Hope, the famous virtuoso and patron, who had just died--in February,
1831. Dawe was one of his less capable protégés. It was Mr. and Mrs.
Hope whom Dubost, the French painter, out of pique, caricatured as
"Beauty and the Beast." On the exhibition of the picture in public, the
incident caused some notoriety, and George Dyer's friend Jekyll was
engaged in the subsequent law-suit.
Page 386, line 16 from foot. _His father._ Philip Dawe, mezzotint
engraver, who flourished 1760-1780, the friend of George Morland and the
pupil of that painter's father, Henry Robert Morland (1730?-1797), and
engraver of many of his pictures. George Dawe wrote George Morland's
life.
Page 386, line 13 from foot. _Carrington and Bowles._ Properly,
Carington Bowles, of 69 St. Paul's Churchyard. The laundress washing was
probably Lamb's recollection of one of the well-known pair, "Lady's-Maid
Ironing" and "Lady's-Maid Soaping Linen," by Henry Morland, the
originals of which are in the National Gallery. I cannot identify among
the hundreds of Carington Bowles' publications in the British Museum the
picture that Lamb so much admired in the Hornsey Road. But the inn would
probably be that which is now The King's Head (or Yard of Pork), at the
corner of Crouch End Hill (a continuation of Hornsey Lane), Crouch Hill,
Coleridge Road and Broadway. The picture has gone.
Page 387, line 14 from foot. _He proceeded Academician._ Lamb wrote to
Manning in 1810, "Mr. Dawe is made associate of the Royal Academy. By
what law of association, I can't guess."
Page 388, line 15 from foot. _Sampson ... Dalilah._ The letters contain
an earlier account of the picture. Writing to Hazlitt in 1805 Lamb says:
"I have seen no pictures of note since, except Mr. Dawe's gallery. It is
curious to see how differently two great men treat the same subject, yet
both excellent in their way: for instance, Milton and Mr. Dawe. Mr. Dawe
has chosen to illustrate the story of Sampson exactly in the point of
view in which Milton has been most happy: the interview between the
Jewish Hero, blind and captive, and Dalilah. Milton has imagined his
Locks grown again, strong as horse-hair or porcupine's bristles;
doubtless shaggy and black, as being hairs 'which of a nation armed
contained the strength.' I don't remember, he _says_ black: but could
Milton imagine them to be yellow? Do you? Mr. Dawe with striking
originality of conception has crowned him with a thin yellow wig, in
colour precisely like Dyson's, in curl and quantity resembling Mrs.
Professor's,[73] his Limbs rather stout, about such a man as my Brother
or Rickman--but no Atlas nor Hercules, nor yet so bony as Dubois, the
Clown of Sadler's Wells. This was judicious, taking the spirit of the
story rather than the fact: for doubtless God could communicate national
salvation to the trust of flax and tow as well as hemp and cordage, and
could draw down a Temple with a golden tress as soon as with all the
cables of the British navy."
[73] Mrs. Godwin.--ED.
Page 390, line 11. _Half a million._ Probably nearer £100,000. Dawe,
however, lost much of this by money-lending, and died worth only
£25,000.
* * * * *
Page 391. THE LATIN POEMS OF VINCENT BOURNE.
_The Englishman's Magazine_, September, 1831.
This article was unsigned, but it is known to be by Lamb from internal
evidence and from the following letter to Moxon, the publisher of the
magazine:--
"DEAR M.,--I have ingeniously contrived to review myself.
"Tell me if this will do. Mind, for such things as these--half
quotations--I do not charge _Elia_ price. Let me hear of, if not see
you.
"PETER."
Lamb's _Album Verses_, the book reviewed, had been published by Moxon a
year earlier. It contained nine translations from Vincent Bourne.
Further particulars of Vincent Bourne (1695-1747), a master at
Westminster, are given in the notes to Lamb's translations in the
poetical volume. His _Poemata_ appeared in 1734, the best edition being
that of the Rev. John Mitford, Bernard Barton's friend, published in
1840. Lamb first read Bourne as late as 1815. Writing to Wordsworth in
April of that year he says of Bourne: "What a heart that man had, all
laid out upon town scenes, a proper counterpoise to _some people's_
rural extravagances." And again in the same letter: "What a sweet,
unpretending, pretty-mannered, _matter-ful_ creature, sucking from every
flower, making a flower of every thing--his diction all Latin, and his
thoughts all English." And in the _Elia_ essay "On the Decay of Beggars"
Bourne is called "most classical, and at the same time, most English, of
the Latinists!"
Page 391, foot. _Cowper ... out of the four._ Cowper, who was Bourne's
pupil at Westminster, translated twenty-three of the poems, but there
were only four in early editions of his works. Lamb and Cowper did not
clash in their translations, except in the case of the lines on the
sleeping infant quoted later in this essay. Cowper's version ran thus:--
Sweet babe, whose image here expressed,
Does thy peaceful slumbers show,
Guilt or fear, to break thy rest,
Never did thy spirit know.
Softly slumber, soft repose,
Such as mock the painter's skill,
Such as innocence bestows,
Harmless infant, lull thee still!
The line quoted by Lamb from Cowper is the first of "The Jackdaw."
Cowper's praise of Bourne resembles Lamb's. He writes: "I love the
memory of Vinny Bourne. I think him a better Latin poet than Tibullus,
Propertius, Ausonius, or any of the writers in _his_ way, except Ovid,
and not at all inferior to _him_."
Page 392, line 4. _A recent writer._ Lamb himself.
Page 395, line 19. _There is a tragic Drama._ "The Wife's 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 Listen'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 statue-like 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 Athæneum_, 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_."
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...._" From 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.
Page 402, second and third quotations. "_The Nut-Brown 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 Barren Field in the _Annual Biography and
Obituary_, 1836, has peculiar interest. The doctrine referred to is
"suppression in writing":--
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. Lamb 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 W---- or 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. Keymer was a
London bookseller--the same to whom Bernard Barton, after Lamb's death,
sent a character sketch of Lamb (see _Bernard Barton and His Friends_,
page 113). Lamb, I might add, was much offended, as he told Mr. Fuller
Russell, by a request from _The Athenæum_, immediately after Coleridge's
death, for an article upon him.
Coleridge died in the house of James Gillman, in the Grove, Highgate,
July 25, 1834, five months before Lamb's death. On his deathbed
Coleridge had written, in pencil, in a copy of his _Poetical Works_,
against the poem "This Lime-Tree Bower my Prison," the words: "_Ch. and
Mary Lamb--dear to my heart, yea, as it were, my heart. S. T. C. Aet.
63, 1834. 1797-1834--37 years!_"
Coleridge's will contained this clause:--
And further, as a relief to my own feelings by the opportunity of
mentioning their names, that I request of my executor, that a small
plain gold mourning ring, with my hair, may be presented to the
following persons, namely: To my close friend and ever-beloved
schoolfellow, Charles Lamb--and in the deep and almost life-long
affection of which this is the slender record; his equally-beloved
sister, Mary Lamb, will know herself to be included ...
The names of five other friends followed.
* * * * *
Page 407. CUPID'S REVENGE.
This paraphrase of Beaumont and Fletcher's play of the same name is
placed here on account of the mystery of its date. Probably it belongs
to a stage in Lamb's career some years earlier. It was printed first in
_Harper's Magazine_, December, 1858, with the following prefatory
note:--
The autograph MS. of this unpublished Tale by Charles Lamb came
into our hands in the following manner: Thomas Allsop, Esq., who
came to this country a few months since in consequence of his
alleged complicity in the attempt made upon the life of Louis
Napoleon by Orsini, was for many years an intimate friend and
correspondent of Coleridge and Lamb. He is known as the author of
the _Recollections, etc., of Samuel Taylor Coleridge_, published
nearly a quarter of a century ago. He brought with him in his
flight to America a number of manuscripts of his friends. Among
these were a volume of "Marginalia" by Coleridge; a series of notes
by Lamb, nearly a hundred in all, many of them highly
characteristic of the writer; and the tale of "Cupid's Revenge"
which appears to have remained unpublished in consequence of the
cessation of the magazine for which it was written. These MSS. have
all been placed in our hands. In an early number we propose to
publish a selection from the letters of Lamb, and the "Marginalia"
of Coleridge.
