E. V. Lucas: Letters of Charles Lamb

“Hazlitt’s ‘Napoleon.’” Of this work the first two volumes appeared in 1828, and the next two in 1830.

[Emma’s valentine probably came from Moxon, who, I feel sure, in spite of Lamb’s utterance in Letter 400, had not yet told his love, if it had really budded.

[“The Companion.” Leigh Hunt’s paper lasted only for seven months. Madame Pasta, of whom too much was written, was Giudetta Pasta (1798-1865), a singer of unusual compass for whom Bellini wrote “La Somnambula.”

“Novello . . . dedications ... I read the Atlas.” In The Atlas for February 17 was reviewed Select Airs from Spohr’s celebrated Opera of Faust, arranged as duetts for the Pianoforte and inscribed to his friend, Charles Cowden Clarke by Vincent Novello. Holmes was musical critic for The Atlas.

“Murray’s demur”—an unfavourable reply, possibly to a suggestion of Barton’s concerning a new volume.]

[The last letter to Wilson will be found on page 600. Lamb wrote to Hone a few days later: “Valter Vilson dines with us tomorrow. Vell! How I should like to see Hone!”]

[This is the first letter to Talfourd, Lamb’s future biographer. He was then living at 26 Henrietta Street, Brunswick Square. He had married in 1822. Crabb Robinson’s Diary for May 21 tells us that Talfourd’s party consisted of the Lambs, Wordsworth, Miss Anne Rutt, three barristers and himself. Lamb was in excellent spirits. He slept at Robinson’s that night.]

[Robinson dates this letter 1810, but this is clearly wrong. It was obviously written after Lamb’s liberation from the India House. If, as I suppose, the old crony is Walter Wilson, we get the date from Lamb’s letters to him and to Hone, mentioned above.

[Mr. Hazlitt dates this letter April, 1828. The reference to the Widow, towards the end, shows that Hood was preparing The Gem, and, what is not generally known, that Lamb had been asked to write on that subject. As it happened, Hood wrote the essay for him and signed it Elia (see note on page 785). Mrs. Paris we have met (see note on page 547). Harriet, Emma Isola’s sister, we do not hear of again. I was recently shown a copy of Lamb’s Works, 1818, inscribed in his hand to Miss Isola: this would be Harriet Isola. Emma had just begun her duties at Fornham, in Suffolk, where she taught the children of a Mr. Williams, a clergyman. I cannot say what the Picture was. The sonnet was probably that printed in the note on page 740. Charles Lamb’s and Emma’s joint letter has not been preserved.]

[Haydon’s “Chairing the Member” was exhibited in Bond Street this year, together with “Christ’s Entry into Jerusalem,” and other of his works. “The former picture” was his “Mock Election,” which the King had bought for 500 guineas. For “Chairing the Member” Haydon received only half that price.

Hood’s entertainment for Mathews and Frederick Yates, then joint-managers of the Adelphi, I have not identified. Authors’ names on play-bills were, in those days, unimportant. The play was the thing.

[Clarke had married Mary Victoria Novello on July 5, 1828, and they had spent their honeymoon at the Greyhound, Enfield, unknown to the Lambs. See the next letter.

[Enfield, November 6, 1828.]

MY dear Novello,—I am afraid I shall appear rather tardy in offering my congratulations, however sincere, upon your daughter’s marriage. The truth is, I had put together a little Serenata upon the occasion, but was prevented from sending it by my sister, to whose judgment I am apt to defer too much in these kind of things; so that, now I have her consent, the offering, I am afraid, will have lost the grace of seasonableness. Such as it is, I send it. She thinks it a little too old-fashioned in the manner, too much like what they wrote a century back. But I cannot write in the modern style, if I try ever so hard. I have attended to the proper divisions for the music, and you will have
1828 THE SERENATA 783
little difficulty in composing it. If I may advise, make Pepusch your model, or Blow. It will be necessary to have a good second voice, as the stress of the melody lies there:—

SERENATA, FOR TWO VOICES,
On the Marriage of Charles Cowden Clarke, Esqre., to Victoria, eldest daughter of Vincent Novello, Esqre.

Duetto

Wake th’ harmonious voice and string,

Love and Hymen’s triumph sing,

Sounds with secret charms combining,

In melodious union joining,

Best the wondrous joys can tell,

That in hearts united dwell.

