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Samuel Rogers and his Contemporaries
Charles Lamb to Samuel Rogers, [21 December, 1833]
INTRODUCTION & INDEXES
DOCUMENT INFORMATION
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Preface
Vol. I Contents
Chapter I. 1803-1805.
Chapter II. 1805-1809.
Chapter III. 1810-1812.
Chapter IV. 1813-1814.
Chapter V. 1814-1815.
Chapter VI. 1815-1816.
Chapter VII. 1816-1818.
Chapter VIII. 1818-19.
Chapter IX. 1820-1821.
Chapter X. 1822-24.
Chapter XI. 1825-1827.
Vol. II Contents
Chapter I. 1828-1830.
Chapter II. 1831-34.
Chapter III. 1834-1837.
Chapter IV. 1838-41.
Chapter V. 1842-44.
Chapter VI. 1845-46.
Chapter VII. 1847-50.
Chapter VIII. 1850
Chapter IX. 1851.
Chapter X. 1852-55.
Index
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‘Saturday.

‘My dear Sir,—Your book, by the unremitting punctuality of your publisher, has reached me thus early. I have not opened it, nor will till to-morrow, when I promise myself a thorough reading of it. “The Pleasures of Memory” was the first school present I made to Mrs. Moxon, it had those nice wood-cuts; and

1 Talfourd’s Final Memorials of Charles Lamb, vol. ii., p. 107; and Canon Ainger’s Letters of Charles Lamb, vol. ii., p. 291.

LAMB ON EDITIONS OF SHAKESPEARE85
I believe she keeps it still. Believe me, that all the kindness you have shown to the husband of that excellent person seems done unto myself. I have tried my hand at a
sonnet in “The Times.” But the turn I gave it, though I hoped it would not displease you, I thought might not be equally agreeable to your artist. I met that dear old man at poor Henry’s—with you—and again at Cary’s—and it was sublime to see him sit deaf and enjoy all that was going on in mirth with the company. He reposed upon the many graceful, many fantastic images he had created; with them he dined and took wine.

‘I have ventured at an antagonist copy of verses in “The Athenæum” to him, in which he is as everything and you as nothing. He is no lawyer who cannot take two sides. But I am jealous of the combination of the sister arts. Let them sparkle apart. What injury (short of the theatres) did not Boydell’s “Shakespeare Gallery” do me with Shakespeare?—to have Opie’s Shakespeare, Northcote’s Shakespeare, light-headed Fuseli’s Shakespeare, heavy-headed Romney’s Shakespeare, woodenheaded West’s Shakespeare (though he did the best in “Lear”), deaf-headed Reynolds’s Shakespeare, instead of my, and everybody’s Shakespeare. To be tied down to an authentic face of Juliet! To have Imogen’s portrait! To confine the illimitable! I like you and Stothard (you best), but “out upon this half-faced fellowship.” Sir, when I have read the book I may trouble you, through Moxon, with some faint criticisms. It is not the flatteringest compliment in a letter to an author to say you have not read his book yet. But the devil of a reader
86 ROGERS AND HIS CONTEMPORARIES  
he must be who prances through it in five minutes, and no longer have I received the parcel. It was a little tantalizing to me to receive a letter from
Landor, Gebir Landor, from Florence, to say he was just sitting down to read my “Elia,” just received, but the letter was to go out before the reading. There are calamities in authorship which only authors know. I am going to call on Moxon on Monday, if the throng of carriages in Dover Street on the morn of publication do not barricade me out.

‘With many thanks, and most respectful remembrances to your sister,

‘Yours,
C. Lamb.

‘Have you seen Coleridge’s happy exemplification in English of the Ovidian elegiac metre?—

‘In the Hexameter rises the fountain’s silvery current,
In the Pentameter aye falling in melody down.

‘My sister is papering up the book—careful soul!’