(_Editors of Harper's Magazine._)
A large number of the notes from Lamb to Allsop were published, as
promised, under the editorship of George William Curtis. Allsop died in
1880.
APPENDIX
Page 425. SCRAPS OF CRITICISM.
_London Magazine_, December, 1822. Not signed.
In December, 1822, the editor of the _London Magazine_ inaugurated a new
department to be called "The Miscellany"--a place of refuge for small
ingenious productions. To ask Lamb's assistance would be the most
natural thing in the world, and though no signature is attached, there
is, I think, enough internal evidence for us to consider his the
contribution to the first instalment which has the sub-title, "Scraps of
Criticism."
The first two notes, on Gray, may be taken as companions to that in _The
Examiner_ Table-Talk (page 181), on the beard of Gray's Bard. The note
on Richard III. is of a part with Lamb's Shakespearian criticisms, and
it comes here as a kind of postscript to his examination of Cooke's
impersonation (see page 41 and note to the same).
Page 425, second quotation. This passage describing Milton is in Gray's
_Progress of Poesy_, III., 2, and not, as Lamb inadvertently says, in
_The Bard_.
Page 425, foot. _Salmasius._ Salmasius, Claude de Saumaise (1588-1653),
a professor at Leyden who wrote a defence of Charles I. in Latin, 1649,
to which Milton replied, 1650, also in Latin. It was while engaged in
this work that Milton lost his sight.
Page 426, second paragraph. _Howell's Letters. Epistolæ Ho-Elianæ:
Familiar Letters, Domestic and Foreign, divided into Sundry Sections,
partly Historical, Political and Philosophical, 1645-1655._ By James
Howell (1594?-1666). It was James Russell Lowell's theory (shared by
other critics) that Lamb borrowed the name Elia from _Ho-Elianæ_. But
this was not the case. The letter referred to in line 22 is to Captain
Thomas Porter, July 10, 1623; and the fourth letter from which Lamb
quotes is to Sir James Crofts, August 21, 1623. I have restored Howell's
capitals. The italics are Lamb's.
Page 427, at the end. _The Salutation._ Lamb was probably wrong in this
theory. According to Larwood and Hotten's _History of Signboards_, 1867,
the sign originally represented an angel saluting the Virgin Mary. In
the time of the Commonwealth this was changed to a soldier saluting a
civilian; and later it became the salutation of two citizens: the form
of the old sign of the Salutation in Newgate Street, where Coleridge
lived a while, and where Lamb and he talked into the night over egg-hot.
Ben Jonson's Salutation, referred to in "Bartholomew Fair," was in
Billingsgate. Salutation and Cat was a blend of two signs.
* * * * *
Page 427. THE CHOICE OF A GRAVE. _London Magazine_, January, 1823. Not
signed.
There is a passage in the _Elia_ essay on "Distant Correspondents,"
concerning Lord Camelford's fantastic instructions concerning the burial
of his body, which bears upon this same subject.
Page 428. WILKS. _London Magazine_, January, 1823. Not signed.
John Wilkes (1727-1797) of _The North Briton_. Barry Cornwall writes in
his Memoir of Lamb: "I remember that, at one of the monthly magazine
dinners, when John Wilkes was too roughly handled, Lamb quoted the story
(not generally known) of his replying, when the blackbirds were reported
to have stolen all his cherries, 'Poor birds, they are welcome.' He said
that those impulsive words showed the inner nature of the man more truly
that all his political speeches."
Page 428. MILTON. _London Magazine_, February, 1823. Not signed.
Page 428, foot. _Mr. Todd._ Henry John Todd (1763-1845), whose edition
of Milton in six volumes, for long the standard, was first published in
1801. The lines in question are crossed out in the original manuscript
of _Comus_, now preserved at Trinity College, Cambridge, and are not
printed in ordinary editions of Milton. Todd was the first to print
them, in his edition of _Comus_, 1798.
Page 429. A CHECK TO HUMAN PRIDE. _London Magazine_, February, 1823. Not
signed.
* * * * *
Page 429. REVIEW OF DIBDIN'S "COMIC TALES."
_The New Times_, January 27, 1825.
I have no doubt that Lamb wrote this review, both from internal evidence
and from what we know, through the medium of his _Letters_, of his
feelings towards the book and its author; and it has been retained in
the appendix instead of taking its place in the text proper through an
oversight. In a letter to John Bates Dibdin, the author's son, dated
January 11, 1825, Lamb writes:
"Pray return my best thanks to your father for his little volume. It is
like all of his I have seen, spirited, good humoured, and redolent of
the wit and humour of a century ago. He should have lived with Gay and
his set. The Chessiad is so clever that I relish'd it in spite of my
total ignorance of the game. I have it not before me, but I remember a
capital simile of the Charwoman letting in her Watchman husband, which
is better than Butler's Lobster turned to Red. Hazard is a grand
Character Jove in his Chair."
Butler's simile, in _Hudibras_, runs:--
The sun had long since in the lap
Of Thetis taken out his nap,
And, like a lobster boiled, the morn
From black to red began to turn.
Charles Dibdin the younger (1768-1853) was the author of a number of
plays and songs and also of a _History of the London Theatres_, 1826.
The full title of the _Comic Tales_ was _Comic Tales and Lyrical
Fancies; including The Chessiad, a mock-heroic, in five cantos; and The
Wreath of Love, in four cantos_, 1825.
The adaptation from Milton in the first sentence is very Elian. See
_Paradise Lost_, VII., 21-23.
Half yet remains unsung, but narrower bound
Within the visible diurnal spheare,
Standing on earth, not rapt above the Pole.
Page 430, line 13. _Hoyle ... Phillidor._ Meaning more at home in whist
than in chess. From Edmond Hoyle (1672-1769), author of _A Short
Treatise on the Game of Whist_, 1742, and François André Philidor
(1726-1795), the composer and an authority upon chess. Lamb was, of
course, a great whist player.
Page 430, line 16. _Swift and Gay._ Swift wrote a short but admirably
observant city poem, "A Description of the Morning." Gay's _Trivia; or,
the Art of Walking the Streets of London_, would be the work in Lamb's
mind.
* * * * *
Page 430. DOG DAYS.
_Every-Day Book_, July 14, 1825.
This humane letter is considered by Mr. J. A. Rutter, a profound student
of Lamb, to be probably Lamb's work, a protest against Hone's remark in
the _Every-Day Book_ that dogs would have to be exterminated. There
certainly is no difficulty in conceiving it to be from Lamb's pen,
although there is no overwhelming internal evidence. Writing to Hone on
July 25, 1825, Lamb offers further hints as to the "Dog Days" for the
_Every-Day Book_.
Lamb's interest in dogs became more personal after Hood gave him Dash
for a companion. In the letter to P. G. Patmore, dated from Enfield,
September, 1827, he speaks of mad dogs:--
"All the dogs here are going mad, if you believe the overseers; but I
protest they seem to me very rational and collected. But nothing is so
deceitful as mad people, to those who are not used to them. Try him
[Dash] with hot water: if he won't lick it up it is a sign he does not
like it. Does his tail wag horizontally, or perpendicularly? That has
decided the fate of many dogs in Enfield. Is his general deportment
cheerful? I mean when he is pleased--for otherwise there is no judging.
You can't be too careful. Has he bit any of the children yet? If he has,
have them shot, and keep _him_ for curiosity, to see if it was the
hydrophobia. They say all our army in India had it at one time; but that
was in Hyder-Ally's time."
* * * * *
Page 431. HOOD'S "PROGRESS OF CANT."
There can be, I think, very little doubt that Lamb was the author of
this criticism of Hood's picture "The Progress of Cant" in the _New
Monthly Magazine_ for February, 1826. Lamb, we know, praised the detail
of the Beadle, reproduced in Hone's _Every-Day Book_, under the title
"An Appearance of the Season" (see page 360).
* * * * *
Page 432. MR. EPHRAIM WAGSTAFF.