Recitative

First Voice.—To young Victoria’s happy fame

Well may the Arts a trophy raise,

Music grows sweeter in her praise,

And, own’d by her, with rapture speaks her name.

To touch the brave Cowdenio’s heart,

The Graces all in her conspire;

Love arms her with his surest dart,

Apollo with his lyre.

Air

The list’ning Muses all around her

Think ’tis Phœbus’ strain they hear;

And Cupid, drawing near to wound her,

Drops his bow, and stands to hear.

Recitative

Second Voice. While crowds of rivals with despair

Silent admire, or vainly court the Fair,

Behold the happy conquest of her eyes,

A Hero is the glorious prize!

In courts, in camps, thro’ distant realms renown’d,

Cowdenio comes!—Victoria, see,

He comes with British honour crown’d,

Love leads his eager steps to thee.

Air

In tender sighs he silence breaks,

The Fair his flame approves,

Consenting blushes warm her cheeks,

She smiles, she yields, she loves.

Recitative

First Voice.—Now Hymen at the altar stands,

And while he joins their faithful hands,

Behold! by ardent vows brought down,

Immortal Concord, heavenly bright,

Array’d in robes of purest light,

Descends, th’ auspicious rites to crown.

784

LETTERS OF C. AND M. LAMB

Nov.

Her golden harp the goddess brings;

Its magic sound

Commands a sudden silence all around,

And strains prophetic thus attune the strings.

Duetto

First Voice.—The Swain his Nymph possessing,

Second Voice.—The Nymph her swain caressing,

First and Second—Shall still improve the blessing,

For ever kind and true.

Both.—While rolling years are flying,

Love, Hymen’s lamp supplying,

With fuel never dying,

Shall still the flame renew.

To so great a master as yourself I have no need to suggest that the peculiar tone of the composition demands sprightliness, occasionally checked by tenderness, as in the second air,—
She smiles,—she yields,—she loves.

Again, you need not be told that each fifth line of the two first recitatives requires a crescendo.

And your exquisite taste will prevent your falling into the error of Purcell, who at a passage similar to that in my first air,
Drops his bow, and stands to hear,
directed the first violin thus:—
Here the first violin must drop his bow.

But, besides the absurdity of disarming his principal performer of so necessary an adjunct to his instrument, in such an emphatic part of the composition too, which must have had a droll effect at the time, all such minutiae of adaptation are at this time of day very properly exploded, and Jackson of Exeter very fairly ranks them under the head of puns.

Should you succeed in the setting of it, we propose having it performed (we have one very tolerable second voice here, and Mr. Holmes, I dare say, would supply the minor parts) at the Greyhound. But it must be a secret to the young couple till we can get the band in readiness.

Believe me, dear Novello,
Yours truly,

C. Lamb.

Enfield, 6 Nov., ‘28.

Note

[Mrs. Cowden Clarke remarks in her notes on this letter that the references to Purcell and to Jackson of Exeter are inventions. For Mr. Holmes see note on page 661.

1828

HOOD’S JOKE

785

Here should come a letter from Lamb to Laman Blanchard, dated Enfield, November 9, 1828, not available for this edition, thanking him for a book and dedication. Samuel Laman Blanchard (1804-1845), afterwards known as a journalist, had just published, through Harrison Ainsworth, a little volume entitled Lyric Offerings, which was dedicated to Lamb. After Lamb’s death Blanchard contributed to the New Monthly Magazine some additional Popular Fallacies.]

LETTER 443

CHARLES LAMB TO THOMAS HOOD

Late autumn, 1828.
Enfield.

DEAR Lamb—You are an impudent varlet; but I will keep your secret. We dine at Ayrton’s on Thursday, and shall try to find Sarah and her two spare beds for that night only. Miss M. and her tragedy may be dished: so may not you and your rib. Health attend you.

Yours,

T. Hood, Esq.

Miss Bridget Hood sends love.

Note

[In The Gem, 1829, in addition to his poem, “On an Infant Dying as Soon as Born,” Lamb was credited with the following piece of prose, entitled “A Widow,” which was really the work of Hood (see Letter 438):—

A WIDOW

Hath always been a mark for mockery:—a standing butt for wit to level at. Jest after jest hath been huddled upon her close cap, and stuck, like burrs, upon her weeds. Her sables are a perpetual “Black Joke.”

Satirists—prose and verse—have made merry with her bereavements. She is a stock character on the stage. Farce bottleth up her crocodile tears, or labelleth her empty lachrymatories. Comedy mocketh her precocious flirtations—Tragedy even girdeth at her frailty, and twitteth her with “the funeral baked meats coldly furnishing forth the marriage tables.”

