A

"The Wife's

Page 392, line 4. recent writer. Lamb himself. Page 395, line 19. There is a tragic Drama. Trial" (see Vol. IV.). More properly a comic drama. Page 395, line 27. But if to write in Albums be a sin. A reference probably to the attack on Lamb's book made a year earlier in the Literary Gazette, which occasioned Southey's spirited lines to The Times in defence of his friend.

Page 396, middle. But the disease has gone forth. Four years before, in 1827, Lamb had protested to Bernard Barton against the Album exactions:

"If I go to

thou art there also, O all pervading Album! All over the Leeward Islands, in Newfoundland, and the Back Settlements, I understand there is no other reading. They haunt me. I die of Albophobia!"

Page 397. THE DEATH Of Munden.

The Athenæum, February 11, 1832, under the title, " Munden, the Comedian." Signed "C. Lamb.'

Not reprinted by Lamb.

The article was preceded by this editorial note:

A brief Memoir in a paper like the Athenæum, is due to departed genius, and would certainly have been paid to Munden, whose fame is so interwoven with all our early and pleasant recollections, even though we had nothing to add to the poor detail of dates and facts already registered in the daily papers. The memory of a player, it has been said, is limited to one generation; he

"-struts and frets his hour upon the stage, And then is heard no more!"

But this cannot be true, seeing that many whose fame will soon be counted by centuries, yet live to delight us in Cibber; and that others of our latter days, have been enbalmed, in all their vital spirit, by Elia himself; in whose unrivalled volume Cockletop is preserved as in amber, and where Munden will live for aye, making mouths at Time and Oblivion. We were thus apologizing to ourselves for the unworthy epithet we were about to scratch on perishable paper to this inimitable actor, when we received the following letter, which our readers will agree with us is worth a whole volume of bald biographies.

This preamble was probably written by Charles Wentworth Dilke (1789-1864), who became supreme editor of The Athenæum in 1830. Joseph Shepherd Munden died on February 6, 1832. He had first made his mark in 1780, when Lamb was five. His Covent Garden career lasted, with occasional migrations, from 1790 to 1811. Munden's first appearance at Drury Lane was in 1813. It was in 1815 that he created the part of Old Dozy, in T. Dibdin's "Past Ten O'clock and a Rainy Night." His farewell of the stage was taken in 1824.

Page 397, line 7. Lewis. "Gentleman" Lewis (1748?-1811), the original Faulkland in "The Rivals." It was he who said that

Lamb's farce, "Mr. H.," might easily have been turned into a success by a practical dramatist. Hazlitt called him "the greatest comic mannerist perhaps that ever lived." His full name is

William Thomas Lewis.

Page 397, line 8. Parsons, Dodd, etc. See note on page 465. Parsons was at Drury Lane practically from 1762 to 1795 and Dodd from 1766 to 1796.

Page 398, line 4. "Johnny Gilpin." This benefit, for William Dowton (1764-1851), was held on April 28, 1817. The first piece was "The Rivals," with Dowton as Mrs. Malaprop. In "Johnny Gilpin" (Genest gives no author's name) Munden played Anthony Brittle.

Page 398, line 6. Liston's Lubin Log. This was one of Liston's great parts-in "Love, Law and Physic," by Lamb's friend, James Kenney (1780-1849), produced in 1812.

Page 398, at the end. A gentleman whose criticism I think masterly. This was Talfourd, who several years before had been dramatic critic to The Champion. I quote the first portion of his article: "Mr. Munden appears to us to be the most classical of actors. He is that in high farce, which Kemble was in high tragedy. The lines of these great artists are, it must be admitted, sufficiently distinct; but the same elements are in both,-the same directness of purpose, the same singleness of aim, the same concentration of power, the same iron-casing of inflexible manner, the same statuelike precision of gesture, movement and attitude. The hero of farce is as little affected with impulses from without, as the retired Prince of Tragedians. There is something solid, sterling, almost adamantine, in the building up of his most grotesque characters. When he fixes his wonder-working face in any of its most amazing varieties, it looks as if the picture were carved out from a rock by Nature in a sportive vein, and might last for ever. It is like what we can imagine a mask of the old Grecian Comedy to have been, only that it lives, and breathes, and changes. His most fantastical gestures are the grand ideal of farce. He seems as though he belonged to the earliest and the stateliest age of Comedy, when instead of superficial foibles and the airy varieties of fashion, she had the grand asperities of man to work on, when her grotesque images had something romantic about them, and when humour and parody were themselves heroic."