In _The Table Book_, 1827, beginning on column 185, Vol. II., is this
humorous story which there is some reason to believe is by Lamb. The
late Mr. Dykes Campbell had no doubt whatever, the proof residing not
only in internal evidence but in the rhymed story of "Dick Strype,"
which we may safely assume Lamb to have written. The subject of the two
stories, prose and verse, is the same, and the style of Ephraim Wagstaff
is not unlike that of Juke Judkins. "Dick Strype" is printed in Vol. IV.
of this edition.
* * * * *
Page 435. REVIEW OF MOXON'S SONNETS.
_The Athenæum_, April 13, 1833. Not signed.
Edward Moxon (1801-1858), the publisher, and Lamb's protégé and adopted
son-in-law, was himself a poet in a modest way. His first book, _The
Prospect_, 1826, he dedicated to Samuel Rogers, another patron;
_Christmas_ followed in 1829, dedicated to Lamb; and in 1830 his first
collection of Sonnets was issued. In the second series, 1835, are some
touching lines on Lamb.
I have no proof that _The Athenæum_ review is by Lamb, but I believe it
to be so. Attention was first drawn to it by Mr. J. A. Rutter in _Notes
and Queries_, December 22, 1900, who remarked upon the phrase "integrity
above his avocation" as being perhaps the only instance that exists of
unconscious humour on the part of Charles Lamb.
Page 435, line 12. _Humphrey Mosely._ Humphrey Moseley (d. 1661), the
bookseller of St. Paul's Churchyard and publisher of the first collected
edition of Milton, 1645, and also of Waller, Crashaw, Donne, Vaughan. He
prefixed to the Milton the words: "It is the love I have to our own
language that hath made me diligent to collect and set forth such
pieces, both in prose and verse, as may renew the wonted honour and
esteem of our English tongue."
Page 435, line 20. _What we hope E. M. will be in his._ Moxon nobly
fulfilled the wish. He published Tennyson's first book in 1833 and all
that followed during his lifetime; he became Wordsworth's publisher in
1835; he published Browning's _Sordello_ and _Bells and Pomegranates_;
and he commissioned fine editions of the old dramatists.
INDEX
A
Abbey, Westminster, the charge for admittance, 276, 508.
ACTING, THE NEW, 176, 465.
ACTORS, THE RELIGION OF, 337, 521.
-- contrasted with dramatists, 113.
Actresses, their scarcity in 1813, 177.
Advertisements for apprehending offenders, 74.
"Alaham," by Lord Brooke, 58.
_Album Verses_, Lamb's review of, 391, 544.
"Alchemist, The," by Ben Jonson, 60, 306.
Allan Clare. _See_ ROSAMUND GRAY.
"All's Well that Ends Well," by Shakespeare, 62.
Allsop, Thomas, 269, 504, 550.
AMERICAN WAR FOR HELEN, AN, 182, 468.
_Anatomy of Melancholy, The_, 35, 440.
Anaxarchus, the death of, 530.
André, Major John, 277, 508.
Anstey on nobility, 340.
"Antonio and Mellida," by Marston, 51.
Apparel, Lamb on distinctions in, 52.
APPEARANCE OF THE SEASON, AN, 360, 531.
APPETITE, EDAX ON, 138, 454.
_Arcadia, The_, by Sir Philip Sidney, 62.
"Artaxerxes," by Arne, Lamb's first play, 186, 469.
Articles conjecturally attributed to Lamb, 425, 427, 429, 430, 431,
432, 435, 443.
"Artificial Comedy," Lamb's essay supplemented, 513.
Ashmole, Elias, on nobility, 340.
ASS, THE, 356, 529.
_Athenæum, The_, Lamb's contributions to, 397, 398, 400, 435.
Audiences in Lamb's time, 57, 185.
August 12th, its petition, 354, 528.
Authorship, its mortifications, 322.
AUTOBIOGRAPHICAL SKETCH, AN, 375, 535.
AUTOBIOGRAPHY OF MR. MUNDEN, 314, 515.
Ayrton, William, 270, 505.
B
Bacon, Lord, on the care of turf, 365.
Barbers, their loquacity, 202, 474.
_Bard, The_, by Thomas Gray, 181, 468.
"Barnwell, George," by Lillo, 118.
BARRON FIELD'S POEMS, 232, 493.
Barry, James, on Hogarth, 92.
Baskett Prayer Book, a plate from, 282.
Beadle, Lamb on the, 360, 531.
Beaumont, Francis, 62.
-- and Fletcher, paraphrased by Lamb, 407.
_Bees, The Fable of the_, 141, 455.
"Belles without Beaux," by Peake, 222, 490.
Bethams, the length and tediousness of them, 318, 516.
Bickerstaff, Isaac, his "Hypocrite," 221, 489.
Bills of Mortality, 531.
BIOGRAPHICAL MEMOIR OF MR. LISTON, 292, 512.
Bird, Mr. William, the Lambs' schoolmaster, 351.
Blackett, The Widow, "The Gentle Giantess," 248, 497.
Blakesware and Lamb, 28, 439, 440.
Blind man at the play, a, 184.
BOOKS WITH ONE IDEA IN THEM, 178, 466.
Bourne, Vincent, Lamb's praise of, 391, 544.
Bowles, Carrington, 386, 543.
Boyer, James, his joke, 530.
Braham, his renunciation of Judaism, 338, 522.
Brandon, Charles, his motto, 201, 475.
_British Lady's Magazine_, Mary Lamb contributes to, 204.
"Broken Heart, The," by Ford, 57.
Brome, Richard, his "Jovial Crew," 219, 486.
Brooke, Lord (Fulke Greville), 58.
Browne, Sir Thomas, 200, 476.
Bunyan, unjust neglect of his secondary works, 381.
Burial societies, Lamb's essay on, 107.
Burnet's _History of His Own Times_ quoted, 450.
Burney, Admiral, his card boys, 270, 505.
-- Martin, Lamb's sonnet to, 437.
-- -- the Lambs' affection for, 437.
Burns, Robert, quoted, 22.
Burrell, Miss Lamb's article upon, 215, 484.
Burton, Robert, and Lamb, 35, 204, 440.
"Bussy d'Ambois," by Chapman, 61.
"Byron's Conspiracy," by Chapman, 61.
"Byron's Tragedy," by Chapman, 61.
C
"Cabbage," a slang term applied to tailors, 476.
Campbell, J. Dykes, quoted, 471.
Capital punishment, Lamb on, 527.
CAPTAIN STARKEY, 351, 528.
Carlyle, Thomas, and Lamb, 509.
Cary, Henry Francis, Lamb's friend, 269, 504.
"Case is Altered, The," by Ben Jonson, 59.
"Cato," as performed by Mary Lamb's schoolfellows, 353.
Chambers family, Lamb's friends, 547.
_Champion, The_, Lamb's contribution to, 200, 473.
Chapman, George, 61.
CHARACTER, A, 327, 517.
CHARACTERS OF DRAMATIC WRITERS CONTEMPORARY WITH
SHAKESPEARE, 48, 445.
Charles II. and the Exchequer, 332, 519.
Charnwood, its sombre influence on Liston, 295.
Charron, Pierre, his _De la Sagesse_, quoted, 178, 466.
"Chessiad, The," by Dibdin, 429, 552.
Chimney-sweep, the, in the fields, 179, 467.
CHRIST'S HOSPITAL, RECOLLECTIONS OF, 162, 460.
-- -- its purpose, 162.
-- -- scandals, 461.
-- -- carols, 463.
Civilisation in New South Wales, 233.
Clare, Allan. _See_ ROSAMUND GRAY.
-- Elinor. _See_ ROSAMUND GRAY.
CLARENCE SONGS, 383, 539.
Clarkson, Thomas, Lamb's friend, 270, 505.
CLERK, THE GOOD, 148, 455.
COLERIDGE, THE DEATH OF, 406, 549.
Coleridge, S. T., on Hogarth, 91.
-- -- Lamb's friend, 269, 504.
-- -- and Leigh Hunt, 273.
Coleridge, S. T., on men of genius, 486.
