Chapter 1

LAUREL-CROWNED LETTERS

CHARLES LAMB

It may well be that the "Essays of Elia" will be found to have kept their perfume, and the LETTERS OF CHARLES LAMB to retain their old sweet savor, when "Sartor Resartus" has about as many readers as Bulwer's "Artificial Changeling," and nine tenths even of "Don Juan" lie darkening under the same deep dust that covers the rarely troubled pages of the "Secchia Rapita."

A.C. SWINBURNE

No assemblage of letters, parallel or kindred to that in the hands of the reader, if we consider its width of range, the fruitful period over which it stretches, and its typical character, has ever been produced.

W.C. HAZLITT ON LAMB'S LETTERS.

THE BEST LETTERS OF CHARLES LAMB

Edited with an Introduction

BY EDWARD GILPIN JOHNSON

A.D. 1892.

CONTENTS

INTRODUCTION

LETTER I. To Samuel Taylor Coleridge II. To Coleridge III. To Coleridge IV. To Coleridge V. To Coleridge VI. To Coleridge VII. To Coleridge VIII. To Coleridge IX. To Coleridge X. To Coleridge XI. To Coleridge XII. To Coleridge XIII. To Coleridge XIV. To Coleridge XV. To Robert Southey XVI. To Southey XVII. To Southey XVIII. To Southey XIX. To Thomas Manning XX. To Coleridge XXI. To Manning XXII. To Coleridge XXIII. To Manning XXIV. To Manning XXV. To Coleridge XXVI. To Manning XXVII. To Coleridge XXVIII. To Coleridge XXIX. To Manning XXX. To Manning XXXI. To Manning XXXII. To Manning XXXIII. To Coleridge XXXIV. To Wordsworth XXXV. To Wordsworth XXXVI. To Manning XXXVII. To Manning XXXVIII. To Manning XXXIX. To Coleridge XL. To Manning XLI. To Manning XLII. To Manning XLIII. To William Godwin XLIV. To Manning XLV. To Miss Wordsworth XLVI. To Manning XLVII. To Wordsworth XLVIII. To Manning XLIX. To Wordsworth L. To Manning LI. To Miss Wordsworth LII. To Wordsworth LIII. To Wordsworth LIV. To Wordsworth LV. To Wordsworth LVI. To Southey LVII. To Miss Hutchinson LVIII. To Manning LIX. To Manning LX. To Wordsworth LXI. To Wordsworth LXII. To H. Dodwell LXIII. To Mrs. Wordsworth LXIV. To Wordsworth LXV. To Manning LXVI. To Miss Wordsworth LXVII. To Coleridge LXVIII. To Wordsworth LXIX. To John Clarke LXX. To Mr. Barren Field LXXI. To Walter Wilson LXXII. To Bernard Barton LXXIII. To Miss Wordsworth LXXIV. To Mr. and Mrs. Bruton LXXV. To Bernard Barton LXXVI. To Miss Hutchinson LXXVII. To Bernard Barton LXXVIII. To Mrs. Hazlitt LXXIX. To Bernard Barton LXXX. To Bernard Barton LXXXI. To Bernard Barton LXXXII. To Bernard Barton LXXXIII. To Bernard Barton LXXXIV. To Bernard Barton LXXXV. To Bernard Barton LXXXVI. To Wordsworth LXXXVII. To Bernard Barton LXXXVIII. To Bernard Barton LXXXIX. To Bernard Barton XC. To Southey XCI. To Bernard Barton XCII. To J.B. Dibdin XCIII. To Henry Crabb Robinson XCIV. To Peter George Patmore XCV. To Bernard Barton XCVI. To Thomas Hood XCVII. To P.G. Patmore XCVIII. To Bernard Barton XCIX. To Procter C. To Bernard Barton CI. To Mr. Gilman CII. To Wordsworth CIII. To Mrs. Hazlitt CIV. To George Dyer CV. To Dyer CVI. To Mr. Moxon CVII. To Mr. Moxon

INTRODUCTION.