I confess when I called the other day on my kinswoman G.—then in the second week of her widowhood—and saw her sitting, her young boy by her side, in her recent sables, I felt unable to reconcile her estate with any risible associations. The Lady with a skeleton moiety—in the old print, in Bowles’ old shop window—seemed but a type of her condition. Her husband,—a whole hemisphere in love’s world—was deficient. One complete side—her left—was death-stricken. It was a matrimonial paralysis, unprovocative of laughter. I could as soon have tittered at one of those melancholy objects that drag their poor dead-alive bodies about the streets.

It seems difficult to account for the popular prejudice against lone women. There is a majority, I trust, of such honest, decorous mourners as my kinswoman:
786 LETTERS OF C. AND M. LAMB Dec.
yet are Widows, like the Hebrew, a proverb and a byeword amongst nations. From the first putting on of the sooty garments, they become a stock joke—chimneysweep or blackamoor is not surer—by mere virtue of their nigritude.

Are the wanton amatory glances of a few pairs of graceless eyes, twinkling through their cunning waters, to reflect so evil a light on a whole community? Verily the sad benighted orbs of that noble relict—the Lady Rachel Russell—blinded through unserene drops for her dead Lord,—might atone for such oglings!

Are the traditional freaks of a Dame of Ephesus, or a Wife of Bath, or a Queen of Denmark, to cast so broad a shadow over a whole sisterhood. There must be, methinks, some more general infirmity—common, probably, to all Eve-kind—to justify so sweeping a stigma.

Does the satiric spirit, perhaps, institute splenetic comparisons between the lofty poetical pretensions of posthumous tenderness and their fulfilment? The sentiments of Love especially affect a high heroical pitch, of which the human performance can present, at best, but a burlesque parody. A widow, that hath lived only for her husband, should die with him. She is flesh of his flesh, and bone of his bone; and it is not seemly for a mere rib to be his survivor. The prose of her practice accords not with the poetry of her professions. She hath done with the world,—and you meet her in Regent Street. Earth hath now nothing left for her—but she swears and administers. She cannot survive him—and invests in the Long Annuities.

The romantic fancy resents, and the satiric spirit records, these discrepancies. By the conjugal theory itself there ought to be no Widows; and, accordingly, a class, that by our milder manners is merely ridiculed, on the ruder banks of the Ganges is literally roasted. C. Lamb.

“Miss M. and her tragedy.” I fancy Miss M. would be Miss Mitford, and her tragedy “Rienzi,” produced at Drury Lane October 9, 1828. It was a success. Hood’s rib would probably be the play I have not identified. See Letter 440.

Here, a little out of its order, might come a letter from Lamb to Hood, December 17, 1828, which is facsimiled in a privately-printed American bibliography of Lamb, the owner of which declines to let me include it with the correspondence. In it Lamb expresses regret, not so much that Hood had signed “The Widow” with Lamb’s name, but that an unfortunately ambiguous jest, pointed out to him by certain friends, had crept into it. He asks that the subject may never be referred to again.]

LETTER 444

CHARLES LAMB TO EDWARD MOXON

[No date. Dec., 1828.]

DEAR M.,—As I see no blood-marks on the Green Lanes Road, I conclude you got in safe skins home. Have you thought of inquiring Miss Wilson’s change of abode? Of the 2 copies of my drama I want one sent to Wordsworth, together with a complete copy of Hone’s “Table Book,” for which I shall be your debtor till we meet. Perhaps Longman will take charge of this parcel.
1828 “A WIFE’S TRIAL” 787
The other is for Coleridge at Mr. Gilman’s, Grove, Highgate, which may be sent, or, if you have a curiosity to see him you will make an errand with it to him, & tell him we mean very soon to come & see him, if the Gilmans can give or get us a bed. I am ashamed to be so troublesome. Pray let Hood see the “Ecclectic Review”—a rogue! The 2d parts of the Blackwood you may make waste paper of.

Yours truly,

C. L.

Note

[I do not identify Miss Wilson. Lamb’s drama was “A Wife’s Trial” in Blackwood for December, 1828. The same number of the Eclectic Review referred to Hood’s parody of Lamb, “The Widow,” as profaning Leslie’s picture of the widow by its “heartless ribaldry.” By the 2d parts of Blackwood Lamb referred, I imagine, to the pages on which his play was not printed.]