-- -- on _Odes and Addresses_, 519.
-- -- on George Dawe, 541.
-- -- his bequest to Lamb, 550.
Collier, Jeremy, on music, 183.
-- -- on Shakespeare, 183, 468.
-- -- on anti-music, 358.
-- John Payne, his _Poetical Decameron_, 356, 529.
-- -- -- his _Old Man's Diary_ quoted, 441.
Collins, William, his _Oriental Eclogues_, 258.
Colman, George, licenser of plays, 521.
Colnett, Isaac, his epitaph in Waltham Abbey churchyard, 526.
Comedians, Lamb's favourite, 176, 465.
_Comic Tales_ by Dibdin, reviewed, 429.
_Complete English Tradesman, The_, by Defoe, 150, 455.
_Comus_, Lamb on a suppressed passage in, 428.
CONFESSIONS OF A DRUNKARD, 154, 456.
-- -- H. F. V. H. DELAMORE, ESQ., 246, 496.
COOKE, G. F., IN "RICHARD III.," 41, 442.
-- -- as Lear, 443.
"Cooper's Hill," by Denham, 258.
Cornwall, Barry (B. W. Procter), his _Rosamund Gray_, 440.
Correggio, his "Vice," 159.
Cowper, William, his "John Gilpin," continued by Lamb, 368, 533.
-- -- on squirrels, 359, 531.
-- -- on Vincent Bourne, 544.
Cruelty to animals, 356.
-- -- donkeys, 530.
Cuckoldry, a fantasy upon, 299.
Cunningham, Allan, 269, 504.
CUPID'S REVENGE, 407, 550.
Curiosity, a study of, 324, 326.
CURIOUS FRAGMENTS FROM BURTON, 35, 440.
D
Damned authors, a club of, 451.
Daniel, Samuel, his "Hymen's Triumph" quoted, 9.
-- -- on nobility, 341.
Davenant, William, his improved "Macbeth," 377, 536.
Da Vinci, Leonardo, his portrait of Francis, 175.
Dawe, George, Lamb's recollections of, 385, 540.
-- -- his life, 541.
-- -- and the negro, 542.
DEFEAT OF TIME, THE, 369, 534.
DE FOE'S SECONDARY NOVELS, 381, 537.
De Foe, Daniel, his _Complete English Tradesman_, 150.
-- -- Lamb's letter upon, 538.
Deformity, Moral and Personal, essay on, 74, 448.
-- not a sign of nobility, 340.
DEFUNCT, THE ILLUSTRIOUS, 304, 514.
Dekker, Thomas, 50, 55, 64.
DELAMORE, H. F. V. H., CONFESSIONS OF, 246, 496.
Denham, John, his "Cooper's Hill," 258.
Dennis, John, and Pope, 203, 476.
-- -- his character by Aaron Hill, 261.
De Quincey parodied by Lamb, 251, 497.
"Deserted Village, The," by Goldsmith, 259.
Devils, Leigh Hunt upon, 495.
Dibdin, Charles, jr., reviewed by Lamb, 429, 552.
Dilke, C. W., on Lamb as critic, 545.
"Distressed Poet," by Hogarth, 96.
"Doctor Faustus," by Marlowe, 49.
DOG DAYS, 430, 553.
"Don Giovanni in London," 215.
DRAMATIC CRITICISMS, FIVE, 215, 484.
Drayton, Michael, 53.
Drink, its dangers, 154.
DRUNKARD, A, CONFESSIONS OF, 154, 456.
DRYDEN AND COLLIER, 183, 468.
"Duchess of Malfi, The," by Webster, 56.
DUNSTAN, SIR JEFFREY, REMINISCENCE OF, 366, 532.
Dyer, George, quoted from, 174.
-- -- Lamb's friend, 270, 505.
-- John, his "Ruins of Rome," 257.
E
EARLY JOURNALISM, 41, 442.
EDAX ON APPETITE, 138, 454.
"Edmonton, The Merry Devil of," 52.
Education, suitable for an old gentleman, 251.
"Edward II.," by Marlowe, 49.
Egotism, a study of, 327.
"Election Entertainment," by Hogarth, 98.
"Elegy on a Country Churchyard," by Gray, 259.
ELIA, HIS LETTER TO SOUTHEY, 265, 498.
-- -- essay on "New Year's Eve," 266.
-- -- -- "Saying Grace," 266.
Elinor Clare. _See_ ROSAMUND GRAY.
Eliott, General (Lord Heathfield), his famous troop, 201, 475.
"English Traveller," by Heywood, 53.
_Englishman's Magazine_, Lamb's contributions to, 385, 391.
Erasmus and Sir Thomas More, 240.
"Eve of St. Agnes, The," by Keats, 235, 494.
_Examiner, The_, Lamb's contributions to, 174, 176, 178, 179, 180,
181, 182, 183, 184, 215, 219, 221, 222, 225, 229, 232.
"EXCURSION, THE," LAMB'S REVIEW OF, 187, 469.
F
_Fable of the Bees, The_, by Mandeville, 141, 455.
"Fair Quarrel, A," by Middleton and Rowley, 53.
Fairies, Lamb's prose poem, 369.
"Faithful Shepherdess," by Fletcher, 64.
FALLACY, A POPULAR, 340, 523.
FALSTAFF'S LETTERS, 225, 491.
Fauntleroy, Henry, the forger, 333, 519.
"Faustus, Doctor," by Marlowe, 49.
FAUX, GUY, 278, 509.
-- -- Hazlitt upon, 278, 509.
-- -- Jeremy Taylor upon, 279.
February 29th, the plea of, 349, 527.
_Felix Farley's Bristol Journal_, Lamb's contribution to, 217.
FIELD, BARRON, HIS POEMS, 232, 493.
Fielding and Hogarth, 97, 101.
Fire places, how to decorate, in summer, 364.
_First-Fruits of Australian Poetry_, 232, 493.
FIVE DRAMATIC CRITICISMS, 215, 484.
Fletcher, John, 62, 63.
Foote, Marie, and Col. Berkeley, 521.
Foppington, Lord, on books, 367, 533.
Ford, John, 55, 57.
Forster, John, on Lamb, 444, 549.
"Fortunatus, Old," by Dekker, 50.
"Four Groups of Heads," by Hogarth, 100.
FOUR REVIEWS, 225, 491.
Friends who invade the home, 317, 516.
Fuller, John, M.P., 511.
FULLER, SPECIMENS FROM THE WRITINGS OF, 130, 453.
Fulton, Alexander, his epigrams, 182, 468.
G
GAME, THOUGHTS ON PRESENTS OF, 398, 546.
Garrat election, the, 366, 532.
Garrick, David, lines on his tomb, 113, 452.
-- -- and Dr. Johnson, 309.
_Gem, The_, Lamb's contribution to, 379.
GENTLE GIANTESS, THE, 248, 497.
GENTLEMAN, LETTER TO AN OLD, 251, 497.
_Gentleman's Magazine_, Lamb's contributions to, 153, 162.
"George Barnwell," by Lillo, 118, 452.
George IV., his true and State birthdays, 354, 528.
GIANTESS, THE GENTLE, 248, 497.
Gibbs, Sir Vicary, 511.
Gifford, William, his treatment of Lamb, 470, 471.
Gilman, James, 269, 504.
GILPIN, MRS., RIDING TO EDMONTON, 368, 533.
"Gin Lane," by Hogarth, 85.
Gluttony analysed, 138, 145.
Godwin, Mrs., as Mrs. Pry, 517.
-- William, jr., an unwelcome guest, 515.
Goldsmith, Oliver, "The Deserted Village," 259.
GOOD CLERK, THE, A CHARACTER, 148, 455.
Goodenough, Rev. Mr., his awful death, 294.
GOULD, MRS. (MISS BURRELL) IN "DON GIOVANNI IN LONDON," 215, 484.
"Governor," Lamb's objection to the word, 475.
GRAND STATE BED, 44, 444.
GRAVE, THE CHOICE OF A, 427, 552.
GRAY, ROSAMUND, 1, 438.
-- -- First Edition, 438.