No writer, perhaps, since the days of Dr. Johnson has been oftener brought before us in biographies, essays, letters, etc., than Charles Lamb. His stammering speech, his gaiter-clad legs,--"almost immaterial legs," Hood called them,--his frail wisp of a body, topped by a head "worthy of Aristotle," his love of punning, of the Indian weed, and, alas! of the kindly production of the juniper-berry (he was not, he owned, "constellated under Aquarius"), his antiquarianism of taste, and relish of the crotchets and whimsies of authorship, are as familiar to us almost as they were to the group he gathered round him Wednesdays at No. 4, Inner Temple Lane, where "a clear fire, a clean hearth, and the rigor of the game" awaited them. Talfourd has unctuously celebrated Lamb's "Wednesday Nights." He has kindly left ajar a door through which posterity peeps in upon the company,--Hazlitt, Leigh Hunt, "Barry Cornwall," Godwin, Martin Burney, Crabb Robinson (a ubiquitous shade, dimly suggestive of that figment, "Mrs. Harris"), Charles Kemble, Fanny Kelly ("Barbara S."), on red-letter occasions Coleridge and Wordsworth,--and sees them discharging the severer offices of the whist-table ("cards were cards" then), and, later, unbending their minds over poetry, criticism, and metaphysics. Elia was no Barmecide host, and the serjeant dwells not without regret upon the solider business of the evening,--"the cold roast lamb or boiled beef, the heaps of smoking roasted potatoes, and the vast jug of porter, often replenished from the foaming pots which the best tap of Fleet Street supplied," hospitably presided over by "the most quiet, sensible, and kind of women," Mary Lamb.

The _terati_ Talfourd's day were clearly hardier of digestion than their descendants are. Roast lamb, boiled beef, "heaps of smoking roasted potatoes," pots of porter,--a noontide meal for a hodman,--and the hour midnight! One is reminded, _à propos_ of Miss Lamb's robust viands, that Elia somewhere confesses to "an occasional nightmare;" "but I do not," he adds, "keep a whole stud of them." To go deeper into this matter, to speculate upon the possible germs, the first vague intimations to the mind of Coleridge of the weird spectra of "The Ancient Mariner," the phantasmagoria of "Kubla Khan," would be, perhaps, over-refining. "Barry Cornwall," too, Lamb tells us, "had his tritons and his nereids gambolling before him in nocturnal visions." No wonder!

It is not intended here to re-thresh the straw left by Talfourd, Fitzgerald, Canon Ainger, and others, in the hope of discovering something new about Charles Lamb. In this quarter, at least, the wind shall be tempered to the reader,--shorn as he is by these pages of a charming letter or two. So far as fresh facts are concerned, the theme may fairly be considered exhausted. Numberless writers, too, have rung the changes upon "poor Charles Lamb," "dear Charles Lamb," "gentle Charles Lamb," and the rest,--the final epithet, by the way being one that Elia, living, specially resented:

"For God's sake," he wrote to Coleridge. "don't make me ridiculous any more by terming me gentle-hearted in print, or do it in better verses. It did well enough five years ago, when I came to see you, and was moral coxcomb enough at the time you wrote the lines to feed upon such epithets; but besides that the meaning of 'gentle' is equivocal at best, and almost always means poor-spirited, the very quality of gentleness is abhorrent to such vile trumpetings. My sentiment is long since vanished. I hope my _virtues_ have done _sucking_. I can scarce think but you meant it in joke. I hope you did, for I should be ashamed to believe that you could think to gratify me by such praise, fit only to be a cordial to some green-sick sonneteer."

The indulgent pity conventionally bestowed upon Charles Lamb--one of the most manly, self-reliant of characters, to say nothing of his genius--is absurdly' misplaced.

