Charles Lamb - The Collected Works of Charles Lamb and Mary Lamb

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Essays of Elia is a collection of essays written by Charles Lamb, first published in book form in 1823, with a second volume, Last Essays of Elia, issued in 1833. The essays in the collection first began appearing in The London Magazine in 1820 and continued to 1825. The personal and conversational tone of the essays has charmed many readers. Lamb himself is the Elia of the collection, and his sister Mary is «Cousin Bridget.» Charles first used the pseudonym Elia for an essay on the South Sea House, where he had worked decades earlier; Elia was the last name of an Italian man who worked there at the same time as Charles, and after that essay the name stuck.
Tales from Shakespeare is an English children's book written by Charles and Mary Lamb in 1807. The book is designed to make the stories of Shakespeare's plays familiar to the young. Mary Lamb was responsible for the comedies, while Charles wrote the tragedies; they wrote the preface between them.
Volume 1:
Curious fragments, extracted from a commonplace-book which belonged to Robert Burton, the famous Author of «The Anatomy of Melancholy»
Early Journalism
Characters of Dramatic Writers, Contemporary with Shakspeare
On the Inconveniences Resulting from Being Hanged
On the Danger of Confounding Moral with Personal Deformity: with a Hint to those who have the Framing of Advertisements for Apprehending Offenders…
Volume 2:
Essays of Elia
Last Essays of Elia
Volume 3:
Tales from Shakespeare
The Adventures of Ulysses
Mrs. Leicester's School
The King and Queen of Hearts
Poetry for Children
Three Poems Not in «Poetry for Children»
Prince Dorus
Volume 4:
Rosamund Gray, Essays, Etc.
Poems
Album Verses, With a Few Others
Volume 5:
The Letters of Charles and Mary Lamb (1796-1820)
Volume 6:
The Letters of Charles and Mary Lamb (1821-1842)

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C. Lamb.

THOUGHTS ON PRESENTS OF GAME, &c.

Table of Contents

(1833)

"We love to have our friend in the country sitting thus at our table by proxy ; to apprehend his presence (though a hundred miles may be between us) by a turkey, whose goodly aspect reflects to us his 'plump corpusculum;' to taste him in grouse or woodcock; to feel him gliding down in the toast peculiar to the latter; to concorporate him in a slice of Canterbury brawn. This is indeed to have him within ourselves; to know him intimately; such participation is methinks unitive , as the old theologians phrase it."—Last Essays of Elia.

Elia presents his acknowledgments to his "Correspondent unknown," for a basket of prodigiously fine game. He takes for granted that so amiable a character must be a reader of the Athenæum . Else he had meditated a notice in The Times . Now if this friend had consulted the Delphic oracle for a present suited to the palate of Elia, he could not have hit upon a morsel so acceptable. The birds he is barely thankful for; pheasants are poor fowls disguised in fine feathers. But a hare roasted hard and brown—with gravy and melted butter!—old Mr. Chambers, the sensible clergyman in Warwickshire, whose son's acquaintance has made many hours happy in the life of Elia, used to allow a pound of Epping to every hare. Perhaps that was over-doing it. But, in spite of the note of Philomel, who, like some fine poets, that think no scorn to adopt plagiarisms from a humble brother, reiterates every spring her cuckoo cry of "Jug, Jug, Jug," Elia pronounces that a hare, to be truly palated, must be roasted. Jugging sophisticates her. In our way it eats so "crips," as Mrs. Minikin says. Time was, when Elia was not arrived at his taste, that he preferred to all luxuries a roasted Pig. But he disclaims all such green-sickness appetites in future, though he hath to acknowledge the receipt of many a delicacy in that kind from correspondents—good, but mistaken men—in consequence of their erroneous supposition, that he had carried up into mature life the prepossessions of childhood. From the worthy Vicar of Enfield he acknowledges a tithe contribution of extraordinary sapor. The ancients must have loved hares. Else why adopt the word lepores (obviously from lepus ) but for some subtle analogy between the delicate flavour of the latter, and the finer relishes of wit in what we most poorly translate pleasantries . The fine madnesses of the poet are the very decoction of his diet. Thence is he hare-brained. Harum-scarum is a libellous unfounded phrase of modern usage. 'Tis true the hare is the most circumspect of animals, sleeping with her eye open. Her ears, ever erect, keep them in that wholesome exercise, which conduces them to form the very tit-bit of the admirers of this noble animal. Noble will I call her, in spite of her detractors, who from occasional demonstrations of the principle of self-preservation (common to all animals) infer in her a defect of heroism. Half a hundred horsemen with thrice the number of dogs, scour the country in pursuit of puss across three countries; and because the well-flavoured beast, weighing the odds, is willing to evade the hue and cry, with her delicate ears shrinking perchance from discord—comes the grave Naturalist, Linnæus perchance or Buffon, and gravely sets down the Hare as a—timid animal. Why, Achilles or Bully Dawson, would have declined the preposterous combat.