GRAY'S "BARD," 181, 468.
Gray, Thomas, Lamb's criticisms upon, 181, 259, 425, 551.
-- -- "The Elegy," 259.
Gresham, Sir Thomas, legend of, 535.
Greville, Fulke (Lord Brooke), 58.
Grimaldi, Joseph, Hood's ode to, 335.
-- -- his religious symbolism, 339.
Gunpowder Treason. _See_ GUY FAUX.
Gutch, John Matthew, and Miss Kelly, 217, 485.
-- -- -- and Wither, 477.
GUY FAUX, 278, 509.
-- -- and Carlyle, 509.
H
Hamlet, the character of, 116.
HANGED, ON THE INCONVENIENCES RESULTING FROM BEING, 65, 445.
Hares, their merits in life and death, 399.
"Harlot's Progress, The," by Hogarth, 84.
_Harper's Magazine_, Lamb's contribution to, 407.
Hay, William, on deformity, 341, 523.
Hazlitt, William, Lamb's friend, 274, 507.
-- -- on Guy Faux, 278, 509.
-- -- on Hogarth and Lamb, 448.
-- -- on "Mr. H.," 450.
-- -- and the Burneys, 505.
-- -- on Lamb's letter to Southey, 505.
Heathfield, Lord, his famous troop, 201, 475.
Helen of Troy and America, 182, 468.
Heywood, Thomas, 53.
Hill, Aaron, his character of Dennis, 261.
-- Thomas, the original of "Tom Pry," 516.
Hissing at theatres, essay on, 101, 449.
_Histriomastix_, a mock forerunner of, 292.
HOOD'S "PROGRESS OF CANT," 431, 554.
HOGARTH, THE GENIUS AND CHARACTER OF, 81, 448.
-- and Reynolds compared, 88.
Hogarth analogous to Smollett and Fielding, 97, 100, 101.
Holcroft, Thomas, Lamb's friend, 272, 506.
Hone's _Every-Day Book_ and _Table Book_, Lamb's contributions to,
349, 351, 354, 356, 359, 360, 361, 366, 368, 369, 430, 526, 554.
Hone, William, his career, 523.
-- -- his eulogies of Lamb, 525.
-- -- -- dedication to Lamb, 525.
-- -- Lamb's letters to, 526, 533.
"Honest Whore, The," by Dekker, 51, 89.
Hood, Thomas, his _Odes and Addresses_, 335, 519.
-- -- his drawing of Mary Lamb, 368, 533.
-- -- -- "Plea of the Midsummer Fairies," paraphrased, 369.
-- -- on Lamb's religion, 515.
-- -- and Coleridge, 520.
-- -- his dedication to Lamb, 534.
HORNS, A VISION OF, 299, 513.
HOSPITA ON THE IMMODERATE INDULGENCE OF THE PLEASURES OF THE PALATE,
145, 454.
HOWELL'S "LETTERS," 426, 551.
Hunt, Leigh, Lamb's friend, 272, 445, 506.
-- -- his poem to his son, 274, 507.
-- -- on Lamb's _Table Talk_, 466.
-- -- -- Lamb as dramatic critic, 490.
-- -- -- -- and Keats, 495.
-- -- -- devils, 495.
-- Thornton, his training, 272, 502.
-- -- Leigh Hunt's poem to, 274, 507.
-- -- Lamb's poem to, 506.
Hutchinson, Mr. Thomas, quoted, 441, 456.
"Hymen's Triumph," quoted, 9.
"Hypocrite, The," by Bickerstaff, 221.
I
ILLUSTRIOUS DEFUNCT, THE, 304, 514.
_Indicator, The_, Lamb's contribution to, 239.
"Industry and Idleness," by Hogarth, 96.
IN RE SQUIRRELS, 359, 530.
"Isabella and the Pot of Basil," by Keats, 235.
J
Jew, Lamb on the modern, 49.
Jews, their Christianity, 338.
Johnson, Dr., and David Garrick, 309.
Jonson, Ben, 59.
-- -- quoted from, 306.
Jordan, Mrs., compared with Miss Kelly, 217.
JOURNALISM, EARLY, 41, 442.
"JOVIAL CREW," RICHARD BROME'S, 219, 486.
JUDKINS, JUKE, REMINISCENCES OF, 342, 523.
K
"Kangaroo, The," by Field, 234.
KEATS' "LAMIA," 235, 494.
Keats, John, and Lamb, 495.
KELLY, MISS, AT BATH, 217, 485.
-- -- Lamb's praises of, 217, 218, 219, 220, 222, 223, 484, 485.
-- -- compared with Mrs. Jordan, 217.
-- -- in various parts, 217, 218, 219, 220, 222, 223.
-- -- Lamb proposes marriage to, 487, 488.
-- -- her reply to Lamb, 488.
-- -- Lamb's reply to, 489.
Kemble, J. P., in Macbeth, 124.
Kenneys, Lamb's letter to, 517.
Ketch, Jack, his origin, 447.
L
"Lælius," his reply to Lamb, 511.
Lamb, Charles, his story of "Rosamund Gray," 1, 438.
Lamb, Charles, his imitations of Burton, 35, 440.
-- -- on Cooke's acting, 41, 442.
-- -- on Richard III., 41, 122, 426, 442.
-- -- on the joys of London, 46, 180, 444, 467.
-- -- on Shakespeare's contemporaries, 48, 445.
-- -- on modern Jews, 49.
-- -- on love's sectaries, 50.
-- -- on distinctions in apparel, 52.
-- -- on the humours of hanging, 65, 445.
-- -- on moral and personal deformity, 74, 448.
-- -- on proper names, 80, 448.
-- -- on the genius of Hogarth, 81, 448.
-- -- on Mr. Barry, R.A., 92.
-- -- on hissing in theatres, 101, 449.
-- -- on burial societies, 107, 451.
-- -- on the character of an undertaker, 110.
-- -- on the tragedies of Shakespeare, 112, 451.
-- -- on Garrick's tomb, 112.
-- -- on the character of Hamlet, 116.
-- -- on Macbeth, 123, 126.
-- -- on King Lear, 124, 376, 401.
-- -- on stage accessories, 127.
-- -- on Thomas Fuller, 130, 453.
-- -- on inordinate appetite, 138, 454.
-- -- on the good clerk, 148, 455.
-- -- on Defoe's _Complete Tradesman_, 150.
-- -- on the character of Robert Lloyd, 153, 455.
-- -- on a drunkard's fate, 154, 456.
-- -- on Christ's Hospital, 162, 460.
-- -- on Reynolds and Da Vinci, 174, 464.
-- -- on acting in 1813, 176, 465.
-- -- on books with one idea in them, 178, 466.
-- -- his recollections of a chimney-sweeper, 179, 467.
-- -- on street conversation, 179, 467.
-- -- on a town residence, 180, 467.
-- -- on Gray's poems, 181, 425, 468, 551.
-- -- on Fulton's epigrams, 182, 468.
-- -- on Dryden and Collier, 183, 468.
-- -- on his first play, 184, 468.
-- -- on theatre audiences, 184.
-- -- on Wordsworth's _Excursion_, 187, 469.
-- -- on the character of tailors, 200, 473.
-- -- on the loquacity of barbers, 202, 474.
-- -- on Wither's poetry, 210, 477.
-- -- on long lines in poetry, 214.
-- -- on Miss Burrell's acting, 215, 484.
-- -- on Mrs. Jordan and Miss Kelly, 217, 485.
-- -- in praise of Miss Kelly, 217, 218, 219, 220, 222, 223, 485.
-- -- on Brome's "Jovial Crew," 219, 486.
-- -- on Bickerstaff's "Hypocrite," 221, 487.
-- -- on the acting of Dowton, 221.
-- -- on the acting of Pearman, 222.
-- -- on Wilkinson in "A Walk for a Wager," 224.
-- -- on _Falstaff's Letters_, 225, 491.
-- -- on Charles Lloyd's "Nugæ Canoræ," 229, 493.
-- -- on Barron Field's poems, 232, 493.
-- -- on Australia, 232.
-- -- on John Keats, 235, 494.
