LETTER 290
CHARLES LAMB TO BERNARD BARTON
India House, 11 Sept. 1822.
Dear Sir—You have misapprehended me sadly, if you suppose that I meant to impute any inconsistency (in your writing poetry) with your religious profession. I do not remember what I said, but it was spoken sportively, I am sure. One of my levities, which you are not so used to as my older friends. I probably was thinking of the light in which your so indulging yourself would appear to Quakers, and put their objection in my own foolish mouth. I would eat my words (provided they should be written on not very coarse paper) rather than I would throw cold water upon your, and my once, harmless occupation. I have read Napoleon and the rest with delight. I like them for what they are, and for what they are not. I have sickened on the modern rhodomontade & Byronism, and your plain Quakerish Beauty has captivated me. It is all wholesome cates, aye, and toothsome too, and withal Quakerish. If I were George Fox, and George Fox Licenser of the Press, they should have my absolute IMPRIMATUR. I hope I have removed the impression.
I am, like you, a prisoner to the desk. I have been chained to that gally thirty years, a long shot. I have almost grown to the wood. If no imaginative poet, I am sure I am a figurative one. Do "Friends" allow puns? verbal equivocations?—they are unjustly accused of it, and I did my little best in the "imperfect Sympathies" to vindicate them.
I am very tired of clerking it, but have no remedy. Did you see a sonnet to this purpose in the Examiner?—
"Who first invented Work—and tied the free
And holy-day rejoycing spirit down
To the ever-haunting importunity
Of business, in the green fields, and the town—
To plough—loom—anvil—spade—&, oh, most sad,
To this dry drudgery of the desk's dead wood?
Who but the Being Unblest, alien from good,
Sabbathless Satan! he who his unglad
Task ever plies 'mid rotatory burnings,
That round and round incalculably reel—
For wrath Divine hath made him like a wheel—
In that red realm from whence are no returnings;
Where toiling and turmoiling ever and aye
He, and his Thoughts, keep pensive worky-day."
C.L.
I fancy the sentiment exprest above will be nearly your own, the expression of it probably would not so well suit with a follower of John Woolman. But I do not know whether diabolism is a part of your creed, or where indeed to find an exposition of your creed at all. In feelings and matters not dogmatical, I hope I am half a Quaker. Believe me, with great respect, yours
C. LAMB.
I shall always be happy to see, or hear from you.—
[This is the first of the letters to Bernard Barton (1784-1849), a clerk in a bank at Woodbridge, in Suffolk, who was known as the Quaker poet. Lamb had met him at a London Magazine dinner at 13 Waterloo Place, and had apparently said something about Quakers and poetry which Barton, on thinking it over, had taken too seriously. Bernard Barton was already the author of four volumes of poetry, of which Napoleon and other Poems was the latest, published in 1822. Lamb's essay on "Imperfect Sympathies" had been printed in the London Magazine for August, 1821. For John Woolman, see note on page 93. The sonnet "Work" had been printed in the Examiner, August 29, 1819.]
LETTER 291
CHARLES LAMB TO BARRON FIELD
Sept. 22, 1822.
My dear F.,—I scribble hastily at office. Frank wants my letter presently. I & sister are just returned from Paris!! We have eaten frogs. It has been such a treat! You know our monotonous general Tenor. Frogs are the nicest little delicate things—rabbity-flavoured. Imagine a Lilliputian rabbit! They fricassee them; but in my mind, drest seethed, plain, with parsley and butter, would have been the decision of Apicius. Shelley the great Atheist has gone down by water to eternal fire! Hunt and his young fry are left stranded at Pisa, to be adopted by the remaining duumvir, Lord Byron—his wife and 6 children & their maid. What a cargo of Jonases, if they had foundered too! The only use I can find of friends, is that they do to borrow money of you. Henceforth I will consort with none but rich rogues. Paris is a glorious picturesque old City. London looks mean and New to it, as the town of Washington would, seen after it. But they have no St. Paul's or Westminster Abbey. The Seine, so much despised by Cockneys, is exactly the size to run thro' a magnificent street; palaces a mile long on one side, lofty Edinbro' stone (O the glorious antiques!): houses on the other. The Thames disunites London & Southwark. I had Talma to supper with me. He has picked up, as I believe, an authentic portrait of Shakspere. He paid a broker about £40 English for it. It is painted on the one half of a pair of bellows—a lovely picture, corresponding with the Folio head. The bellows has old carved wings round it, and round the visnomy is inscribed, near as I remember, not divided into rhyme—I found out the rhyme—
"Whom have we here,
Stuck on this bellows,
But the Prince of good fellows,
Willy Shakspere?"
At top—
"O base and coward luck!
To be here stuck.—POINS."
At bottom—
"Nay! rather a glorious lot is to him assign'd,
Who, like the Almighty, rides upon the wind.—PISTOL."
This is all in old carved wooden letters. The countenance smiling, sweet, and intellectual beyond measure, even as He was immeasurable. It may be a forgery. They laugh at me and tell me Ireland is in Paris, and has been putting off a portrait of the Black Prince. How far old wood may be imitated I cannot say. Ireland was not found out by his parchments, but by his poetry. I am confident no painter on either side the Channel could have painted any thing near like the face I saw. Again, would such a painter and forger have expected £40 for a thing, if authentic, worth £4000? Talma is not in the secret, for he had not even found out the rhymes in the first inscription. He is coming over with it, and, my life to Southey's Thalaba, it will gain universal faith.
The letter is wanted, and I am wanted. Imagine the blank filled up with all kind things.
Our joint hearty remembrances to both of you. Yours as ever,
C. LAMB.
[Frank was Francis John Field, Barron Field's brother, in the India
House.
Shelley was drowned on July 8, 1822.