In fact, how light of digestion we feel after a hare! How tender its processes after swallowing! What chyle it promotes! How etherial! as if its living celerity were a type of its nimble coursing through the animal juices. The notice might be longer. It is intended less as a Natural History of the Hare, than a cursory thanks to the country "good Unknown." The hare has many friends, but none sincerer than

Elia.

TABLE-TALK BY THE LATE ELIA

Table of Contents

(1833 and 1834)

The greatest pleasure I know, is to do a good action by stealth, and to have it found out by accident.

'Tis unpleasant to meet a beggar. It is painful to deny him; and, if you relieve him, it is so much out of your pocket.

Men marry for fortune, and sometimes to please their fancy; but, much oftener than is suspected, they consider what the world will say of it; how such a woman in their friends' eyes will look at the head of a table. Hence, we see so many insipid beauties made wives of, that could not have struck the particular fancy of any man, that had any fancy at all. These I call furniture wives ; as men buy furniture pictures , because they suit this or that niche in their dining parlours.

Your universally cried-up beauties are the very last choice which a man of taste would make. What pleases all, cannot have that individual charm, which makes this or that countenance engaging to you, and to you only perhaps, you know not why. What gained the fair Gunnings titled husbands, who, after all, turned out very sorry wives? Popular repute.

It is a sore trial when a daughter shall marry against her father's approbation. A little hard-heartedness, and aversion to a reconcilement, is almost pardonable. After all, Will Dockwray's way is perhaps the wisest. His best-loved daughter made a most imprudent match; in fact, eloped with the last man in the world that her father would have wished her to marry. All the world said that he would never speak to her again. For months she durst not write to him, much less come near him. But, in a casual rencounter, he met her in the streets of Ware;—Ware, that will long remember the mild virtues of William Dockwray, Esq. What said the parent to his disobedient child, whose knees faltered under her at the sight of him? "Ha! Sukey, is it you?" with that benevolent aspect, with which he paced the streets of Ware, venerated as an angel, "come and dine with us on Sunday;" then turning away, and again turning back, as if he had forgotten something, he added, "and Sukey, do you hear, bring your husband with you." This was all the reproof she ever heard from him. Need it be added, that the match turned out better for Susan than the world expected?

"We read the Paradise Lost as a task," says Dr. Johnson. Nay, rather as a celestial recreation, of which the dullard mind is not at all hours alike recipient. "Nobody ever wished it longer;"—nor the moon rounder, he might have added. Why, 'tis the perfectness and completeness of it, which makes us imagine that not a line could be added to it, or diminished from it, with advantage. Would we have a cubit added to the stature of the Medicean Venus? Do we wish her taller?

Lear. Who are you? Mine eyes are not o' the best: I'll tell you straight … … Are you not Kent? Kent. The same; Your servant Kent. Where is your servant Caius? Lear. He's a good fellow, I can tell you that; He'll strike, and quickly too: he's dead and rotten. Kent. No, my good Lord; I am the very man—— Lear. I'll see that straight—— Kent. That from your first of difference and decay, Have follow'd your sad steps. Lear. You are welcome hither … … Albany. He knows not what he says; and vain it is That we present us to him. Edgar. Look up, my Lord. Kent. Vex not his ghost. O, let him pass! He hates him much. That would upon the rack of this rough world Stretch him out longer.

So ends 'King Lear,' the most stupendous of the Shakspearian dramas; and Kent, the noblest feature of the conceptions of his divine mind. This is the magnanimity of authorship, when a writer, having a topic presented to him, fruitful of beauties for common minds, waives his privilege, and trusts to the judicious few for understanding the reason of his abstinence. What a pudder would a common dramatist have raised here of a reconciliation scene, a perfect recognition, between the assumed Caius and his master!—to the suffusing of many fair eyes, and the moistening of cambric handkerchiefs. The old dying king partially catching at the truth, and immediately lapsing into obliviousness, with the high-minded carelessness of the other to have his services appreciated, as one that

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