LETTER 445

CHARLES LAMB TO BERNARD BARTON

[p.m. December 5, 1828.]

DEAR B. B.—I am ashamed to receive so many nice Books from you, and to have none to send you in return; You are always sending me some fruits or wholesome potherbs, and mine is the garden of the Sluggard, nothing but weeds or scarce they. Nevertheless if I knew how to transmit it, I would send you Blackwood’s of this month, which contains a little Drama, to have your opinion of it, and how far I have improved, or otherwise, upon its prototype. Thank you for your kind Sonnet. It does me good to see the Dedication to a Christian Bishop. I am for a Comprehension, as Divines call it, but so as that the Church shall go a good deal more than halfway over to the Silent Meeting house. I have ever said that the Quakers are the only Professors of Christianity as I read it in the Evangiles; I say Professors—marry, as to practice, with their gaudy hot types and poetical vanities, they are much at one with the sinful. Martin’s frontispiece is a very fine thing, let C. L. say what he please to the contrary. Of the Poems, I like them as a volume better than any one of the preceding; particularly, Power and Gentleness; The Present; Lady Russell—with the exception that I do not like the noble act of Curtius, true or false, one of the grand foundations of old Roman patriotism, to be sacrificed to Lady R.’s taking notes on her husband’s trial.
788 LETTERS OF C. AND M. LAMB Dec.
If a thing is good, why invidiously bring it into light with something better? There are too few heroic things in this world to admit of our marshalling them in anxious etiquettes of precedence. Would you make a poem on the Story of Ruth (pretty Story!) and then say, Aye, but how much better is the story of Joseph and his Brethren! To go on, the Stanzas to “Chalon” want the name of Clarkson in the body of them; it is left to inference. The Battle of Gibeon is spirited again—but you sacrifice it in last stanza to the Song at Bethlehem. Is it quite orthodox to do so. The first was good, you suppose, for that dispensation. Why set the word against the word? It puzzles a weak Christian. So Watts’s Psalms are an implied censure on David’s. But as long as the Bible is supposed to be an equally divine Emanation with the Testament, so long it will stagger weaklings to have them set in opposition. Godiva is delicately touch’d. I have always thought it a beautiful story characteristic of old English times. But I could not help amusing myself with the thought—if Martin had chosen this subject for a frontispiece, there would have been in some dark corner a white Lady, white as the Walker on the waves—riding upon some mystical quadruped—and high above would have risen “tower above tower a massy structure high” the Tenterden steeples of Coventry, till the poor Cross would scarce have known itself among the clouds, and far above them all, the distant Clint hills peering over chimney pots, piled up, Ossa-on-Olympus fashion, till the admiring Spectator (admirer of a noble deed) might have gone look for the Lady, as you must hunt for the other in the Lobster. But M. should be made Royal Architect. What palaces he would pile—but then what parliamentary grants to make them good! ne’ertheless I like the frontispiece. The Elephant is pleasant; and I am glad you are getting into a wider scope of subjects. There may be too much, not religion, but too many good words into a book, till it becomes, as Sh. says of religion, a rhapsody of words. I will just name that you have brought in the Song to the Shepherds in four or five if not six places. Now this is not good economy. The Enoch is fine; and here I can sacrifice Elijah to it, because ’tis illustrative only, and not disparaging of the latter prophet’s departure. I like this best in the Book. Lastly, I much like the Heron, ’tis exquisite: know you Lord Thurlow’s Sonnet to a Bird of that sort on Lacken water? If not, ’tis indispensable I send it you, with my Blackwood, if you tell me how best to send them. Fludyer is pleasant. You are getting gay and Hood-ish. What is the Enigma? money—if not, I fairly confess I am foiled—and sphynx must [here are words crossed through] 4 times I’ve tried to write eat—eat me—and the blotting pen turns it into cat me. And now I will take my leave with saying I esteem thy verses, like thy present, honour thy frontis-
1828 A SONNET TO LAMB 789
picer, and right-reverence thy Patron and Dedicatee, and am, dear B. B.

Yours heartily,

C. L.

Our joint kindest Loves to A. K. and your Daughter.