Talma was François Joseph Talma (1763-1826), the great French tragedian. Lamb, introduced by John Howard Payne, saw him in "Regulus," but not understanding French was but mildly interested. "Ah," said Talma in the account by James Kenney printed in Henry Angelo's Pic Nic, "I was not very happy to-night; you must see me in 'Scylla.'" "Incidit in Scyllam," said Lamb, "qui vult vitare Charybdiro." "Ah, you are a rogue; you are a great rogue," was Talma's reply. Talma had bought a pair of bellows with Shakespeare's head on it. Lamb's belief in the authenticity of this portrait was misplaced, as the following account from Chambers' Journal for September 27, 1856, will show:—
About the latter part of the last century, one Zincke, an artist of little note, but grandson of the celebrated enameller of that name, manufactured fictitious Shakespeares by the score…. The most famous of Zincke's productions is the well-known Talma Shakespeare, which gentle Charles Lamb made a pilgrimage to Paris to see; and when he did see, knelt down and kissed with idolatrous veneration. Zincke painted it on a larger panel than was necessary for the size of the picture, and then cut away the superfluous wood, so as to leave the remainder in the shape of a pair of bellows…. Zincke probably was thinking of "a muse of fire" when he adopted this strange method of raising the wind; but he made little by it, for the dealer into whose hands the picture passed, sold it as a curiosity, not an original portrait, for £5. The buyer, being a person of ingenuity, and fonder of money than curiosities, fabricated a series of letters to and from Sir Kenelm Digby, and, passing over to France, planted—the slang term used among the less honest of the curiosity-dealing fraternity—the picture and the letters in an old château near Paris. Of course a confederate managed to discover the plant, in the presence of witnesses, and great was the excitement that ensued. Sir Kenelm Digby had been in France in the reign of Charles I., and the fictitious correspondence proved that the picture was an original, and had been painted by Queen Elizabeth's command, on the lid of her favourite pair of bellows!
It really would seem that the more absurd a deception is, the better it succeeds. All Paris was in delight at possessing an original Shakespeare, while the London amateurs were in despair at such a treasure being lost to England. The ingenious person soon found a purchaser, and a high price recompensed him for his trouble. But more remains to be told. The happy purchaser took his treasure to Ribet, the first Parisian picture-cleaner of the day, to be cleaned. Ribet set to work; but we may fancy his surprise as the superficial impasto of Zincke washed off beneath the sponge, and Shakespeare became a female in a lofty headgear adorned with blue ribbons.
In a furious passion the purchaser ran to the seller. "Let us talk over the affair quietly," said the latter; "I have been cheated as well as you: let us keep the matter secret; if we let the public know it, all Paris and even London too, will be laughing at us. I will return you your money, and take back the picture, if you will employ Ribet to restore it to the same condition as it was in when you received it." This fair proposition was acceded to, and Ribet restored the picture; but as he was a superior artist to Zincke, he greatly improved it, and this improvement was attributed to his skill as a cleaner. The secret being kept, and the picture, improved by cleaning, being again in the market, Talma, the great Tragedian, purchased it at even a higher price than that given by the first buyer. Talma valued it highly, enclosed it in a case of morocco and gold, and subsequently refused 1000 Napoleons for it; and even when at last its whole history was disclosed, he still cherished it as a genuine memorial of the great bard.
By kind permission of Mr. B.B. MacGeorge, the owner both of the letter and bellows, I was enabled to give a reproduction of the portrait in my large edition.
Ireland was the author of "Vortigern," the forged play attributed to
Shakespeare.]
LETTER 292
CHARLES LAMB TO JOHN HOWARD PAYNE
[Autumn, 1822.]
Dear Payne—A friend and fellow-clerk of mine, Mr. White (a good fellow) coming to your parts, I would fain have accompanied him, but am forced instead to send a part of me, verse and prose, most of it from 20 to 30 years old, such as I then was, and I am not much altered.
Paris, which I hardly knew whether I liked when I was in it, is an object of no small magnitude with me now. I want to be going, to the Jardin des Plantes (is that right, Louisa?) with you to Pere de la Chaise, La Morgue, and all the sentimentalities. How is Talma, and his (my) dear Shakspeare?
N.B.—My friend White knows Paris thoroughly, and does not want a guide. We did, and had one. We both join in thanks. Do you remember a Blue-Silk Girl (English) at the Luxembourg, that did not much seem to attend to the Pictures, who fell in love with you, and whom I fell in love with—an inquisitive, prying, curious Beauty—where is she?
Votre Très Humble Serviteur,
CHARLOIS AGNEAU,
alias C. LAMB.
Guichy is well, and much as usual. He seems blind to all the distinctions of life, except to those of sex. Remembrance to Kenny and Poole.
[John Howard Payne (1792-1852) was born in New York. He began life as an actor in 1809 as Young Norval in "Douglas," and made his English début in 1813 in the same part. For several years he lived either in London or Paris, where among his friends were Washington Irving and Talma. He wrote a number of plays, and in one of them, "Clari, or the Maid of Milan," is the song "Home, Sweet Home," with Bishop's music, on which his immortality rests. Payne died in Tunis, where he was American Consul, in 1852, and when in 1883 he was reinterred at Washington, it was as the author of "Home, Sweet Home." He seems to have been a charming but ill-starred man, whom to know was to love.
Mr. White was Edward White of the India House, by whom Lamb probably sent a copy of the 1818 edition of his Works. Louisa was Louisa Holcroft. Guichy was possibly the Frenchman, mentioned by Crabb Robinson, with whom the Lambs had travelled to France. Poole was, I imagine, John Poole, the dramatist, author of burlesque plays in the London Magazine and later of "Paul Pry," which, it is quite likely, he based on Lamb's sketch "Tom Pry."]
LETTER 293
CHARLES LAMB TO BERNARD BARTON
[Dated at end: 9 October 1822.]
Dear Sir—I am asham'd not sooner to have acknowledged your letter and poem. I think the latter very temperate, very serious and very seasonable. I do not think it will convert the club at Pisa, neither do I think it will satisfy the bigots on our side the water. Something like a parody on the song of Ariel would please them better.
Full fathom five the Atheist lies,
Of his bones are hell-dice made.—
I want time, or fancy, to fill up the rest. I sincerely sympathise with you on your doleful confinement. Of Time, Health, and Riches, the first in order is not last in excellence. Riches are chiefly good, because they give us Time. What a weight of wearisome prison hours have [I] to look back and forward to, as quite cut out [of] life—and the sting of the thing is, that for six hours every day I have no business which I could not contract into two, if they would let me work Task-work. I shall be glad to hear that your grievance is mitigated.
Shelly I saw once. His voice was the most obnoxious squeak I ever was tormented with, ten thousand times worse than the Laureat's, whose voice is the worst part about him, except his Laureatcy. Lord Byron opens upon him on Monday in a Parody (I suppose) of the "Vision of Judgment," in which latter the Poet I think did not much show his. To award his Heaven and his Hell in the presumptuous manner he has done, was a piece of immodesty as bad as Shelleyism.
I am returning a poor letter. I was formerly a great Scribbler in that way, but my hand is out of order. If I said my head too, I should not be very much out, but I will tell no tales of myself. I will therefore end (after my best thanks, with a hope to see you again some time in London), begging you to accept this Letteret for a Letter—a Leveret makes a better present than a grown hare, and short troubles (as the old excuse goes) are best.