-- -- on Sir Thomas More, 239, 495.
-- -- on being put in the stocks, 246, 496.
-- -- on a Cambridge giantess, 248, 497.
-- -- on the education of an old gentleman, 251, 497.
-- -- and De Quincey, 251, 497.
-- -- on Scott of Amwell's criticisms, 257, 498.
-- -- on the character of Ritson, 258.
-- -- on Southey's intolerance, 265, 498.
-- -- on personal religion, 266.
-- -- on his friends, 269, 503.
-- -- on the charges at Westminster Abbey, 275, 508.
-- -- on the Gunpowder Treason, 279, 509.
-- -- on Sycorax in "The Tempest," 286, 511.
-- -- his invented life of Liston, 292, 512.
-- -- on cuckoldry, 299, 513.
-- -- on lotteries, 304, 514.
-- -- is taken to the Guildhall to see the lottery drawn, 305.
-- -- on the marriage of Nonconformists, 310, 514.
-- -- his invented autobiography of Munden, 314, 515.
-- -- his essay signed "Lepus," 317, 515.
-- -- on thoughtless visitors, 317, 516.
-- -- on spurious book lovers, 320.
-- -- on the mortifications of authorship, 322.
-- -- and the last peach, 333, 519.
-- -- on the temptation to pilfer, 333.
-- -- on _Odes and Addresses_, 335, 519.
-- -- on punning, 335, 520.
-- -- on the religion of actors, 337, 521.
-- -- on the conversion of a Jew, 338.
-- -- on deformity and nobility, 340.
-- -- on a stingy man, 342.
-- -- on February 29, 349.
-- -- on his earliest school-days, 351.
-- -- on George IV.'s birthday, 354, 528.
-- -- on the character of the ass, 356, 529.
-- -- on cruelty to animals, 356, 530.
-- -- on squirrels, 359, 530.
-- -- on beadles, 360, 531.
-- -- and the bookseller, 361.
-- -- on the _Queenlike Closet_, 361, 532.
-- -- on Sir Jeffrey Dunstan, 366, 532.
-- -- his continuation of "John Gilpin," 368, 533.
-- -- on Enfield stiles, 369, 533.
-- -- his paraphrase of Hood, 369. 534.
-- -- his autobiography, 375, 535.
-- -- on Shakespeare's "improvers," 376, 535.
-- -- on cleanliness and godliness, 379.
-- -- on the tender mercies of grandmothers, 380, 537.
-- -- on Defoe, 381, 537.
-- -- on Clarence songs, 383, 539.
-- -- on George Dawe, 385, 540.
-- -- on Vincent Bourne, 391, 544.
-- -- on his own _Album Verses_, 395, 544.
-- -- on the death of Munden, 397, 545.
-- -- on presents of game, 398, 546.
-- -- on beggars, 400, 547.
-- -- on marriage, 400.
-- -- on beautiful wives, 400.
-- -- on elopements, 400.
-- -- his story on Will Dockwray, 401.
-- -- on Milton, 401, 428.
-- -- on parenthesis, 402, 548.
-- -- on advice, 403.
-- -- on laxity in words, 404.
-- -- on absurd images, 405.
-- -- on Shakespeare's character, 405.
-- -- on sauces, 406.
-- -- on the death of Coleridge, 406, 549.
-- -- on the choice of a grave, 427, 552.
-- -- on a passage in _Comus_, 428.
-- -- on John Wilkes, 428, 552.
-- -- on pride, 429.
-- -- on Dibdin's _Comic Tales_, 429, 552.
-- -- on mad dogs, 430, 553.
-- -- on Moxon's _Sonnets_, 435, 554.
-- -- his _Works_, 437.
-- -- his sonnet to Martin Burney, 437.
-- -- and the _Morning Post_, 440.
-- -- on Shakespeare and Burton, 441.
-- -- and his sister in London late in life, 444.
-- -- his hallucination, 453.
-- -- on Donne and Cowley, 454.
-- -- and stimulants, 456.
-- -- on his "Confessions of a Drunkard," 456.
-- -- his signatures in _The Examiner_, 464.
-- -- and the chimney-sweeper, 467.
-- -- letter to Wordsworth, 470.
-- -- letter to John Scott, 473.
-- -- on Dr. Nott, 478.
-- -- proposes marriage to Miss Kelly, 487, 488.
-- -- refused by Miss Kelly, 488.
-- -- his reply to Miss Kelly, 489.
-- -- his private letters to Southey, 501.
-- -- as Captain and Mr. Lion, 524.
-- -- his letter to Hone on Colnett's epitaph, 526.
-- -- on reticence in writing, 548.
-- -- articles conjecturally attributed to him, 425, 427, 429, 430,
431, 432, 435, 443, 484, 492, 544.
-- Mary, on needlework, 204, 477.
-- -- on the duty of wives, 208.
-- -- her reminiscences of school days, 353.
"Lamia," by Keats, reviewed by Lamb, 235, 494.
LAST PEACH, THE, 333, 519.
LATIN POEMS OF VINCENT BOURNE, 391, 544.
"Lear, King," unsuitable for the stage, 124.
-- -- improved by Tate, 376, 535.
-- -- the final scene, 401, 548.
"LEPUS," PAPERS, THE, 317, 319, 322, 324, 326, 327, 515.
Leslie, C. R., on Lamb, 459.
-- Maria. _See_ ROSAMUND GRAY.
LETTER OF ELIA TO ROBERT SOUTHEY, 265, 498.
LETTER TO AN OLD GENTLEMAN WHOSE EDUCATION HAS BEEN NEGLECTED, 251, 497.
Lewis, "Gentleman," and "Mr. H.," 545.
Lillo's "George Barnwell," 118.
Lion, Mr., his joke, 524.
LISTON, MR., BIOGRAPHICAL MEMOIR, 292, 512.
-- John, as Lord Grizzel, 177.
-- -- his real life, 512.
_Literary Gazette_ and Lamb, 502.
Livingstone, L. S., and Wither, 481, 482.
LLOYD, CHARLES, HIS "NUGÆ CANORÆ," 229, 493.
-- -- on Lamb, 493.
-- ROBERT, MEMOIR OF, 153, 455.
-- -- Lamb's letter to, 442.
London home, Lamb's choice of a, 180.
_London Magazine_, Lamb's contributions to, 246, 248, 251, 257, 265,
278, 285, 288, 292, 299, 310, 314, 329, 333, 425, 427, 457.
LONDONER, THE, 46, 444.
Lotteries, a lament for, 304.
"Lust's Dominion," by Marlowe, 48.
M
"Macbeth" and the witches, 55.
-- his murder of Duncan, 123.
-- unsuitable for the stage, 126.
-- improved by Davenant, 377, 536.
"Maid's Tragedy, The," by Beaumont and Fletcher, 62.
Mandeville, Bernard, his _Fable of the Bees_, 141, 454, 455.
MANY FRIENDS, 317, 516.
"March to Finchley," by Hogarth, 92.
Margaret, Old. _See_ ROSAMUND GRAY.
Maria Leslie. _See_ ROSAMUND GRAY.
Marlowe, Christopher, 48.
"Marriage à la Mode," by Hogarth, 95.
-- law for Nonconformists, 310.
Marston, John, 51.
Massinger, Philip, 64.
Matravis. _See_ ROSAMUND GRAY.
Meanness personified in Juke Judkins, 342.
"Measure for Measure," by Shakespeare, 72, 446.
_Melancholy, Anatomy of_, 35, 440.
MEMOIR OF ROBERT LLOYD, 153, 455.
"Merry Devil of Edmonton, The," 52.
Middleton, Thomas, 53, 55, 64.
Milton's description of hissing, 102.
Milton, his _Tractate on Education_, 256.
-- Lamb and Johnson on _Paradise Lost_, 401.
-- a suppressed passage in _Comus_, 428, 552.
Minikin, Mrs., Lamb's cook, 547.
MISCELLANY, THE, 427, 552.
Monkhouse, Thomas, Lamb's friend, 270, 504.
MONTHS, THE, 361, 531.
More, Sir Thomas, 239, 495.