Note

[Barton’s new book was A New Year’s Eve and other Poems, 1828, dedicated to Charles Richard Sumner, Bishop of Winchester. This volume contains Barton’s “Fireside Quatrains to Charles Lamb” (quoted in Vol. V., page 308) and also the following “Sonnet to a Nameless Friend,” whom I take to be Lamb:—

SONNET TO A NAMELESS FRIEND

In each successive tome that bears my name

Hast thou, though veiled thy own from public eyes,

Won from my muse that willing sacrifice

Which worth and talents such as thine should claim:

And I should close my minstrel task with shame,

Could I forget the indissoluble ties

Which every grateful thought of thee supplies

To one who deems thy friendship more than fame.

Accept then, thus imperfectly, once more,

The homage of thy poet and thy friend;

And should thy partial praise my lays commend,

Versed as thou art in all the gentle lore

Of English poesy’s exhaustless store,

Whom I most love they never can offend.

Martin’s frontispiece represented Christ walking on the water. Lamb recalls his remarks on page 731 about this painter, who though he never became Royal Architect was the originator of the present Thames Embankment. Macaulay, in his essay on Southey’s edition of the Pilgrim’s Progress, in the Edinburgh for December, 1831, makes some very similar remarks about Martin and the way in which he would probably paint Lear.

In the poem “Lady Rachel Russell; or, A Roman Hero and an English Heroine Compared,” Barton compared the act of Curtius, who leaped into the gulf in the Forum, with Lady Russell standing beside her lord.

Chalon was the painter of a portrait of Thomas Clarkson.

The “Battle of Gibeon” is a poem inspired by Martin’s picture of Joshua (see page 731); the last stanza runs thus:—
Made known by marvels awfully sublime!
Yet far more glorious in the Christian’s sight
Than these stern terrors of the olden time,
The gentler splendours of that peaceful night,
790 LETTERS OF C. AND M. LAMB Dec.
When opening clouds displayed, in vision bright,
The heavenly host to Bethlehem’s shepherd train,
Shedding around them more than cloudless light!
“Glory to God on high!” their opening strain,
Its chorus, “Peace on Earth!” its theme Messiah’s reign!

“Tower above tower . . .” I have not found this.

“In the Lobster.” Referring to that part of a lobster which is called Eve.

“The Elephant.” Some mildly humorous verses “To an Elephant.”

“As Sh. says of religion”—Shakespeare, I assume, in “Hamlet,” III., 4, 47, 48:—
And sweet Religion makes
A rhapsody of words.

I quote in the Appendix, page 957, the poem which Lamb liked best.

Barton had written a poem called “Syr Heron.” This is Lord Thurlow’s sonnet, of which Lamb was very fond. He quoted it in a note to his Elia essay on the sonnets of Sidney in the London Magazine, and copied it into his album:—

TO A BIRD, THAT HAUNTED THE WATERS OF LACKEN, IN THE WINTER

O melancholy Bird, a winter’s day,

Thou standest by the margin of the pool,

And, taught by God, dost thy whole being school

To Patience, which all evil can allay.

God has appointed thee the fish thy prey;

And giv’n thyself a lesson to the fool

Unthrifty, to submit to moral rule,

And his unthinking course by thee to weigh.

There need not schools, nor the professor’s chair,

Though these be good, true wisdom to impart:

He, who has not enough, for these, to spare,

Of time, or gold, may yet amend his heart,

And teach his soul, by brooks, and rivers fair:

Nature is always wise in every part.

“Fludyer” was a poem to Sir Charles Fludyer on the devastation effected on his marine villa at Felixstowe by the encroachments of the sea. The answer to the enigma, Mrs. FitzGerald (Lucy Barton) told Canon Ainger, was not money but an auctioneer’s hammer.

Here should come a letter from Lamb to Louisa Holcroft, dated December 5, 1828, not available for this edition. Louisa Holcroft was a daughter of Thomas Holcroft, Lamb’s friend, whose widow married Kenney. A good letter with some excellent nonsense about measles in it.]

CHARLES LAMB TO CHARLES COWDEN CLARKE

[December, 1828.]