I hear that C. Lloyd is well, and has returned to his family. I think this will give you pleasure to hear.
I remain, dear Sir, yours truly
C. LAMB.
E.I.H.
9 Oct. 22.
[Barton had just published his Verses on the Death of P.B. Shelley, a lament for misapplied genius. The club at Pisa referred particularly to Byron, Leigh Hunt, and Trelawney. Trelawney placed three lines from Ariel's song in "The Tempest" on Shelley's monument; but whether Lamb knew this, or his choice of rival lines is a coincidence, I do not know. Trelawney chose the lines:—
Nothing of him that doth fade
But doth suffer a sea-change
Into something rich and strange.
There is no other record of Lamb's meeting with Shelley, who, by the way, admired Lamb's writings warmly, particularly Mrs. Leicester's School (see the letter to Barton, August 17, 1824).
Byron's Vision of Judgment, a burlesque of Southey's poem of the same name, was printed in The Liberal for 1822.]
LETTER 294
CHARLES LAMB TO B.R. HAYDON
India House, 9th October, 1822.
Dear Haydon, Poor Godwin has been turned out of his house and business in Skinner Street, and if he does not pay two years' arrears of rent, he will have the whole stock, furniture, &c., of his new house (in the Strand) seized when term begins. We are trying to raise a subscription for him. My object in writing this is simply to ask you, if this is a kind of case which would be likely to interest Mrs. Coutts in his behalf; and who in your opinion is the best person to speak with her on his behalf. Without the aid of from £300 to £400 by that time, early in November, he must be ruined. You are the only person I can think of, of her acquaintance, and can, perhaps, if not yourself, recommend the person most likely to influence her. Shelley had engaged to clear him of all demands, and he has gone down to the deep insolvent.
Yours truly,
C. LAMB.
Is Sir Walter to be applied to, and by what channel?
[Mrs. Coutts was probably Harriot Mellon, the actress, widow of the banker, Thomas Coutts, and afterwards Duchess of St. Albans. She had played the part of the heroine Melesinda in "Mr. H."]
LETTER 295
CHARLES LAMB TO JOHN HOWARD PAYNE
Thursday [Oct. 22], 1822.
"Ali Pacha" will do. I sent my sister the first night, not having been able to go myself, and her report of its effect was most favourable. I saw it last night—the third night—and it was most satisfactorily received. I have been sadly disappointed in Talfourd, who does the critiques in the "Times," and who promised his strenuous services; but by some damn'd arrangement he was sent to the wrong house, and a most iniquitous account of Ali substituted for his, which I am sure would have been a kind one. The "Morning Herald" did it ample justice, without appearing to puff it. It is an abominable misrepresentation of the "Times," that Farren played Ali like Lord Ogilby. He acted infirmity of body, but not of voice or purpose. His manner was even grand. A grand old gentleman. His falling to the earth when his son's death was announced was fine as anything I ever saw. It was as if he had been blasted. Miss Foote looked helpless and beautiful, and greatly helped the piece. It is going on steadily, I am sure, for many nights. Marry, I was a little disappointed with Hassan, who tells us he subsists by cracking court jests before Hali, but he made none. In all the rest, scenery and machinery, it was faultless. I hope it will bring you here. I should be most glad of that. I have a room for you, and you shall order your own dinner three days in the week. I must retain my own authority for the rest. As far as magazines go, I can answer for Talfourd in the "New Monthly." He cannot be put out there. But it is established as a favourite, and can do without these expletives. I long to talk over with you the Shakspeare Picture. My doubts of its being a forgery mainly rest upon the goodness of the picture. The bellows might be trumped up, but where did the painter spring from? Is Ireland a consummate artist—or any of Ireland's accomplices?—but we shall confer upon it, I hope. The "New Times," I understand was favorable to "Ali," but I have not seen it. I am sensible of the want of method in this letter, but I have been deprived of the connecting organ, by a practice I have fallen into since I left Paris, of taking too much strong spirits of a night. I must return to the Hotel de l'Europe and Macon.
How is Kenney? Have you seen my friend White? What is Poole about, &c.?
Do not write, but come and answer me.
The weather is charming, and there is a mermaid to be seen in London. You may not have the opportunity of inspecting such a Poisarde once again in ten centuries.
My sister joins me in the hope of seeing you.
Yours truly,
C. LAMB.
[Lamb had met John Howard Payne, the American dramatist, at Kenney's, in
France. "Ali Pacha," a melodrama in two acts, was produced at Covent
Garden on October 19, 1822. It ran altogether sixteen nights. William
Farren played the hero. Lord Ogleby, an antiquated fop, is a character
in "The Clandestine Marriage" by Colman and Garrick. Miss Foote played
Helena. See notes to the letter above for other references.]
LETTER 296
CHARLES LAMB TO B.R. HAYDON
Tuesday, 29th [October, 1822].
Dear H., I have written a very respectful letter to Sir W.S. Godwin did not write, because he leaves all to his committee, as I will explain to you. If this rascally weather holds, you will see but one of us on that day.
Yours, with many thanks,
C. LAMB.
LETTER 297
CHARLES LAMB TO SIR WALTER SCOTT
East India House, London,
29th October 1822.
Dear Sir,—I have to acknowledge your kind attention to my application to Mr. Haydon. I have transmitted your draft to Mr. G[odwin]'s committee as an anonymous contribution through me. Mr. Haydon desires his thanks and best respects to you, but was desirous that I should write to you on this occasion. I cannot pass over your kind expressions as to myself. It is not likely that I shall ever find myself in Scotland, but should the event ever happen, I should be proud to pay my respects to you in your own land. My disparagement of heaths and highlands—if I said any such thing in half earnest,—you must put down as a piece of the old Vulpine policy. I must make the most of the spot I am chained to, and console myself for my flat destiny as well as I am able. I know very well our mole-hills are not mountains, but I must cocker them up and make them look as big and as handsome as I can, that we may both be satisfied. Allow me to express the pleasure I feel on an occasion given me of writing to you, and to subscribe myself, dear sir, your obliged and respectful servant,
CHARLES LAMB.
[See note to the letter to Godwin above. Lamb and Scott never met. Talfourd, however, tells us that "he used to speak with gratitude and pleasure of the circumstances under which he saw him once in Fleet-street. A man, in the dress of a mechanic, stopped him just at Inner Temple-gate, and said, touching his hat, 'I beg your pardon, sir, but perhaps you would like to see Sir Walter Scott; that is he just crossing the road;' and Lamb stammered out his hearty thanks to his truly humane informer."
Mr. Lang has recently discovered that also in 1818 or thereabouts Sir
Walter invited Lamb to Abbotsford.]
