the New School-Master," on the way in which the pedagogue is differentiated by the very conditions of his labours not only from his boys but from his fellows generally; he is a man for whom life is in a measure poisoned, "nothing comes to him not spoiled by the sophisticating medium of moral uses." Incidentally too, Elia informs us that the school-master
is so used to teaching that he wants to be teaching you. ”

“ Elia shows how it is wanting in the true spirit of gallantry which should consist not in compliments to youth and beauty but in reverence to sex.
"The Old Benchers of the Inner Temple" is one of the essays richest at once in personal recollections, in wonderful portraiture, and in those subtle literary touches which impart their peculiar flavour to the whole. ”

“ Indeed, for variety in unity there are few books to compare with our Elia. In the opening essay—the first of the series to appear in the "London Magazine," the one to stand in the forefront of the volume—Lamb blends reminiscences with fancy, as he continued to do frequently throughout the series, in a way that is as suggestive to the seeker after autobiographical data as it is engaging to the reader in search of nothing further than the rich delight which comes of passing time with a literary gem. ”

“ You can't think what a difference. All the streets and pavements are pure gold, I warrant you. At least I know an alchemy that turns her mud into that metal,—a mind that loves to be at home in crowds. ”

“ Placing special emphasis on his favourites—which besides the three named included Jeremy Taylor, Chapman, and Wither, to say nothing of the whole body of the dramatists of our literary renaissance—it may be said that his wide reading, his loving study, among the authors of our richest literary periods went far towards forming his style, though it must be remembered—it cannot be forgotten with a volume of his essays or letters in hand—that there is always that marked but indescribable "individuality of manner" which pervades the varied whole. ”

“ In the manner of presentation of his writings we have at once the revelation of catholic literary taste and wide reading combined with the deep seriousness and the almost irresponsible whimsicality of the man himself. The man who was loved by all who knew him in the flesh—so true is it that le style c'est l'homme—reveals himself as a man to be loved by those who can only know him through the medium of the written word. Where he has given rein to his fancy or his imagination, he is humorous, whimsical, inventive ”

“ The first is an example of subtle criticism showing how it is that we get enjoyment out of unlovely attributes on the stage, thanks to the "exquisite art of the actor in a perpetual sub-insinuation to us," that things are not altogether what they seem to be. In the two essays on Elliston we have at once an eloquent tribute to a stage-magnate of his day and a fine character portrait.
"Detached Thoughts on Books and Reading," might be cited as one of the most characteristic of the essays of Elia. It illustrates the writer's happiest style, and indicates his taste. ”

“ Mary Lamb was presumed to be able to acquire a sufficiency of knowledge, it was seen that her younger brother needed something more than Mr. Bird could give to fit him for a life in which he would have to take an early place as bread-winner. John Lamb's friendly employer—whom lovers of Lamb can never recall but to honour—secured a nomination for the boy to Christ's Hospital, and thither in his eighth year the little fellow was transferred from the home in the Temple. ”

“ Of Lamb's work in this field the elder Disraeli [57] admirably said, "He carries us on through whole scenes by a true, unerring motion. His was a poetical mind, labouring in poetry." Within the century that has elapsed since Lamb was engaged in exploring the forgotten old tomes in which lay buried so much excellent literature, the study which he started has taken its place as one of the most important of its kind, and a large library might be formed of the books and reprints which may be looked upon as direct descendants of that modest single octavo volume of 1808. ”

“ Certainly Lamb's "hack work," the work done for the booksellers during the early part of the century, was his least memorable achievement, and we cannot help feeling what a boon it was to Lamb himself and to Letters that he was chained so long to the desk's dead wood, instead of being dependent on the favour of the booksellers for his livelihood, and upon the popular taste of the moment for his themes. ”

“ But in a lesser degree the witches of Middleton are fine creations. Their power too is, in some measure, over the mind. They raise jars, jealousies, strife, like a thick scurf o'er life.
Here surely we have the right stuff. Terse, pregnant sentences; few words, but going to the very heart of the matter. That Lamb was justly proud of his pioneer work in this field of literary research is certain, for in a short autobiography which he prepared for a friend's album—in what has been called "the briefest, and perhaps the wittiest and most truthful autobiography in the language"—he wrote as follows ”

“ Whether written with a running pen, as a large proportion of them undoubtedly were, or written with the patience of the essayist ponderingly in search of the mot juste, they are always true Lamb, individual expressions far removed from the ordinary letters of ordinary folk; they are at once informing revelations of the writer in his relations with his fellows, and they are always marked by essentially literary qualities. In his letters will be found not infrequently—both in idea and in expression—the germs of his essays. ”

“ He felt his way to prose through poetry as so many lesser writers have done, and on the way uttered perhaps a dozen pieces, which for one reason or another will ever make a lasting appeal to readers. The sense of tragedy in "The Old Familiar Faces"—more remarkable in that it was tragedy realized and expressed at the age of three-and-twenty—the weird imagination of "The Gipsy's Malison," the sweet portraiture of "Hester," the fancy of "A Farewell to Tobacco," and the "Ode to the Treadmill," will ensure that portion of his work to which they belong, sharing the immortality of the essays of Elia. ”

“ Lamb takes as his text a remark made by Lord Foppington in Vanbrugh's "Relapse": "To mind the inside of a book is to entertain one's [90] self with the forced products of another man's brain. Now I think a man of quality and breeding may be much amused with the natural sprouts of his own."
An ingenious acquaintance was so much struck with this bright sally of his Lordship, that he has left off reading altogether, to the great improvement of his originality. ”