Page 398. THOUGHTS ON Presents of GaME, &c.

The Athenæum, November 30, 1833. Signed "Elia." Not reprinted by Lamb.

The quoted passage at the head of this little essay is from Lamb's "Popular Fallacy." XV., "That we must not look a gift-horse in the mouth." It was probably placed there by the editor of The Athenæum. The present essay may be taken as a postscript to the

"Dissertation on Roast Pig." The late Mr. Charles Kent, in his Centenary edition of Lamb, printed it next that essay, under the heading "A Recantation."

Page 399, line 1. Old Mr. Chambers. The Rev. Thomas Chambers, Vicar of Radway-Edgehill, in Warwickshire, and father of Charles and John Chambers, who were at Christ's Hospital, but after Lamb's day. John was a fellow clerk of Lamb's at the India House. A letter from Lamb to Charles Chambers is in existence (see Hazlitt's The Lambs, page 138), in which Lamb makes other ecstatic remarks on delicate feeding. Incidentally he says that bullock's heart is a substitute for hare. Mr. Hazlitt says that the Warwickshire vicar left a diary in which he recorded little beyond the dinners he used to give or eat.

Page 399, line 10. Mrs. Minikin Writing to his friend Dodwell in October, 1827, concerning the gift of a little pig (which suggests that the "Recantation was of more recent date than the reader is asked to suppose), Lamb uses "crips" again. "And do it nice and crips." (That's the Cook's word.) You'll excuse me, I have been only speaking to Becky about the dinner to-morrow." This seems to establish the fact that Mrs. Minikin was Becky's name when she was exalted into print. Becky however had left long before 1833.

Page 400.

TABLE-TALK BY THE LATE ELIA.

The Athenæum, January 4, May 31, June 7, July 19, 1834. Not reprinted by Lamb.

The phrase, "the late Elia," has reference to the preface to the Last Essays of Elia, published in 1833, in which his death is spoken

of.

Page 400, line 3 of essay. 'Tis unpleasant to meet a beggar. A different note is struck in the Elia essay "On the Decay of Beggars": Reader, do not be frightened at the hard words, imposition, imposture-give, and ask no questions."

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Page 400, line 4 from foot. Will Dockwray. I have not been able to find anything about this Will Dockwray. Such Ware records as I have consulted are silent concerning him. There was a Joseph Dockwray, a rich Quaker maltster, at Ware in the eighteenth century. In the poem "Going or Gone," which mentions many of Lamb's acquaintances in his early Widford days (Widford is only three miles from Ware), there is mentioned a Tom Dockwra, who also eludes research.

Page 401, line 15. "We read the Paradise Lost' as a task." Johnson, in his "Life of Milton," in the Lives of the Poets, says: "Paradise Lost' is one of the books which the reader admires and lays down, and forgets to take up again. None ever wished it longer than it is. Its perusal is a duty rather than a pleasure." For other remarks on Milton see page 428.

Page 401, foot. So ends "King Lear." Lamb means that the tragedy is virtually done. There are of course some dozen lines more, after the last of those quoted in Lamb's piecemeal; which I have corrected by the Globe Edition. Lear's praise of Caius "he's a good fellow . . . and will strike "—was applied by Lamb to his father in the character sketch of him in the Elia essay "On the Old Benchers" (see also the essay on the "Genius of Hogarth," for earlier remarks, 1810, on this subject).

Page 402, first quotation. "Served not for gain the Fool's song in" Lear," Act II., Scene 4:

That, sir, which serves and seeks for gain,

And follows but for form,

Will pack when it begins to rain,

And leave thee in the storm.