LETTER 298
CHARLES LAMB TO THOMAS ROBINSON
[Dated at end: Nov. 11, 1822.]
Dear Sir, We have to thank you, or Mrs. Robinson— for I think her name was on the direction—for the best pig, which myself, the warmest of pig-lovers, ever tasted. The dressing and the sauce were pronounced incomparable by two friends, who had the good fortune to drop in to dinner yesterday, but I must not mix up my cook's praises with my acknowledgments; let me but have leave to say that she and we did your pig justice. I should dilate on the crackling—done to a turn—but I am afraid Mrs. Clarkson, who, I hear, is with you, will set me down as an Epicure. Let it suffice, that you have spoil'd my appetite for boiled mutton for some time to come. Your brother Henry partook of the cold relics—by which he might give a good guess at what it had been hot.
With our thanks, pray convey our kind respects to Mrs. Robinson, and the
Lady before mentioned.
Your obliged Ser't
CHARLES LAMB.
India House
11 Nov. 22.
[This letter is addressed to R. Robinson, Esq., Bury, Suffolk, but I think there is no doubt that Thomas Robinson was the recipient.
Thomas Robinson of Bury St. Edmunds was Henry Crabb Robinson's brother.
Lamb's "Dissertation on Roast Pig" had been printed in the London
Magazine in September, 1822, and this pig was one of the first of many
such gifts that came to him.]
LETTER 299
CHARLES LAMB TO JOHN HOWARD PAYNE
Wednesday, 13 November, '22.
Dear P.—Owing to the inconvenience of having two lodgings, I did not get your letter quite so soon as I should. The India House is my proper address, where I am sure for the fore part of every day. The instant I got it, I addressed a letter, for Kemble to see, to my friend Henry Robertson, the Treasurer of Covent Garden Theatre. He had a conference with Kemble, and the result is, that Robertson, in the name of the management, recognized to me the full ratifying of your bargain: £250 for Ali, the Slaves, and another piece which they had not received. He assures me the whole will be paid you, or the proportion for the two former, as soon as ever the Treasury will permit it. He offered to write the same to you, if I pleased. He thinks in a month or so they will be able to liquidate it. He is positive no trick could be meant you, as Mr. Planche's alterations, which were trifling, were not at all considered as affecting your bargain. With respect to the copyright of Ali, he was of opinion no money would be given for it, as Ali is quite laid aside. This explanation being given, you would not think of printing the two copies together by way of recrimination. He told me the secret of the two Galley Slaves at Drury Lane. Elliston, if he is informed right, engaged Poole to translate it, but before Poole's translation arrived, finding it coming out at Cov. Gar., he procured copies of two several translations of it in London. So you see here are four translations, reckoning yours. I fear no copyright would be got for it, for anybody may print it and anybody has. Your's has run seven nights, and R. is of opinion it will not exceed in number of nights the nights of Ali,—about thirteen. But your full right to your bargain with the management is in the fullest manner recognized by him officially. He gave me every hope the money will be spared as soon as they can spare it. He said a month or two, but seemed to me to mean about a month. A new lady is coming out in Juliet, to whom they look very confidently for replenishing their treasury. Robertson is a very good fellow and I can rely upon his statement. Should you have any more pieces, and want to get a copyright for them, I am the worst person to negotiate with any bookseller, having been cheated by all I have had to do with (except Taylor and Hessey,—but they do not publish theatrical pieces), and I know not how to go about it, or who to apply to. But if you had no better negotiator, I should know the minimum you expect, for I should not like to make a bargain out of my own head, being (after the Duke of Wellington) the worst of all negotiators. I find from Robertson you have written to Bishop on the subject. Have you named anything of the copyright of the Slaves. R. thinks no publisher would pay for it, and you would not risque it on your own account. This is a mere business letter, so I will just send my love to my little wife at Versailles, to her dear mother, etc.
Believe me, yours truly, C.L.
[Payne's translation of the French play was produced at Covent Garden on November 6, 1822, under the title "The Soldier's Daughter." On the same night appeared a rival version at Drury Lane entitled "Two Galley Slaves." Payne's was played eleven times. The new lady as Juliet was the other Fanny Kelly not Lamb's: Fanny H. Kelly, from Dublin. The revival began on November 14. Planché was James Robinson Planché (1796-1880), the most prolific of librettists. Robert William Elliston, of whom Lamb later wrote so finely, was then managing Drury Lane.
"Having been cheated." Lamb's particular reference was to Baldwin (see the letter to Barton, Jan. 9, 1823).
"The Duke of Wellington." A reference to the Duke's failure in representing England at the Congress of Powers in Vienna and Verona.
Lamb's "dear little wife" was Sophy Kenney.]
LETTER 300
MARY LAMB TO MRS. JAMES KENNEY
[No date. ?Early December, 1822.]
My dear Friend,—How do you like Harwood? Is he not a noble boy? I congratulate you most heartily on this happy meeting, and only wish I were present to witness it. Come back with Harwood, I am dying to see you—we will talk, that is, you shall talk and I will listen from ten in the morning till twelve at night. My thoughts are often with you, and your children's dear faces are perpetually before me. Give them all one additional kiss every morning for me. Remember there's one for Louisa, one to Ellen, one to Betsy, one to Sophia, one to James, one to Teresa, one to Virginia, and one to Charles. Bless them all! When shall I ever see them again? Thank you a thousand times for all your kindness to me. I know you will make light of the trouble my illness gave you; but the recollection of it often sits heavy on my heart. If I could ensure my health, how happy should I be to spend a month with you every summer!
When I met Mr. Kenney there, I sadly repented that I had not dragged you on to Dieppe with me. What a pleasant time we should have spent there!
You shall not be jealous of Mr. Payne. Remember he did Charles and I good service without grudge or grumbling. Say to him how much I regret that we owe him unreturnable obligations; for I still have my old fear that we shall never see him again. I received great pleasure from seeing his two successful pieces. My love to your boy Kenney, my boy James, and all my dear girls, and also to Rose; I hope she still drinks wine with you. Thank Lou-Lou for her little bit of letter. I am in a fearful hurry, or I would write to her. Tell my friend the Poetess that I expect some French verses from her shortly. I have shewn Betsy's and Sophy's letters to all who came near me, and they have been very much admired. Dear Fanny brought me the bag. Good soul you are to think of me! Manning has promised to make Fanny a visit this morning, happy girl! Miss James I often see, I think never without talking of you. Oh the dear long dreary Boulevards! how I do wish to be just now stepping out of a Cuckoo into them!