MY dear three C.’s—The way from Southgate to Colney Hatch thro’ the unfrequentedest Blackberry paths that ever concealed their coy bunches from a truant Citizen, we have accidentally fallen upon—the giant Tree by Cheshunt we have missed, but keep your chart to go by, unless you will be our conduct—at present I am disabled from further flights than just to skirt round Clay Hill, with a peep at the fine back woods, by strained tendons, got by skipping a skipping-rope at 53—heu mihi non sum qualis. But do you know, now you come to talk of walks, a ramble of four hours or so—there and back—to the willow and lavender plantations at the south corner of Northaw Church by a well dedicated to Saint Claridge, with the clumps of finest moss rising hillock fashion, which I counted to the number of two hundred and sixty, and are called “Claridge’s covers”—the tradition being that that saint entertained so many angels or hermits there, upon occasion of blessing the waters? The legends have set down the fruits spread upon that occasion, and in the Black Book of St. Albans some are named which are not supposed to have been introduced into this island till a century later. But waiving the miracle, a sweeter spot is not in ten counties round; you are knee deep in clover, that is to say, if you are not above a middling man’s height; from this paradise, making a day of it, you go to see the ruins of an old convent at March Hall, where some of the painted glass is yet whole and fresh.

If you do not know this, you do not know the capabilities of this country, you may be said to be a stranger to Enfield. I found it out one morning in October, and so delighted was I that I did not get home before dark, well a-paid.

I shall long to show you the clump meadows, as they are called; we might do that, without reaching March Hall. When the days are longer, we might take both, and come home by Forest Cross, so skirt over Pennington and the cheerful little village of Churchley to Forty Hill.

But these are dreams till summer; meanwhile we should be most glad to see you for a lesser excursion—say, Sunday next, you and another, or if more, best on a weekday with a notice, but o’ Sundays, as far as a leg of mutton goes, most welcome. We can squeeze out a bed. Edmonton coaches run every hour, and my pen has run out its quarter. Heartily farewell.

792

LETTERS OF C. AND M. LAMB

1828

Note

[Much of the “Lamb country” touched upon in this letter is now built on. On the opposite page I give a map, kindly drawn for me by Miss M. C. G. Jackson, of Lamb’s favourite walking region

“The giant Tree by Cheshunt” is Goff’s Oak.

“Heu mihi non sum qualis”—“Woe is me! I am not what I was.”

“The Black Book of St. Albans.” The Black Books exposed abuses in the church. “Well a-paid.” See Shakespeare’s “Lucrece,” line 914.]

LETTER 447

CHARLES LAMB TO T. N. TALFOURD

[No date. End of 1828.]

DEAR Talfourd,—You could hot have told me of a more friendly thing than you have been doing. I am proud of my namesake. I shall take care never to do any dirty action, pick pockets, or anyhow get myself hanged, for fear of reflecting ignominy upon your young Chrisom. I have now a motive to be good. I shall not omnis moriar;—my name borne down the black gulf of oblivion.

I shall survive in eleven letters, five more than Cæsar. Possibly I shall come to be knighted, or more! Sir C. L. Talfourd, Bart.!

Yet hath it an authorish twang with it, which will wear out my name for poetry. Give him a smile from me till I see him. If you do not drop down before, some day in the week after next I will come and take one night’s lodging with you, if convenient, before you go hence. You shall name it. We are in town to-morrow speciali gratia, but by no arrangement can get up near you.

Believe us both, with greatest regards, yours and Mrs. Talfourd’s.

Charles Lamb-Philo-Talfourd.

I come as near it as I can.

Note

[This may be incorrectly dated, but I place it here because in that to Hood of December 17, summarised above, Lamb speaks of his godson at Brighton.

Talfourd (who himself dates this letter 1829) had named his latest child Charles Lamb Talfourd. The boy lived only until 1835. I quote in the Appendix the verses which Talfourd wrote on his death (see page 958). Another of Lamb’s name children,
1828 “A SICK CAT” 793
Charles Lamb Kenney, grew to man’s estate and became a ready writer.

“I shall not omnis moriar” (see Horace, Odes, III., xxx., 6)—“I shall not wholly die.”]

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Alfred Ainger (1837-1904) Educated at Trinity College, Cambridge, he was reader at the Temple (1865-93) and a contributor to Macmillan's Magazine; he wrote a biography of Charles Lamb and edited his essays (1883) poems (1884) and letters (1888).

William Harrison Ainsworth (1805-1882) Historical novelist who published in the New Monthly Magazine and London Magazine.

Ann Allsop [née Dean] (d. 1877 c.) The wife of Thomas Allsop, biographer of Coleridge, whom she married in 1824; she was a society hostess, not the actress Fanny Alsop, daughter of Dorothy Jordan.

Thomas Allsop (1795-1880) English silk merchant and stockbroker who was the friend and biographer of Coleridge (1836) and a member of Charles Lamb's circle.