Still farther be it from us to blunt the edge of appetite by sapiently essaying to "analyze" and account for Lamb's special zest and flavor, as though his writings, or any others worth the reading, were put together upon principles of clockwork. We are perhaps over-fond of these arid pastimes nowadays. It is not the "sweet musk-roses," the "apricocks and dewberries" of literature that please us best; like Bottom the Weaver, we prefer the "bottle of hay." What a mockery of right enjoyment our endless prying and sifting, our hunting of riddles in metaphors, innuendoes in tropes, ciphers in Shakspeare! Literature exhausted, we may turn to art, and resolve, say, the Sistine Madonna (I deprecate the Manes of the "Divine Painter") into some ingenious and recondite rebus. For such critical chopped-hay--sweeter to the modern taste than honey of Hybla--Charles Lamb had little relish. "I am, sir," he once boasted to an analytical, unimaginative proser who had insisted upon _explaining_ some quaint passage in Marvell or Wither, "I am, sir, a matter-of-lie man." It was his best warrant to sit at the Muses' banquet. Charles Lamb was blessed with an intellectual palate as fine as Keats's, and could enjoy the savor of a book (or of that dainty, "in the whole _mundus edibilis_ the most delicate," Roast Pig, for that matter) without pragmatically asking, as the king did of the apple in the dumpling, "how the devil it got there." His value as a critic is grounded in this capacity of _naïve_ enjoyment (not of pig, but of literature), of discerning beauty and making _us_ discern it,--thus adding to the known treasures and pleasures of mankind.

Suggestions not unprofitable for these later days lurk in these traits of Elia the student and critic. How worthy the imitation, for instance, of those disciples who band together to treat a fine poem (of Browning, say, or Shelley) as they might a chapter in the Revelation,--speculating sagely upon the import of the seven seals and the horns of the great beast, instead of enjoying the obvious beauties of their author. To the schoolmaster--whose motto would seem too often to be the counsel of the irate old lady in Dickens, "Give him a meal of chaff!"--Charles Lamb's critical methods are rich in suggestion. How many ingenuous boys, lads in the very flush and hey-day of appreciativeness of the epic virtues, have been parsed, declined, and conjugated into an utter detestation of the melodious names of Homer and Virgil! Better far for such victims had they, instead of aspiring to the vanities of a "classical education," sat, like Keats, unlearnedly at the feet of quaint Chapman, or Dryden, or even of Mr. Pope.

Perhaps, by way of preparative to the reading of Charles Lamb's letters, it will be well to run over once more the leading facts of his life. First let us glance at his outward appearance. Fortunately there are a number of capital pieces of verbal portraiture of Elia.

Referring to the year 1817, "Barry Cornwall" wrote:

"Persons who had been in the habit of traversing Covent Garden at that time of night, by extending their walk a few yards into Russell Street have noticed a small, spare man clothed in black, who went out every morning, and returned every afternoon as the hands of the clock moved toward certain hours. You could not mistake him. He was somewhat stiff in his manner, and almost clerical in dress, which indicated much wear. He had a long, melancholy face, with keen, penetrating eyes; and he walked with a short, resolute step citywards. He looked no one in the face for more than a moment, yet contrived to see everything as he went on. No one who ever studied the human features could pass him by without recollecting his countenance; it was full of sensibility, and it came upon you like new thought, which you could not help dwelling upon afterwards: it gave rise to meditation, and did you good. This small, half-clerical man was--Charles Lamb."

His countenance is thus described by Thomas Hood:

"His was no common face, none of those willow-pattern ones which Nature turns out by thousands at her potteries, but more like a chance specimen of the Chinese ware,--one to the set; unique, antique, quaint, you might have sworn to it piecemeal,--a separate affidavit to each feature."

Mrs. Charles Mathews, wife of the comedian, who met Lamb at a dinner, gives an amusing account of him:--

"Mr. Lamb's first appearance was not prepossessing. His figure was small and mean, and no man was certainly ever less beholden to his tailor. His 'bran' new suit of black cloth (in which he affected several times during the day to take great pride, and to cherish as a novelty that he had looked for and wanted) was drolly contrasted with his very rusty silk stockings, shown from his knees, and his much too large, thick shoes, without polish. His shirt rejoiced in a wide, ill-plaited frill, and his very small, tight, white neckcloth was hemmed to a fine point at the ends that formed part of a little bow. His hair was black and sleek, but not formal, and his face the gravest I ever saw, but indicating great intellect, and resembling very much the portraits of Charles I."