Farewel, old tried friend, may we meet again! Would you could bring your house with all its noisy inmates, and plant it, garden, gables and all, in the midst of Covent Garden.
Yours ever most affectionately,
M. LAMB.
My best respects to your good neighbours.
[Harwood was Harwood Holcroft.
"Louisa," etc. Mrs. Kenney's children by her first marriage were Louisa, Ellen, Betsy and Sophia. By her second, with Kenney, the others. Charles was named Charles Lamb Kenney.
"Payne's two successful pieces"—"Ali Pacha" and "The Soldier's
Daughter."
Fanny was Fanny Holcroft, Mrs. Kenney's stepdaughter.
Miss Kelly has added to this letter a few words of affection to Mrs.
Kenney from "the real old original Fanny Kelly."
Charles Lamb also contributed to this letter a few lines to James Kenney, expressing his readiness to meet Moore the poet. He adds that he made a hit at him as Little in the London Magazine, which though no reason for not meeting him was a reason for not volunteering a visit to him. The reference is to the sonnet to Barry Cornwall in the London Magazine for September, 1820, beginning—
Let hate, or grosser heats, their foulness mask
Neath riddling Junius, or in L——e's name.
The second line was altered in Lamb's Album Verses, 1830, to—
Under the vizor of a borrowed name.]
LETTER 301
CHARLES LAMB TO JOHN TAYLOR
[Dated: Dec. 7, 1822.]
Dear Sir,—I should like the enclosed Dedication to be printed, unless you dislike it. I like it. It is in the olden style. But if you object to it, put forth the book as it is. Only pray don't let the Printer mistake the word curt for curst.
C.L.
Dec. 7, 1822.
DEDICATION
TO THE FRIENDLY AND JUDICIOUS READER,
Who will take these Papers, as they were meant; not understanding every thing perversely in the absolute and literal sense, but giving fair construction as to an after-dinner conversation; allowing for the rashness and necessary incompleteness of first thoughts; and not remembering, for the purpose of an after taunt, words spoken peradventure after the fourth glass. The Author wishes (what he would will for himself) plenty of good friends to stand by him, good books to solace him, prosperous events to all his honest undertakings, and a candid interpretation to his most hasty words and actions. The other sort (and he hopes many of them will purchase his book too) he greets with the curt invitation of Timon, "Uncover, dogs, and lap:" or he dismisses them with the confident security of the philosopher, "you beat but on the case of ELIA."
C.L.
Dec. 7, 1822.
[Elia. Essays which have appeared under that signature in the London Magazine was just about to be published. The book came out with no preface.
"You beat but on the case." When Anaxarchus, the philosopher, was being pounded to death in a mortar, by command of Alexander the Great, he made use of this phrase. After these words, in Canon Ainger's transcript, Lamb remarks:—"On better consideration, pray omit that Dedication. The Essays want no Preface: they are all Preface. A Preface is nothing but a talk with the reader; and they do nothing else. Pray omit it.
"There will be a sort of Preface in the next Magazine, which may act as an advertisement, but not proper for the volume.
"Let ELIA come forth bare as he was born."
The sort of Preface in the next magazine (January, 1823) was the "Character of the Late Elia," used as a preface to the Last Essays in 1833.]
LETTER 302
CHARLES LAMB TO WALTER WILSON
E.I.H. 16 dec. 22.
Dear Wilson
Lightening I was going to call you—
You must have thought me negligent in not answering your letter sooner. But I have a habit of never writing letters, but at the office—'tis so much time cribbed out of the Company—and I am but just got out of the thick of a Tea Sale, in which most of the Entry of Notes, deposits &c. usually falls to my share. Dodwell is willing, but alas! slow. To compare a pile of my notes with his little hillock (which has been as long a building), what is it but to compare Olympus with a mole-hill. Then Wadd is a sad shuffler.—
I have nothing of Defoe's but two or three Novels, and the Plague History. I can give you no information about him. As a slight general character of what I remember of them (for I have not look'd into them latterly) I would say that "in the appearance of truth in all the incidents and conversations that occur in them they exceed any works of fiction I am acquainted with. It is perfect illusion. The Author never appears in these self-narratives (for so they ought to be called or rather Autobiographies) but the narrator chains us down to an implicet belief in every thing he says. There is all the minute detail of a log-book in it. Dates are painfully pressed upon the memory. Facts are repeated over and over in varying phrases, till you cannot chuse but believe them. It is like reading Evidence given in a Court of Justice. So anxious the story-teller seems, that the truth should be clearly comprehended, that when he has told us a matter of fact, or a motive, in a line or two farther down he repeats it with his favorite figure of speech, 'I say' so and so,—though he had made it abundantly plain before. This is in imitation of the common people's way of speaking, or rather of the way in which they are addressed by a master or mistress, who wishes to impress something upon their memories; and has a wonderful effect upon matter-of-fact readers. Indeed it is to such principally that he writes. His style is elsewhere beautiful, but plain & homely. Robinson Crusoe is delightful to all ranks and classes, but it is easy to see that it is written in phraseology peculiarly adapted to the lower conditions of readers: hence it is an especial favorite with seafaring men, poor boys, servant maids &c. His novels are capital kitchen-reading, while they are worthy from their deep interest to find a shelf in the Libraries of the wealthiest, and the most learned. His passion for matter of fact narrative sometimes betrayed him into a long relation of common incidents which might happen to any man, and have no interest but the intense appearance of truth in them, to recommend them. The whole latter half, or two thirds, of Colonel Jack is of this description. The beginning of Colonel Jack is the most affecting natural picture of a young thief that was ever drawn. His losing the stolen money in the hollow of a tree, and finding it again when he was in despair, and then being in equal distress at not knowing how to dispose of it, and several similar touches in the early history of the Colonel, evince a deep knowledge of human nature; and, putting out of question the superior romantic interest of the latter, in my mind very much exceed Crusoe. Roxana (1st Edition) is the next in Interest, though he left out the best part of it**in** subsequent Editions from a foolish hypercriticism of his friend, Southerne. But Moll Flanders, the account of the Plague &c. &c. are all of one family, and have the same stamp of character."—
[At the top of the first page is added:—]
Omitted at the end … believe me with friendly recollections, Brother (as I used to call you) Yours C. LAMB.
[Below the "Dear Wilson" is added in smaller writing:—]
The review was not mine, nor have I seen it.
[Lamb's friend Walter Wilson was beginning his Memoirs of the Life and
Times of Daniel Defoe, 1830. The passage sent to him in this letter by
Lamb he printed in Vol. III., page 428. Some years later Lamb sent
Wilson a further criticism. See also letter below for the reference to
Roxana.