William Ayrton (1777-1858) A founding member of the Philharmonic Society and manager of the Italian opera at the King's Theatre; he wrote for the Morning Chronicle and the Examiner.

Louisa Badams [née Holcroft] (1806-1855 fl.) The daughter of Thomas Holcroft and his fourth wife, Louisa Mercier; in 1828 she married John Badams (d. 1833) a Birmingham chemist, and afterwards a Baron de Merger. Her birth date is also given as 24 June 1801.

Bernard Barton (1784-1849) Prolific Quaker poet whose verse appeared in many of the literary annuals; he was an acquaintance of Charles Lamb.

Lucy Barton (1808 c.-1898) The daughter of the Quaker poet Bernard Barton; she married the poet Edward Fitzgerald in 1856, but they soon separated. She published religious works.

Vincenzo Bellini (1801-1835) Italian opera composer of the bel canto school.

William Blake (1757-1827) English poet, engraver, painter, and prophet; his first illuminated book, Songs of Innocence, was published in 1789.

Samuel Laman Blanchard (1803-1845) Essayist, poet, journalist, and editor of the Monthly Magazine; he died a suicide. Leigh Hunt and Charles Dickens were among his many literary friends.

John Blow (1648 c.-1708) English composer who was master of the choristers at St. Paul's Cathedral (1687-93) and composer to the Chapel Royal (1699).

John Bunyan (1628-1688) Dissenting preacher and autobiographer; he published Grace Abounding to the Chief of Sinners (1666) and Pilgrim's Progress (1678).

George Gordon Byron, sixth Baron Byron (1788-1824) The author of Childe Harold and Don Juan.

Gaius Julius Caesar (100 BC-44 BC) Roman statesman, general, and author of the Gallic Wars.

Henry Francis Cary (1772-1844) English poet; he was assistant-keeper of printed books at the British Museum (1826) and translator of Dante (1805-19).

Alfred Edward Chalon (1780-1860) Portrait painter born in Switzerland and educated at the Royal Academy Schools; he was appointed painter in watercolour to Queen Victoria.

Charles Cowden Clarke (1787-1877) The schoolmate and friend of John Keats; he lectured on Shakespeare and European literature and published Recollections of Writers (1878).

John Clarke (1757-1820) Master of the dissenting academy at Enfield where Keats was a pupil; he was the father of Charles Cowden Clarke (1787-1877).

Mary Victoria Cowden Clarke [née Novello] (1809-1898) The daughter of the musician Vincent Novello, she married Charles Cowden Clarke in 1828 and wrote works on Shakespeare, including The Complete Concordance to Shakespeare (1845).

Thomas Clarkson (1760-1846) English abolitionist educated at St Paul's School and St John's, Cambridge; he was an associate of William Wilberforce.

Samuel Taylor Coleridge (1772-1834) English poet and philosopher who projected Lyrical Ballads (1798) with William Wordsworth; author of Biographia Literaria (1817), On the Constitution of the Church and State (1829) and other works.

George Cruikshank (1792-1878) English caricaturist who illustrated the satirical periodical The Scourge (1811-16) and later Dickens's Sketches by Boz (1836).

George Darley [John Lacy] (1795-1846) Irish writer educated at Trinity College, Dublin; he wrote for the London Magazine and Athenaeum and published poems, plays, and textbooks on mathematics and astronomy.

Daniel Defoe (1660-1731) English novelist and miscellaneous writer; author of Robinson Crusoe (1719), Moll Flanders (1722) and Roxanna (1724).

Thomas Dekker (1572 c.-1632) English playwright and satirist; he is the author of The Shoemaker's Holiday (1600) and The Gul's Hornebooke (1609).

Sir Samuel Brudenell Fludyer, second baronet (1759-1833) Of Felixstowe, Suffolk; the son of Sir Samuel Fludyer (d. 1768) he was MP for Aldborough (1781-1784).

James Gillman (1782-1839) The Highgate surgeon with whom Coleridge lived from 1816 until his death in 1834; in 1838 he published an incomplete Life of Samuel Taylor Coleridge.

William Harvey (1796-1866) English wood-engraver who trained with Thomas Bewick; his illustrations to the Thousand and one Nights were popular.

Benjamin Robert Haydon (1786-1846) English historical painter and diarist who recorded anecdotes of romantic writers and the physiognomy of several in his paintings.

Mary Hazlitt [née Pierce] (1832 fl.) In 1789 she married the painter John Hazlitt, brother of the essayist William Hazlitt.