-- on Sir Thomas Hytton, 239.
-- and Erasmus, 240.
-- on relics of the cross, 241.
-- on the miracle of conception, 243.
Morland, George, his dependence on stimulants, 160, 460.
_Morning Post_, Lamb's contributions to, 41, 44, 46, 440, 444.
MORTIFICATIONS OF AN AUTHOR, 322, 516.
Moseley, Humphrey, the bookseller, 435, 554.
Moxon, Edward, reviewed by Lamb, 435, 554.
-- -- his _Sonnets_, 435.
-- -- his career, 554.
MR. EPHRAIM WAGSTAFF, HIS WIFE AND PIPE, 432, 554.
"Mr. H.," Lamb's farce, its fate, 449.
MRS. GILPIN RIDING TO EDMONTON, 368, 533.
MUNDEN, MR., THE AUTOBIOGRAPHY OF, 314, 515.
-- THE DEATH OF, 397, 545.
Munden, Joseph, his genius, 397.
-- -- his true life, 515.
Murderers, difficulty of describing, 79.
Music, its reverse, 358.
"Mustapha," by Lord Brooke, 58.
N
NEEDLEWORK, ON, 204, 477.
NEW ACTING, THE, 176, 465.
_New Monthly Magazine_, Lamb's contributions to, 304, 337, 340, 342,
375, 406, 554.
NEW PIECES AT THE LYCEUM, 222, 490.
New South Wales, Lamb's hopes for it, 233.
_New Times, The_, Lamb's contributions to, 235, 317, 319, 322, 324,
326, 327, 335, 429.
"New Wonder, A," by Rowley, 54.
Nobility and deformity, 340.
Norris, Randal, 269, 503.
North, Christopher (John Wilson), on Lamb and Southey, 499.
Nott, Dr. John, on Lamb and Wither, 478.
Novel, fragment of, by Lamb, 342.
"Nugæ Canoræ," by Charles Lloyd, reviewed, 229, 493.
NUGÆ CRITICÆ ON A PASSAGE IN "THE TEMPEST," 285, 511.
O
"O. P." Riots, 451.
"ODES AND ADDRESSES TO GREAT PEOPLE," 335, 519.
Ogilby, John, on Algiers, 286.
"Old Fortunatus," by Dekker, 50
OLD GENTLEMAN, LETTER TO, 251, 497.
"Old Law," by Massinger, Middleton and Rowley, 64.
ON THE AMBIGUITIES ARISING FROM PROPER NAMES, 80, 448.
-- BURIAL SOCIETIES AND THE CHARACTER OF AN UNDERTAKER, 107, 451.
-- THE CUSTOM OF HISSING AT THEATRES, 101, 449.
-- -- DANGER OF CONFOUNDING MORAL WITH PERSONAL DEFORMITY, 74, 448.
-- -- GENIUS AND CHARACTER OF HOGARTH, 81, 448.
-- -- INCONVENIENCES RESULTING FROM BEING HANGED, 65, 445.
-- -- MELANCHOLY OF TAILORS, 200, 473.
-- NEEDLEWORK, 204, 477.
-- THE POETICAL WORKS OF GEORGE WITHER, 210, 477.
-- -- TRAGEDIES OF SHAKESPEARE, CONSIDERED WITH REFERENCE TO THEIR
FITNESS FOR STAGE REPRESENTATION, 112, 451.
_Oriental Eclogues_, by Collins, 258.
ORIGINAL LETTER OF JAMES THOMSON, 288, 512.
"Othello," unsuitable for the stage, 125.
P
Parliament under explosion, 284, 510.
Passion, debased, in modern theatre, 56.
Patmore, P. G., Lamb's letter to, 553.
PEACH, THE LAST, 333, 519.
Penny, Mr., and Hogarth, 93.
"Philaster," by Beaumont and Fletcher, 63.
Phillips, Colonel, Lamb's friend, 270, 505.
Pig superseded by hare as a delicacy, 399.
_Pilgrim, The_, by Bishop Patrick, 178, 466.
PILLORY: REFLECTIONS IN THE, 329, 518.
-- 518.
PLAY-HOUSE MEMORANDA, 184, 468.
"Poetaster, The," by Jonson, 60.
_Poetical Decameron_, by J. P. Collier, 356, 529.
Poetry, Lamb on length of lines in, 214.
Pope, Alexander, his satire against Dennis, 203, 476.
POPULAR FALLACY, A, 340, 523.
PRIDE, A CHECK TO, 429, 552.
Prior, Matthew, his "Henry and Emma," 548.
Procter, B. W. (Barry Cornwall), 269, 504.
"PROGRESS OF CANT, THE," 431, 554.
"Progress of Poesy," by Gray, quoted, 425, 551.
Proper names, essay on, 80, 448.
PRY, TOM, 324, 516.
-- -- HIS WIFE, 326, 517.
Prynne parodied by anticipation, 292.
Pulham, John Brook, and Lamb, 496.
Punning, the theory of, 335.
Puns and civilisation, 233.
Q
_Quarterly Review_, its attitude to Lamb, 458, 471, 498.
-- -- Lamb on _The Excursion_, 187, 469.
-- -- Southey's review of _Elia_, 265, 498.
_Queenlike Closet_, The, by Hannah Woolley, 361, 532.
R
"Rake's Progress, The," by Hogarth, 82, 87, 95.
READERS AGAINST THE GRAIN, 319, 516.
READING AS A FASHION, 321.
RECOLLECTIONS OF CHRIST'S HOSPITAL, 162, 460.
-- -- A LATE R.A., 385, 540.
REFLECTIONS IN THE PILLORY, 329, 518.
_Reflector, The_, Lamb's contributions to, 65, 74, 80, 81, 101, 107,
112, 130, 138, 145, 148, 162, 210, 278, 445.
"Relapse, The," quoted from, 367, 533.
RELIGION OF ACTORS, THE, 337, 521.
REMARKABLE CORRESPONDENT, 349, 527.
REMINISCENCE OF SIR JEFFREY DUNSTAN, 366, 532.
REMINISCENCES OF JUDE JUDKINS, 342, 523.
REPRINTS OF "ELIA," 457.
"Revenger's Tragedy, The," by Tourneur, 56.
REVIEW OF DIBDIN'S "COMIC TALES," 429, 552.
-- -- "THE EXCURSION," 187, 469.
-- -- HOOD'S "ODES AND ADDRESSES," 335, 519.
-- -- KEATS' "LAMIA," 235, 494.
-- -- LLOYD'S POEMS, 229, 493.
-- -- MOXON'S "SONNETS," 435, 554.
-- -- WHITE'S "FALSTAFF'S LETTERS," 225, 491.
Reynolds, J. H., his _Odes and Addresses_, 335, 519.
-- AND LEONARDO DA VINCI, 174, 464.
-- Sir Joshua, 85, 87, 174, 449, 464.
"Rich Jew of Malta, The," by Marlowe, 49.
Richard III., his character, 41, 122, 426.
Richard III., his deformity no precedent of nobility, 341.
Richardson, Samuel, against virtue, 50.
"Rimini, The Story of," by Leigh Hunt, 272, 506.
RITSON VERSUS JOHN SCOTT THE QUAKER, 257, 498.
Robinson, H. Crabb, 270, 459, 504.
ROSAMUND GRAY, 1, 438.
Rowley, William, 53, 54, 55, 64.
_Roxana_, by Defoe, 539.
"Ruins of Rome," by Dyer, 257.
Rutter, Mr. J. A., 553.
S
Salutation, The, in Newgate Street, 551.
Samson and Delilah, painted by Dawe, 388, 543.
SATURDAY NIGHT, 379, 537.
Sauces, Lamb on, 406.
Scott, John, of Amwell, and Ritson, 257, 498.
SCRAPS OF CRITICISM, 425, 551.
_Seasons, The_, by Thomson, 262.
Shadwell, Thomas, his improved "Timon," 377, 536.
SHAKESPEARE'S TRAGEDIES, 112, 451.
Shakespeare: character of Richard III., 41, 122, 426.
-- his poetical contemporaries, 48.