Dodwell we have met. Of Wadd we have no information, except, according to Crabb Robinson's Diary, that he once accidentally discharged a pen full of ink into Lamb's eye and that Lamb wrote this epigram upon him:—
What Wadd knows, God knows,
But God knows what Wadd knows.]
LETTER 303
CHARLES LAMB TO BERNARD BARTON
[Dated at end: 23 December 1822.]
Dear Sir—I have been so distracted with business and one thing or other, I have not had a quiet quarter of an hour for epistolary purposes. Christmas too is come, which always puts a rattle into my morning scull. It is a visiting unquiet un-Quakerish season. I get more and more in love with solitude, and proportionately hampered with company. I hope you have some holydays at this period. I have one day, Christmas day, alas! too few to commemorate the season. All work and no play dulls me. Company is not play, but many times hard work. To play, is for a man to do what he pleases, or to do nothing—to go about soothing his particular fancies. I have lived to a time of life, to have outlived the good hours, the nine o'Clock suppers, with a bright hour or two to clear up in afterwards. Now you cannot get tea before that hour, and then sit gaping, music-bothered perhaps, till half-past 12 brings up the tray, and what you steal of convivial enjoyment after, is heavily paid for in the disquiet of to-morrow's head.
I am pleased with your liking John Woodvil, and amused with your knowledge of our drama being confined to Shakspeare and Miss Bailly. What a world of fine territory between Land's End and Johnny Grots have you missed traversing. I almost envy you to have so much to read. I feel as if I had read all the Books I want to read. O to forget Fielding, Steele, &c., and read 'em new.
Can you tell me a likely place where I could pick up, cheap, Fox's Journal? There are no Quaker Circulating Libraries? Ellwood, too, I must have. I rather grudge that S[outhe]y has taken up the history of your People. I am afraid he will put in some Levity. I am afraid I am not quite exempt from that fault in certain magazine Articles, where I have introduced mention of them. Were they to do again, I would reform them.
Why should not you write a poetical Account of your old Worthies, deducing them from Fox to Woolman?—but I remember you did talk of something in that kind, as a counterpart to the Ecclesiastical Sketches. But would not a Poem be more consecutive than a string of Sonnets? You have no Martyrs quite to the Fire, I think, among you. But plenty of Heroic Confessors, Spirit-Martyrs—Lamb-Lions.—Think of it.
It would be better than a series of Sonnets on "Eminent Bankers."—I like a hit at our way of life, tho' it does well for me, better than anything short of all one's time to one's self, for which alone I rankle with envy at the rich. Books are good, and Pictures are good, and Money to buy them therefore good, but to buy TIME! in other words, LIFE—
The "compliments of the time to you" should end my letter; to a Friend I suppose I must say the "sincerity of the season;" I hope they both mean the same. With excuses for this hastily penn'd note, believe me with great respect—
C. LAMB.
23 dec. 22.
[Miss Bailly would be Joanna Baillie (1762-1851), author of Plays on the Passions.
The copy of Fox's Journal, 1694, which was lent to Lamb is now in the possession of the Society of Friends. In it is written:
"This copy of George Fox's Journal, being the earliest edition of that work, the property of John T. Shewell of Ipswich, is lent for six months to Charles Lamb, at the request of Sam'l Alexander of Needham, Ipswich, 1st mo. 4 1823." Lamb has added: "Returned by Charles Lamb, within the period, with many thanks to the Lender for the very great satisfaction which he has derived from the perusal of it."
Southey was meditating a Life of George Fox and corresponded with Barton on the subject. He did not write the book.
Barton had a plan to provide Wordsworth's Ecclesiastical Sonnets with a
Quaker pendant. He did not carry it out.
Here might come an undated and unpublished letter from Lamb to Basil Montagu, which is of little interest except as referring to Miss James, Mary Lamb's nurse. Lamb says that she was one of four sisters, daughters of a Welsh clergyman, who all became nurses at Mrs. Warburton's, Hoxton, whither, I imagine, Mary Lamb had often retired. Mrs. Parsons, one of the sisters, became Mary Lamb's nurse when, some time after Lamb's death, she moved to 41 Alpha Road, Mrs. Parsons' house. The late John Hollingshead, great-nephew of these ladies, says in his interesting book, My Lifetime, that their father was rector of Beguildy, in Shropshire.]
LETTER 304
CHARLES LAMB TO JOHN HOWARD PAYNE
[January, 1823.]
Dear Payne—Your little books are most acceptable. 'Tis a delicate edition. They are gone to the binder's. When they come home I shall have two—the "Camp" and "Patrick's Day"—to read for the first time. I may say three, for I never read the "School for Scandal." "Seen it I have, and in its happier days." With the books Harwood left a truncheon or mathematical instrument, of which we have not yet ascertained the use. It is like a telescope, but unglazed. Or a ruler, but not smooth enough. It opens like a fan, and discovers a frame such as they weave lace upon at Lyons and Chambery. Possibly it is from those parts. I do not value the present the less, for not being quite able to detect its purport. When I can find any one coming your way I have a volume for you, my Elias collected. Tell Poole, his Cockney in the Lon. Mag. tickled me exceedingly. Harwood is to be with us this evening with Fanny, who comes to introduce a literary lady, who wants to see me,—and whose portentous name is Plura, in English "many things." Now, of all God's creatures, I detest letters-affecting, authors-hunting ladies. But Fanny "will have it so." So Miss Many Things and I are to have a conference, of which you shall have the result. I dare say she does not play at whist. Treasurer Robertson, whose coffers are absolutely swelling with pantomimic receipts, called on me yesterday to say he is going to write to you, but if I were also, I might as well say that your last bill is at the Banker's, and will be honored on the instant receipt of the third Piece, which you have stipulated for. If you have any such in readiness, strike while the iron is hot, before the Clown cools. Tell Mrs. Kenney, that the Miss F.H. (or H.F.) Kelly, who has begun so splendidly in Juliet, is the identical little Fanny Kelly who used to play on their green before their great Lying-Inn Lodgings at Bayswater. Her career has stopt short by the injudicious bringing her out in a vile new Tragedy, and for a third character in a stupid old one,—the Earl of Essex. This is Macready's doing, who taught her. Her recitation, &c. (not her voice or person), is masculine. It is so clever, it seemed a male Debut. But cleverness is the bane of Female Tragedy especially. Passions uttered logically, &c. It is bad enough in men-actors. Could you do nothing for little Clara Fisher? Are there no French Pieces with a Child in them? By Pieces I mean here dramas, to prevent male-constructions. Did not the Blue Girl remind you of some of Congreve's women? Angelica or Millamant? To me she was a vision of Genteel Comedy realized. Those kind of people never come to see one. N'import—havn't I Miss Many Things coming? Will you ask Horace Smith to——[The remainder of this letter has been lost.]