“ This would of itself be sufficient to establish the "imperfect sympathy," for in another connection Lamb had declared his preference for "a matter of lie man."
"Witches and Other Night Fears" is an examination, in which whimsicality is blent with deep seriousness, of the night terrors of imaginative childhood; Elia showed how a picture in an old time Bible history had shaped his fears and made his nights hideous for several years of his early childhood, though he holds that "It is not book, or picture, or the stories of foolish servants, which create these terrors in children. ”

“ I am content to stand still at the age to which I am arrived; I and my friends; to be no younger, no richer, no handsomer. I do not want to be weaned by age; or drop like mellow fruit, as they say, into the grave.
Next comes the immortal "Mrs. Battle's Opinions on Whist,"—Mrs. Battle, whose wish for "a clear fire, a clean hearth, and the rigour of the game" has become almost proverbial so commonly is it repeated, whose heart-whole devotion to her game will make true Elians whist players when bridge is forgotten. In "A Chapter [77] on Ears," Elia expatiates upon his insensibility to music ”

“ To his lifelong habit of browsing among old books, his especial fondness for the writers of the sixteenth century, he owed no small part of the richness of his vocabulary, which enabled him frequently to use with fine effect happy old words in place of current makeshifts. In one of his early letters to Coleridge where he mentions having just finished reading Chapman's Homer, Lamb, seizing upon a phrase in that translation, says with gusto, "what endless egression of phrases the dog commands." ”

“ The company was not limited to literary folk, though many notable men of letters were to be met there, along with humbler friends, for the Lambs were catholic in their friendships, and had nothing of the exclusiveness of more pretentious salons. "We play at whist, eat cold meat and hot potatoes, and any gentleman that chooses smokes." At these gatherings Mary Lamb moved about observantly looking after her diverse guests, while Lamb himself, it has been said, might be depended upon for at once the wisest and the wittiest utterance of the evening. ”

“ Here were most Elia-like precursors of the famous "Essays."
In the autumn of 1817 the Lambs removed from the Temple in which they had passed the greater part of their lives, taking rooms over a brazier's shop at 20, Russell Street, Covent [30] Garden, at the corner of Bow Street, where, as Mary Lamb put it, they had "Drury Lane Theatre in sight of our front, and Covent Garden from our back windows." Covent Garden, as Charles said, "dearer to me than any garden of Alcinous, where we are morally sure of the earliest peas and 'sparagus." ”

“ He discourses high truth or fresh philosophy, truest poetry, richest wit, or the most delicate humour, he presents personal experiences with that simplicity of pure camaraderie which assumes that the reader could do the same—if he had the mind, as Lamb himself put it when wittily snubbing Wordsworth. ”

“ The children of Alice call Bartrum father. We are nothing, less than nothing, and dreams. We are only what might have been, and must wait upon the tedious shores of Lethe millions of ages before we have existence, and a name"—and immediately awaking, I found myself quietly seated in my bachelor arm-chair, where I had fallen asleep, with the faithful Bridget unchanged by my side—but John L. (or James Elia) was gone for ever. ”

“ Hazlitt, touching upon the characteristics of Charles Lamb, in the essay in which he—not very felicitously—brackets Elia and Geoffrey Crayon in the "Spirit of the Age," says:
He is borne along with no pompous paradoxes, shines in no glittering tinsel of a fashionable phraseology; is neither fop nor sophist. He has none of the turbulence or froth of new-fangled opinions. His style runs pure and clear, though it may often take an underground course, or be conveyed through old-fashioned conduit pipes. ”

“ The style is the man. The rule was thus confined within the compass of a brief sentence by a distinguished French naturalist, and if there be examples which form exceptions to that rule, Charles Lamb is certainly not one of them. Markedly individual himself he reveals that individuality in his writings so strongly that there are not wanting critics who consider themselves able to decide from the turn of a phrase or the use of a word whether Lamb did or did not write any particular piece of work which it may have been sought to father on him. ”

“ You have seen 'Beauties of Shakspeare'? so have many people that never saw any beauties in Shakspeare." Lamb was not by any means, however, an imitator of the unfortunate clerical forger, Dodd, in the scheme which he had in hand. When we turn to the "Specimens" themselves we discover them to be fine indeed, and in reading them and the brief but pregnant notes upon them, we marvel at the sureness of the touch and the maturity of the writer. The notes, or commentary, rarely extend beyond a score of lines, and are most often far below that, yet they are always wonderfully pertinent ”

“ For us, to-day, with our bountiful acknowledgment of all that we owe to the great body of dramatic poets who flourished during the latter part of the sixteenth century and the first half of the seventeenth, for us with our many collected editions of the works of these men it is somewhat difficult to realize the benighted condition in which our fellows were situated a century ago. Elizabethan drama to by far the greater number of our great grandparents meant Shakespeare and Shakespeare alone ”

“ Lamb's mother, Elizabeth Field, is—for obvious reasons—the only member of the immediate family circle whom we do not meet in his writings. His maternal grandmother—the grandame who is to be met in his verses and in some of his essays—was for over half a century housekeeper at Blakesware in Hertfordshire, and with her, as a small boy, Charles spent pleasant holidays. ”

“ Lamb sought to provide what he termed a supplement to Fénelon's long-popular "Adventures of Telemachus." He took the story from Chapman's translation of Homer's "Odyssey," that translation which a few years later was to inspire John Keats with one of his finest sonnets. In a preface, a model of concise expression, the author of the tale explained:
By avoiding the prolixity which marks the speeches and the descriptions in Homer, I have gained a rapidity to the narration which I hope [49] will make it more attractive, and give it more the air of a romance, to young readers ”