Blackwood's Edinburgh Magazine, Vol. 66 No.406, August 1849. Various
just then are uppermost in his mind. A great deal of the art and tact of the humorist lies in bringing out little truths, and making them stand in the foreground, where greater truths usually take up their position. Thus, in one of Lamb's papers, he would prove that a convalescent was in a less enviable condition than a man downright ill. This is done by heightening the effect of a subordinate set of circumstances, and losing sight of facts of greater importance. No error of judgment can really be introduced by this sportive ratiocination, this mock logic, while it perhaps may be the means of disclosing many ingenious and subtle observations, to which, afterwards, you may, if you will, assign their just relative importance.
It would be a work of supererogation, even if space allowed us, to go critically over the whole writings of Lamb – his poems, his essays, and his letters. It is the last alone that we shall venture to pause upon, or from which we may hope to make any extract not already familiar to the reader. His poetry, indeed, cannot claim much critical attention. It is possible, here and there, to find an elegant verse, or a beautiful expression; there is a gentle, amiable, pleasing tone throughout it; but, upon the whole, it is without force, has nothing to recommend it of deep thought or strong passion. His tragedy of John Woodville is a tame imitation of the manner of the old dramatists – of their manner when engaged in their subordinate and preparatory scenes. For there is no attempt at tragic passion. We read the piece asking ourselves when the play is to begin, and while still asking the question, find ourselves brought to its conclusion. If the poems are read by few, the Essays of Elia have been perused by all. Who is not familiar with what is now a historic fact – the discovery of roast pig in China? This, and many other touches of humour, it would be useless here to repeat. His letters, as being latest published, seem alone to call for any especial observations, and from these we shall cull a few extracts to enliven our own critical labours.
What first strikes a reader, on the perusal of the letters, is their remarkable similarity in style to the essays. Some of them, indeed, were afterwards converted into essays, and that more by adding to them than altering their structure. That style, which at first seems extremely artificial, was, in fact, natural in Lamb. He had formed for himself a manner, chiefly by the study of our classical essayists, and of still older writers, from which it would have been an effort in him to depart. With whatever ease, therefore, or rapidity, he may have written his letters, it was impossible that they should bear the impress of freedom. His style was essentially a lettered style, partaking little of the conversational tone of his own day. They could obtain the case of finished compositions, not of genuine letters. For this, if for no other reason, they can never be brought into comparison with those charming spontaneous effusions of humour which flowed from Cowper, in his letters to his old friend Hill, and his cousin, Lady Hesketh. They are charming productions, however, and the best of his letters will take rank, we think, with the best of his essays, in the public estimation.
We must first quote from a letter to Manning, after his visits to the lakes, to rescue his character in the eyes of the lovers of the picturesque from the imputation of being utterly indifferent to the higher beauties of nature.
"Coleridge received us with all the hospitality in the world. He dwells upon a small hill by the side of Keswick, in a comfortable house, quite enveloped on all sides by a net of mountains: great floundering bears and monsters they seemed, all couchant and asleep. We got in in the evening, travelling in a post-chaise from Penrith, in the midst of a gorgeous sunshine, which transmuted all the mountains into colours, purple, &c., &c. We thought we had got into fairyland. But that went off (and it never came again; while we stayed we had no more fine sunsets), and we entered Coleridge's comfortable study just in the dusk, when the mountains were all dark with clouds on their heads. Such an impression I never received from objects of sight before, nor do I suppose that I can ever again. Glorious creatures, fine old fellows – Skiddaw, &c. – I never shall forget ye, how ye lay about that night like an entrenchment – gone to bed, as it seemed for the night, but promising that ye were to be seen in the morning… We have clambered up to the top of Skiddaw; and I have waded up the bed of Lodore. In fine, I have satisfied myself that there is such a thing as tourists call romantic, which I very much suspected before; they make such a sputtering about it… Oh! its fine black head, and the bleak air atop of it, with the prospects of mountains about and about, making you giddy. It was a day that will stand out like a mountain, I am sure, in my life."
Of Mr Manning we are told little or nothing, though he seems to have been one of the very dearest friends of Lamb. His best letters are written to Manning – the drollest, and some of the most affecting. The following was written to dissuade him from some scheme of oriental travel. Manning was, at the time, at Paris: —
"Feb. 19, 1803.
"My Dear Manning, – The general scope of your letter afforded no indications of insanity; but some particular points raised a scruple. For God's sake, don't think any more of 'Independent Tartary.' What are you to do among such Ethiopians? Read Sir John Mandeville's travels to cure you, or come over to England. There is a Tartar-man now exhibiting at Exeter Change. Come and talk with him, and hear what he says first. Indeed, he is no favourable specimen of his countrymen! Some say they are cannibals; and then conceive a Tartar fellow eating my friend, and adding the cool malignity of mustard and vinegar! I am afraid 'tis the reading of Chaucer has misled you; his foolish stories about Cambuscan, and the ring and the horse of brass. Believe me, there are no such things. These are all tales – a horse of brass never flew, and a king's daughter never talked with birds. The Tartars really are a cold, insipid, smoutchy set. You'll be sadly moped (if you are not eaten) amongst them. Pray try and cure yourself. Shave yourself oftener. Eat no saffron; for saffron eaters contract a terrible Tartar-like yellow. Shave the upper lip. Go about like a European. Read no books of voyages, (they are nothing but lies;) only now and then a romance, to keep the fancy under. Above all, don't go to any sights of wild beasts. That has been your ruin."
And when Manning really departed on his voyage to China, he writes to him in the following mingled strains of humour and of feeling. Being obliged to omit a great deal, it would only be unsightly to mark every instance where a sentence has been dropt. The italics, we must remark, are not ours. If Lamb's, they show how naturally, even in writing to his most intimate friend, he fell into the feelings of the author: —
"May 10, 1806.
"… Be sure, if you see any of those people whose heads do grow beneath their shoulders, that you make a draught of them. It will be very curious. Oh! Manning, I am serious to sinking almost, when I think that all those evenings which you have made so pleasant are gone, perhaps for ever. Four years, you talk of, may be ten – and you may come back and find such alterations! Some circumstance may grow up to you or to me, that may be a bar to the return of any such intimacy. I dare say all this is hum! and that all will come back; but, indeed, we die many deaths before we die, and I am almost sick to think that such a hold I had of you is gone."
"Dec. 5, 1806.
"Manning, your letter dated Hottentots, August the – what was it? came to hand. I can scarce hope that mine will have the same luck. China – Canton – bless us! how it strains the imagination, and makes it ache. It will be a point of conscience to send you none but bran-new news (the latest edition), which will but grow the better, like oranges, for a sea voyage. Oh that you should be so many hemispheres off – if I speak incorrectly you can correct me – why, the simplest death or marriage that takes place here must be important to you as news in the old Bastile."
He then tells him of the acceptance of his farce —Mr H.; which farce, by the way, was produced, and failed, Lamb turning against his own production, and joining the audience in hissing it off the stage. It certainly deserved its fate.
"Now, you'd like to know the subject. The title is, 'Mr H.' No more; how simple, how taking! A great H sprawling over the play-bill, and attracting eyes at every corner. The story is, a coxcomb appearing at Bath, vastly rich – all the ladies dying for him – all bursting to know who he is; but he goes by no other name than Mr H. – a curiosity like that of the dames of Strasburg about the man with the great nose. But I won't tell you any more about it. Yes, I will; but I can't give you any idea how I have done it. I'll just tell you that, after much vehement admiration,