[Payne seems to have sent Lamb an edition of Sheridan. "The Camp" and
"St. Patrick's Day" are among Sheridan's less known plays.
Poole was writing articles on France in the London Magazine. Lamb refers to "A Cockney's Rural Sports," in the number for December, 1822.
Fanny was Fanny Holcroft. Plura I do not identify.
The new tragedy in which Miss Kelly had to play was probably "The
Huguenot," produced December 11, 1822. "The Earl of Essex" was revived
December 30, 1822. Macready played in both.
"Cleverness is the bane." See Lamb's little article on "The New Acting" in Vol. I.
The Blue Girl seems to refer to the lady mentioned at the end of the first letter to Payne.
Angelica is in Congreve's "Love for Love"; Millamant in his "Way of the
World."]
LETTER 305
CHARLES LAMB TO WILLIAM WORDSWORTH
[No date. January, 1823.]
Dear Wordsworth, I beg your acceptance of ELIA, detached from any of its old companions which might have been less agreeable to you. I hope your eyes are better, but if you must spare them, there is nothing in my pages which a Lady may not read aloud without indecorum, which is more than can be said of Shakspeare.
What a nut this last sentence would be for Blackwood!
You will find I availed myself of your suggestion, in curtailing the dissertation on Malvolio.
I have been on the Continent since I saw you.
I have eaten frogs.
I saw Monkhouse tother day, and Mrs. M. being too poorly to admit of company, the annual goosepye was sent to Russell Street, and with its capacity has fed "A hundred head" (not of Aristotle's) but "of Elia's friends."
Mrs. Monkhouse is sadly confined, but chearful.—
This packet is going off, and I have neither time, place nor solitude for a longer Letter.
Will you do me the favor to forward the other volume to Southey?
Mary is perfectly well, and joins me in kindest rememb'ces to you all.
[Signature cut away.]
["What a nut… for Blackwood." To help on Maga's great cause against
Cockney arrogance.
"The dissertation on Malvolio." In Elia the essays on the Old Actors were much changed and rearranged (see Appendix to Vol. II. in this edition).]
LETTER 306
CHARLES LAMB TO MR. AND MRS. J.D. COLLIER
Twelfth Day [January 6], 1823.
THE pig was above my feeble praise. It was a dear pigmy. There was some contention as to who should have the ears, but in spite of his obstinacy (deaf as these little creatures are to advice) I contrived to get at one of them.
It came in boots too, which I took as a favor. Generally those petty toes, pretty toes! are missing. But I suppose he wore them, to look taller.
He must have been the least of his race. His little foots would have gone into the silver slipper. I take him to have been Chinese, and a female.—
If Evelyn could have seen him, he would never have farrowed two such prodigious volumes, seeing how much good can be contained in—how small a compass!
He crackled delicately.
John Collier Jun has sent me a Poem which (without the smallest bias from the aforesaid present, believe me) I pronounce sterling.
I set about Evelyn, and finished the first volume in the course of a natural day. To-day I attack the second—Parts are very interesting.—
I left a blank at top of my letter, not being determined which to address it to, so Farmer and Farmer's wife will please to divide our thanks. May your granaries be full, and your rats empty, and your chickens plump, and your envious neighbors lean, and your labourers busy, and you as idle and as happy as the day is long!
VIVE L'AGRICULTURE!
Frank Field's marriage of course you have seen in the papers, and that his brother Barron is expected home.
How do you make your pigs so little?
They are vastly engaging at that age.
I was so myself.
Now I am a disagreeable old hog—
A middle-aged-gentleman-and-a-half.
My faculties, thank God, are not much impaired. I have my sight, hearing, taste, pretty perfect; and can read the Lord's Prayer in the common type, by the help of a candle, without making many mistakes.
Believe me, while my faculties last, a proper appreciator of your many kindnesses in this way; and that the last lingering relish of past flavors upon my dying memory will be the smack of that little Ear. It was the left ear, which is lucky. Many happy returns (not of the Pig) but of the New Year to both.—
Mary for her share of the Pig and the memoirs desires to send the same—
D'r. M'r. C. and M'rs. C.—
Yours truly
C. LAMB.
[This letter is usually supposed to have been addressed by Lamb to Mr. and Mrs. Bruton of Mackery End. The address is, however, Mrs. Collier, Smallfield Place, East Grinstead, Sussex.
"If Evelyn could have seen him." John Evelyn's Diary had recently been published, in 1818 and 1819, in two large quarto volumes.]
LETTER 307
CHARLES LAMB TO CHARLES ADERS
[Jan. 8, 1823.]
Dear Sir—We shall have great pleasure in surprising Mrs. Aders on her Birthday—You will perceive how cunningly I have contrived the direction of this note, to evade postage.
Yours truly
C. LAMB.
8 Jan. '23.
[This note is sent to me by Mr. G. Dunlop of Kilmarnock. It is the only note to Aders, a friend of Crabb Robinson, to whose house Lamb often went for talk and whist. Aders had a fine collection of German pictures. See the verses to him in Vol. IV. The cunning in the address consisted apparently in obtaining the signature of an India House colleague to certify that it was "official."]
LETTER 308
CHARLES LAMB TO BERNARD BARTON
9 Jan., 1823.
"Throw yourself on the world without any rational plan of support, beyond what the chance employ of Booksellers would afford you"!!!