-- "All's Well that Ends Well," 62.
-- his richness, 63.
-- "Measure for Measure" quoted, 72.
-- "Timon of Athens," 82, 377, 536.
-- "Tarquin and Lucrece," 86.
-- his tragedies unfitted for stage, 112.
-- "Lear," 124, 376, 401, 536, 548.
-- "Tempest," 127, 285, 511.
-- and Jeremy Collier, 183, 468.
-- his characters, 405.
Shirley, James, 65.
SIR THOMAS MORE, 239, 495.
Sittingbourne, Mrs. Liston's supposed aunt, 295.
Smith, Mrs., the biggest woman in Cambridge, 497.
Smollett, Tobias, his _Ferdinand Count Fathom_ quoted, 449.
-- -- and Hogarth, 97, 100, 101.
Snakes typifying stage critics, 104, 105.
Sonnet occasioned by reading Elia's Letter to Dr. Southey, 508.
SOUTHEY, ROBERT, ELIA'S LETTER TO, 265, 498.
-- -- his ecclesiastical levities, 267.
-- -- on infidelity, 270.
-- -- and "Rosamund Gray," 439, 440.
-- -- his letter to Lamb, 501.
-- -- his verses on Lamb, 502.
-- -- on Thornton Hunt, 502.
-- -- on scepticism, 506.
SPECIMENS FROM THE WRITINGS OF FULLER, THE CHURCH HISTORIAN, 130, 453.
_Spectator, The_, Lamb's contribution to, 376, 383.
Spencer, Robert William, 80, 448.
Spenser, Edmund, and his namesake, 80, 448.
SQUIRRELS, IN RE, 359, 530.
Stage lighting in Lamb's time, 453.
"Stages of Cruelty," by Hogarth, 96.
STARKEY, CAPTAIN, 351, 528.
STATE BED, GRAND, 44, 444.
Steele, Sir Richard, his "Funeral," 451.
Stocks, Lamb in the, 247.
STREET CONVERSATION, 179, 467.
"Strolling Players," by Hogarth, 90.
SURPRISE, A SYLVAN, 179, 467.
Swinburne, Mr. A. C., quoted, 478.
Sycorax, the witch, in "The Tempest," 286, 511.
SYLVAN SURPRISE, A, 179, 467.
T
TABLE FOR TWELFTH DAY, 44, 444.
TABLE TALK IN "THE EXAMINER," 174, 464.
-- -- BY THE LATE ELIA, 400, 547.
TAILORS, ON THE MELANCHOLY OF, 200, 473.
Talfourd, T. N., 269, 503.
-- -- -- his criticism of Munden, 546.
"Tamburlaine the Great," by Marlowe, 49.
"Tarquin and Lucrece," by Shakespeare, 86.
Tate, Nahum, his improved "King Lear," 376.
Taylor, Jeremy, on the Gunpowder Treason, 279, 510.
"Tempest, The," as altered by Dryden, 127.
-- -- ON A PASSAGE IN, 285, 511.
-- -- criticism by "Lælius," 511.
Theatre, Lamb's delight in, 185.
"Thierry and Theodoret," by Fletcher, 63.
Thompson, Marmaduke, Lamb's dedication to, 438.
THOMSON, JAMES, ORIGINAL LETTER OF, 288, 512.
-- -- _The Seasons_, 262, 473.
THOUGHTS ON PRESENTS OF GAME, 398, 546.
TIME, THE DEFEAT OF, 369, 534.
_Times, The_, on Lamb and Southey, 499.
"Timon of Athens" and "The Rake's Progress," 82.
-- -- improved by Shadwell, 377, 536.
Tobacco, the perils of, 157.
TOM PRY, 324, 516.
-- PRY'S WIFE, 326, 517.
Tourneur, Cyril, 56, 159.
TOWN RESIDENCE, A, 180, 467.
Tudors and Stuarts contrasted, 405.
TWELFTH DAY, TABLE FOR, 44, 444.
TWELFTH OF AUGUST, 354, 528.
U
Undertaker, the character of an, 110.
Undertaking, its humours, 107.
UNITARIAN PROTESTS, 310, 514.
Unitarianism and Lamb, 507, 515.
Upcott, William, 535.
V
Vertot, the Abbé de, as historian, 304.
"Vicar and Moses," the song, 282.
"Virgin Martyr, The," by Massinger and Dekker, 64.
VISION OF HORNS, A, 299, 513.
"Vittoria Corombona" ("The White Devil"), 57.
W
WAGSTAFF, MR. EPHRAIM, 432, 554.
Wainewright, Thomas Griffiths, 269, 503, 518.
Waiting at table, rules for, 365.
Wales, William, master at Christ's Hospital, 171, 463.
Wealth for ten minutes, 308.
Webster, John, 56.
Westminster Abbey, charge for admittance, 275, 508.
"What you Will," by Marston, 52.
White, James, his _Falstaff's Letters_, 225, 491, 492.
"White Devil, The," by Webster, 57.
"Whore, The Honest," by Dekker, 51, 89.
Wicliffe, his ashes, 137, 453.
Widford in Hertfordshire, 27, 440.
Wilkes, John, and the blackbirds, 428, 552.
-- -- in Southey's "Vision of Judgment," 503.
Wilkinson, T. P., in "A Walk for a Wager," 224, 491.
William IV., songs referring to, 383, 539.
Wilson, John. _See_ Christopher North.
-- Walter, Lamb's friend, 537.
-- -- on Charles Lamb, 539.
"Witch, The," by Middleton, 55.
"Witch of Edmonton, The," by Rowley, Dekker and Ford, 55.
WITHER, GEORGE, HIS POETICAL WORKS, 210, 477.
-- -- his life, 483.
"Woman Killed with Kindness," by Heywood, 53.
Woolley, Hannah, her _Queenlike Closet_, 361, 532.
Wordsworth, William, 269, 504.
-- -- Lamb's review of his _Excursion_, 187, 469.
-- -- his sonnet on "Wicliffe," 453.
_Works_, by Charles Lamb, 437.
Wrench, B., in "The Hypocrite," 222.
ABERDEEN: THE UNIVERSITY PRESS
Transcriber's Notes
Page 147
'dish of sweatbreads' may be 'dish of sweetbreads'. Unchanged.
Page 160
'to be perferred' may be 'to be preferred'. Unchanged.
Page 165
'Philip Quarll's Island' spelled as in original.
Page 221
'adminsters the dose' may be 'administers the dose'. Unchanged.
Page 227
'--an the rogues forswore themselves,' may be '--and the rogues
forswore themselves,'. Unchanged.
Page 235
'On Creation's hoilday.' changed to 'On Creation's holiday.'.
Page 263
'Give me a lie wth a spirit in it.' may be 'Give me a lie with a spirit
in it.'. Unchanged.
Page 263
'Qute Miltonic--' Unchanged from original.
Page 298
'fit of violent horse' may be 'fit of violent hoarse'. Unchanged.
Page 430
'passions, coprices, impulses,' may be 'passions, caprices, impulses,'.
Unchanged.
Page 469 and 485
'were in the caste' may be 'were in the cast'. Unchanged.
Page 473
'scription; since Lamb's' is likely 'description; since Lamb's'.
Unchanged.
Page 510
'he is not the prepetrator;' is likely 'he is not the perpetrator;'.
Unchanged.
Page 564
'on absurb images, 405.' is likely 'on absurd images, 405.'. Changed.
These words are used in hyphenated and non-hyphenated forms in this
book.
a-foot
ante-dating
bed-fellow
be-scribbled
birth-day
black-guard
bug-bear
by-standers
church-yard
co-evals
co-exist
common-place
cross-wise
day-time
death-bed
eye-lid
fire-side
good-will
grave-digger
grave-stone
hand-maids
hand-writing
law-suit
life-time
loco-motive
moon-struck
needle-work
often-times
out-skirts
over-looking
pit-falls
play-fellows
play-goer
play-house
Queen-like
re-print
re-publication
re-written
robe-maker
run-away
school-boy
school-fellow
shop-keeper
story-teller
three-score
tread-mill
two-fold
two-pence
work-shop