." From

"The Nut-Brown

Page 402, second and third quotations. Maid." This poem is given in the Percy Reliques. The oldest form of it is in Arnolde's Chronicle, 1502. Lamb quotes from the penultimate stanza. Matthew Prior (1664-1721), who wrote a version under the title "Henry and Emma,” was a favourite with Lamb. In Miss Isola's Extract Book he copied prior's Female Phaeton." In this connection a passage from the obituary notice of Lamb, written by Barron Field in the Annual Biography and Obituary, 1836, has peculiar interest. The doctrine referred to is suppression in writing":

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66

We remember, at the very last supper we ate with him (Mr. Serjeant Talfourd will recollect it too), he quoted a passage from Prior's "Henry and Emma," in illustration of this doctrine and discipline; and yet he said he loved Prior as much as any man, but that his " Henry and Emma was a vapid paraphrase of the old poem of "The Nutbrowne Mayde." For example, at the dénouement of the ballad, Prior made Henry rant out to his devoted Emma :

"In me behold the potent Edgar's heir,
Illustrious earl; him terrible in war

Let Loire confess, for she has felt his sword,
And trembling fled before the British Lord,"

and so on for a dozen couplets, heroic, as they are called.

And then

Mr. Lanıb made us mark the modest simplicity with which the noble youth disclosed himself to his mistress in the old poem :

"Now understand,

To Westmoreland,
Which is my heritage,

(in a parenthesis, as it were,)
I will you bring;

And with a ring,
By way of marriage,

I will you take
And lady make

As shortly as I can:
Thus have ye won

An earle's son

And not a banish'd man."

Page 403, line 14 from foot. M

sent to his friend L——. M- probably stands for Basil Montagu, Lamb's friend, and the editor of the volume in which "Confessions of a Drunkard appeared. L- was probably Lamb himself.

Page 403, line 11 from foot. Penotier. The friend disguised under this name has not been identified. Nor has Parson Wor F―― in a later paragraph. Mr. B. B. MacGeorge tells me that he has a copy of John Woodvil inscribed in Lamb's hand to the Rev. J. Walton (or Watson).

Page 404, line 19. 39th of Exodus. Lamb meant 39th of Genesis the story of Joseph.

Page 405, line 12. C. See Allsop's Letters and Conversations of S. T. Coleridge, 1836, Vol. I., page 206, or where Allsop quotes Lamb as saying, "I made that joke first (the Scotch corner in hell, fire without brimstone), though Coleridge somewhat licked it into shape."

Page 405, line 7 from foot. Chapman's Homer. It would have been quite possible for Shakespeare to have read part of Chapman's Homer before he wrote "Troilus and Cressida." That play was probably written in 1603, and seven books of Chapman's Iliad came out in 1598, and the whole edition somewhere about 1609. Mr. Lee thinks that Shakespeare had read Chapman. The whole of the Odyssey was published in 1614. It was from this version that Lamb prepared his Adventures of Ulysses, 1808.

Page 406. THE DEATH OF Coleridge.

Not printed by Lamb. These reflections were copied from the album of Mr. Keymer by John Forster, and quoted in the memorial article upon Lamb written by him in the New Monthly Magazine for February, 1835, which he then edited. "Lamb never fairly recovered from the death of Coleridge," said Forster.

He thought of little else (his sister was but another portion of himself) until his own great spirit joined his friend. He had a habit of venting his melancholy in a sort of mirth. He would, with nothing graver than a pun, "cleanse his bosom of the perilous stuff that weighed " upon it. In a jest, or a few light phrases, he would lay open the last recesses of his heart. So in respect of the death of Coleridge. Some old friends of his saw him two or three weeks ago, and remarked the constant turning and reference of his mind. He interrupted himself and them almost every instant with some play of affected wonder, or astonishment, or humorous melancholy, on the words, "Coleridge is dead." Nothing could divert him from that, for the thought of it never left him.

It was then that Forster asked Lamb to inscribe something in Mr. Keymer's album: the passage on Coleridge was the result.