Throw yourself rather, my dear Sir, from the steep Tarpeian rock, slap-dash headlong upon iron spikes. If you had but five consolatory minutes between the desk and the bed, make much of them, and live a century in them, rather than turn slave to the Booksellers. They are Turks and Tartars, when they have poor Authors at their beck. Hitherto you have been at arm's length from them. Come not within their grasp. I have known many authors for bread, some repining, others envying the blessed security of a Counting House, all agreeing they had rather have been Taylors, Weavers, what not? rather than the things they were. I have known some starved, some to go mad, one clear friend literally dying in a workhouse. You know not what a rapacious, dishonest set those booksellers are. Ask even Southey, who (a single case almost) has made a fortune by book drudgery, what he has found them. O you know not, may you never know! the miseries of subsisting by authorship. 'Tis a pretty appendage to a situation like yours or mine, but a slavery worse than all slavery to be a book-seller's dependent, to drudge your brains for pots of ale and breasts of mutton, to change your free thoughts and voluntary numbers for ungracious TASK-WORK. Those fellows hate us. The reason I take to be, that, contrary to other trades, in which the Master gets all the credit (a Jeweller or Silversmith for instance), and the Journeyman, who really does the fine work, is in the background, in our work the world gives all the credit to Us, whom they consider as their Journeymen, and therefore do they hate us, and cheat us, and oppress us, and would wring the blood of us out, to put another sixpence in their mechanic pouches. I contend, that a Bookseller has a relative honesty towards Authors, not like his honesty to the rest of the world. B[aldwin], who first engag'd me as Elia, has not paid me up yet (nor any of us without repeated mortifying applials), yet how the Knave fawned while I was of service to him! Yet I dare say the fellow is punctual in settling his milk-score, &c. Keep to your Bank, and the Bank will keep you. Trust not to the Public, you may hang, starve, drown yourself, for anything that worthy Personage cares. I bless every star that Providence, not seeing good to make me independent, has seen it next good to settle me upon the stable foundation of Leadenhall. Sit down, good B.B., in the Banking Office; what, is there not from six to Eleven P.M. 6 days in the week, and is there not all Sunday? Fie, what a superfluity of man's time,—if you could think so! Enough for relaxation, mirth, converse, poetry, good thoughts, quiet thoughts. O the corroding torturing tormenting thoughts, that disturb the Brain of the unlucky wight, who must draw upon it for daily sustenance. Henceforth I retract all my fond complaints of mercantile employment, look upon them as Lovers' quarrels. I was but half in earnest. Welcome, dead timber of a desk, that makes me live. A little grumbling is a wholesome medicine for the spleen; but in my inner heart do I approve and embrace this our close but unharassing way of life. I am quite serious. If you can send me Fox, I will not keep it six weeks, and will return it, with warm thanks to yourself and friend, without blot or dog's ear. You much oblige me by this kindness.
Yours truly,
C. LAMB.
Please to direct to me at India Ho. in future. [? I am] not always at
Russell St.
[Barton had long been meditating the advisability of giving up his place in the bank at Woodbridge and depending upon his pen. Lamb's letter of dissuasion is not the only one which he received. Byron had written to him in 1812: "You deserve success; but we knew, before Addison wrote his Cato, that desert does not always command it. But suppose it attained—
'You know what ills the author's life assail—
Toil, envy, want, the patron, and the jail.'
Do not renounce writing, but never trust entirely to authorship. If you have a profession, retain it; it will be like Prior's fellowship, a last and sure resource." Barton had now broken again into dissatisfaction with his life. He did not, however, leave the bank.
Southey made no "fortune" by his pen. He almost always had to forestall his new works.]
LETTER 309
CHARLES LAMB TO JOHN HOWARD PAYNE
23 January, '23.
Dear Payne—I have no mornings (my day begins at 5 P.M.) to transact business in, or talents for it, so I employ Mary, who has seen Robertson, who says that the Piece which is to be Operafied was sent to you six weeks since by a Mr. Hunter, whose journey has been delayed, but he supposes you have it by this time. On receiving it back properly done, the rest of your dues will be forthcoming. You have received £30 from Harwood, I hope? Bishop was at the theatre when Mary called, and he has put your other piece into C. Kemble's hands (the piece you talk of offering Elliston) and C.K. sent down word that he had not yet had time to read it. So stand your affairs at present. Glossop has got the Murderer. Will you address him on the subject, or shall I—that is, Mary? She says you must write more showable letters about these matters, for, with all our trouble of crossing out this word, and giving a cleaner turn to th' other, and folding down at this part, and squeezing an obnoxious epithet into a corner, she can hardly communicate their contents without offence. What, man, put less gall in your ink, or write me a biting tragedy!
C. LAMB.
[Here should come a letter from Lamb to Ayrton asking him to meet the
Burneys and Paynes on Wednesday at half-past four.]
LETTER 310
CHARLES LAMB TO JOHN HOWARD PAYNE
February [9], 1823.
My dear Miss Lamb—I have enclosed for you Mr. Payne's piece called Grandpapa, which I regret to say is not thought to be of the nature that will suit this theatre; but as there appears to be much merit in it, Mr. Kemble strongly recommends that you should send it to the English Opera House, for which it seems to be excellently adapted. As you have already been kind enough to be our medium of communication with Mr. Payne, I have imposed this trouble upon you; but if you do not like to act for Mr. Payne in the business, and have no means of disposing of the piece, I will forward it to Paris or elsewhere as you think he may prefer.
Very truly yours,
HENRY ROBERTSON.
T.R.C.G., 8 Feb. 1823.
Dear P—— We have just received the above, and want your instructions. It strikes me as a very merry little piece, that should be played by very young actors. It strikes me that Miss Clara Fisher would play the boy exactly. She is just such a forward chit. No young man would do it without its appearing absurd, but in a girl's hands it would have just all the reality that a short dream of an act requires. Then for the sister, if Miss Stevenson that was, were Miss Stevenson and younger, they two would carry it off. I do not know who they have got in that young line, besides Miss C.F., at Drury, nor how you would like Elliston to have it—has he not had it? I am thick with Arnold, but I have always heard that the very slender profits of the English Opera House do not admit of his giving above a trifle, or next to none, for a piece of this kind. Write me what I should do, what you would ask, &c. The music (printed) is returned with the piece, and the French original. Tell Mr. Grattan I thank him for his book, which as far as I have read it is a very companionable one. I have but just received it. It came the same hour with your packet from Cov. Gar., i.e. yester-night late, to my summer residence, where, tell Kenney, the cow is quiet. Love to all at Versailles. Write quickly.
C.L.
I have no acquaintance with Kemble at all, having only met him once or twice; but any information, &c., I can get from R., who is a good fellow, you may command. I am sorry the rogues are so dilitory, but I distinctly believe they mean to fulfill their engagement. I am sorry you are not here to see to these things. I am a poor man of business, but command me to the short extent of my tether. My sister's kind remembrance ever.
C.L.
[The "Grandpapa" was eventually produced at Drury Lane, May 25, 1825, and played thrice. Miss Stevenson was an actress praised by Lamb in The Examiner (see Vol. I. of this edition). C.F. was Clara Fisher, mentioned above.
Samuel James Arnold was manager of the Lyceum, then known as the English
Opera House; he was the brother of Mrs. William Ayrton, Lamb's friend.
Mr. Grattan was Thomas Colley Grattan (1792-1864), who was then living in Paris. His book would be Highways and Byways, first series, 1823.
There is one other note to Payne in the Century Magazine, unimportant and undated, suggesting a walk one Sunday.]