From this sprightly and not too flattering sketch we may turn to Serjeant Talfourd's tender and charming portrait,--slightly idealized, no doubt; for the man of the coif held a brief for his friend, and was a poet besides:--

"Methinks I see him before me now as he appeared then, and as he continued without any perceptible alteration to me, during the twenty years of intimacy which followed, and were closed by his death. A light frame, so fragile that it seemed as if a breath would overthrow it, clad in clerk-like black, was surmounted by a head of form and expression the most noble and sweet. His black hair curled crisply about an expanded forehead; his eyes, softly brown, twinkled with varying expression, though the prevalent expression was sad; and the nose, slightly curved, and delicately carved at the nostril, with the lower outline of the face delicately oval, completed a head which was finely placed upon the shoulders, and gave importance and even dignity to a diminutive and shadowy stem. Who shall describe his countenance, catch its quivering sweetness, and fix it forever in words? There are none, alas! to answer the vain desire of friendship. Deep thought, striving with humor; the lines of suffering wreathed into cordial mirth, and a smile of painful sweetness, present an image to the mind it can as little describe as lose. His personal appearance and manner are not unjustly characterized by what he himself says in one of his letters to Manning, [1] 'a compound of the Jew, the gentleman, and the angel.'"

The writings of Charles Lamb abound in passages of autobiography. "I was born," he tells us in that delightful sketch, "The Old Benchers of the Inner Temple," "and passed the first seven years of my life in the Temple. Its church, its halls, its gardens, its fountain, its river, I had almost said,--for in those young years what was this king of rivers to me but a stream that watered our pleasant places?--these are of my oldest recollections." His father, John Lamb, the "Lovel" of the essay cited, had come up a little boy from Lincolnshire to enter the service of Samuel Salt,--one of those "Old Benchers" upon whom the pen of Elia has shed immortality, a stanch friend and patron to the Lambs, the kind proprietor of that "spacious closet of good old English reading" upon whose "fair and wholesome pasturage" Charles and his sister, as children, "browsed at will."

John Lamb had married Elizabeth Field, whose mother was for fifty years housekeeper at the country-seat of the Plumers, Blakesware, in Hertfordshire, the "Blakesmoor" of the Essays, frequent scene of Lamb's childish holiday sports,--a spacious mansion, with its park and terraces and "firry wilderness, the haunt of the squirrel and day-long murmuring wood-pigeon;" an Eden it must have seemed to the London-bred child, in whose fancy the dusty trees and sparrows and smoke-grimed fountain of Temple Court had been a pastoral. Within the cincture of its excluding garden-walls, wrote Elia in later years, "I could have exclaimed with that garden-loving poet, [2]--

"'Bind me, ye woodbines, in your twines; Curl me about, ye gadding vines; And oh, so close your circles lace That I may never leave this place: But lest your fetters prove too weak, Ere I your silken bondage break, Do you, O brambles, chain me too, And, courteous briers, nail me through.'"

At Blakesware, too, was the room whence the spirit of Sarah Battle--that "gentlewoman born"--winged its flight to a region where revokes and "luke-warm gamesters" are unknown.

To John and Elizabeth Lamb were born seven children, only three of whom, John, Mary, and Charles, survived their infancy. Of the survivors, Charles was the youngest, John being twelve and Mary ten years his senior,--a fact to be weighed in estimating the heroism of Lamb's later life. At the age of seven, Charles Lamb, "son of John Lamb, scrivener, and Elizabeth, his wife," was entered at the school of Christ's Hospital,--"the antique foundation of that godly and royal child King Edward VI." Of his life at this institution he has left us abundant and charming memorials in the Essays, "Recollections of Christ's Hospital," and "Christ's Hospital Five-and-thirty Years Ago,"--the latter sketch corrective of the rather optimistic impressions of the former.

With his schoolfellows Charles seems to have been, despite his timid and retiring disposition (he said of himself, "while the others were all fire and play, he stole along with all the self-concentration of a young monk"), a decided favorite. "Lamb," wrote C. V. Le Grice, a schoolmate often mentioned in essay and letter, "was an amiable, gentle boy, very sensible and keenly observing, indulged by his schoolfellows and by his master on account of his infirmity of speech.... I never heard his name mentioned without the addition of Charles, although, as there was no other boy of the name of Lamb, the addition was unnecessary; but there was an implied kindness in it, and it was a proof that his gentle manners excited that kindness."

For us the most important fact of the Christ's Hospital school-days is the commencement of Lamb's life-long friendship with Samuel Taylor Coleridge, two years his senior, and the object of his fervent hero-worship. Most of us, perhaps, can find the true source of whatever of notable good or evil we have effected in life in the moulding influence of one of these early friendships or admirations. It is the boy's hero, the one he loves and reverences among his schoolfellows,-- not his taskmaster,--that is his true teacher, the setter of the broader standards by which he is to abide through life. Happy the man the feet of whose early idols have not been of clay.

It was under the quickening influence of the eloquent, precocious genius of the "inspired charity boy" that Charles Lamb's ideals and ambitions shaped themselves out of the haze of a child's conceptions. Coleridge at sixteen was already a poet, his ear attuned to the subtlest melody of verse, and his hand rivalling, in preluding fragments, the efforts of his maturer years; he was already a philosopher, rapt in Utopian, schemes and mantling hopes as enchanting--and as chimerical--as the pleasure-domes and caves of ice decreed by Kubla Khan; and the younger lad became his ardent disciple.

Lamb quitted Christ's Hospital, prematurely, in November, 1787, and the companionship of the two friends was for a time interrupted. To part with Coleridge, to exchange the ease and congenial scholastic atmosphere of the Hospital for the _res angusta domi_, for the intellectual starvation of a life of counting-house drudgery, must have been a bitter trial for him. But the shadow of poverty was upon the little household in the Temple; on the horizon of the future the blackening clouds of anxieties still graver were gathering; and the youngest child was called home to share the common burden.

Charles Lamb was first employed in the South Sea House, where his brother John [3]--a cheerful optimist, a _dilettante_ in art, genial, prosperous, thoroughly selfish, in so far as the family fortunes were concerned an outsider--already held a lucrative post. It was not long before Charles obtained promotion in the form of a clerkship with the East India Company,--one of the last kind services of Samuel Salt, who died in the same year, 1792,--and with the East India Company he remained for the rest of his working life.

Upon the death of their generous patron the Lambs removed from the Temple and took lodgings in Little Queen Street, Holborn; and for Charles the battle of life may be said to have fairly begun. His work as a junior clerk absorbed, of course, the greater part of his day and of his year. Yet there were breathing-spaces: there were the long evenings with the poets; with Marlowe, Drayton, Drummond of Hawthornden, and Cowley,--"the sweetest names, which carry a perfume in the mention;" there were the visits to the play, the yearly vacation jaunts to sunny Hertfordshire. The intercourse with Coleridge, too, was now occasionally renewed. The latter had gone up to Cambridge early in 1791, there to remain--except the period of his six months' dragooning--for the nest four years. During his visits to London it was the habit of the two schoolfellows to meet at a tavern near Smithfield, the "Salutation and Cat" to discuss the topics dear to both: and it was about this time that Lamb's sonnet to Mrs Siddons, his first appearance in print, was published in the "Morning Chronicle."

The year 1796 was a terribly eventful one for the Lambs. There was a taint of insanity in the family on the father's side, and on May 27, 1796, we find Charles writing to Coleridge these sad words,--doubly sad for the ring of mockery in them:--

"My life has been somewhat diversified of late. The six weeks that finished last year and began this, your very humble servant spent very agreeably in a madhouse at Hoxton. I am got somewhat rational now and don't bite any one. But mad I was!" [4]

Charles, thanks to the resolution with which he combated the tendency, and to the steadying influence of his work at the desk,--despite his occasional murmurs, his best friend and sheet-anchor in life,--never again succumbed to the family malady; but from that moment, over his small household, Madness--like Death in Milton's vision--continually "shook its dart," and at best only "delayed to strike." [5]

It was in the September of 1796 that the calamity befell which has tinged the story of Charles and Mary Lamb with the sombrest hues of the Greek tragedy. The family were still in the Holborn lodgings,--the mother an invalid, the father sinking into a second childhood. Mary, in addition to the burden of ministering to her parents, was working for their support with her needle.