William Hazlitt (1778-1830) English essayist and literary critic; author of Characters of Shakespeare's Plays (1817), Lectures on the English Poets (1818), and The Spirit of the Age (1825).

William Carew Hazlitt (1834-1913) The son of William Hazlitt (1811–1893) and grandson of the critic; after education at Merchant Taylors' School he worked as a journalist, historian, and bibliographer.

Charles Theodosius Heath (1785-1848) English illustrator and engraver whose work was published in The Keepsake and other literary annuals.

James Heath (1757-1834) English engraver who got his start illustrating John Bell's Poets of Great Britain (1777-83); he was the father of Charles Heath.

Felicia Dorothea Hemans [née Browne] (1793-1835) English poet; author of Tales, and Historic Scenes (1819), Records of Woman (1828), and other volumes. She was much in demand as a contributor to the literary annuals.

Josiah Henshall (1801 c.-1869) English engraver, painter and copperplate printer.

William Hogarth (1697-1764) English satirical painter whose works include The Harlot's Progress, The Rake's Progress, and Marriage à la Mode.

Thomas Holcroft (1745-1809) English playwright and novelist; a friend of William Godwin indicted for treason in 1794; author of The Road to Ruin (1792). His Memoirs (1816) were completed by William Hazlitt.

Edward Holmes (1797-1859) English music-critic and organist; he befriended John Keats and Charles Cowden Clarke at the school at Enfield and was a member of Leigh Hunt's circle in London. He was music critic for The Atlas.

William Hone (1780-1842) English bookseller, radical, and antiquary; he was an associate of Bentham, Mill, and John Cam Hobhouse.

Thomas Hood (1799-1845) English poet and humorist who wrote for the London Magazine; he published Whims and Oddities (1826) and Hood's Magazine (1844-5).

Horace (65 BC-8 BC) Roman lyric poet; author of Odes, Epistles, Satires, and the Ars Poetica.

Miss Humphreys (1830 fl.) The sister of the Mary Humphreys who married Charles Isola; the aunt of Emma (Isola) Moxon, she lived in Cambridge with Elizabeth Paris, the sister of William Ayrton.

James Henry Leigh Hunt (1784-1859) English poet, journalist, and man of letters; editor of The Examiner and The Liberal; friend of Byron, Keats, and Shelley.

Thomas Hurst (1770 c.-1842) Originally a bookseller in Leeds, he began working in London late in the eighteenth century; in 1804 he partnered with the firm of T. N. Longman. He died in the Charterhouse.

Edward Irving (1792-1834) Popular Presbyterian preacher in London; he was a friend of Coleridge and author of The Oracles of God and the Judgement to Come (1823).

Harriet Isola (1810-1861 fl.) The daughter of Charles Isola and sister of Emma Isola Moxon.

William Jackson of Exeter (1730-1803) Composer, essayist, and organist of Exeter Cathedral; he was a leading figure among the West-country literati.

King James VI and I (1566-1625) King of Scotland (1567-1625) and England (1603-1625).

Robert Jameson (1774-1854) Professor of Natural History at Edinburgh University and author of System of Mineralogy, 3 vols (1804-08).

Robert Sympson Jameson (1796-1854) A childhood friend of Derwent Coleridge, he was educated at the Middle Temple and pursued a career as a jurist in Canada; in 1825 he was unhappily married to the writer Anna Brownell Jameson.

Charles Lamb Kenney (1821-1881) The son of the playwright James Kenney and his wife, Louisa, née Mercier; educated at Merchant Taylors' School, he worked as a journalist for the Times, a translator, and adapter of plays.

James Kenney (1780-1849) Irish playwright, author of The World (1808); he was a friend of Lamb, Hunt, Moore, and Rogers.

Anne Knight [née Waspe] (1792-1860) Quaker writer for children, the daughter of Jonathan Waspe; in 1818 she married James Knight. She was a Woodbridge friend and of Bernard Barton, not the Quaker abolitionist of the same name (1786-1862).

Charles Lamb [Elia] (1775-1834) English essayist and boyhood friend of Coleridge at Christ's Hospital; author of Essays of Elia published in the London Magazine (collected 1823, 1833) and other works.

Mary Anne Lamb (1764-1847) Sister of Charles Lamb with whom she wrote Tales from Shakespeare (1807). She lived with her brother, having killed their mother in a temporary fit of insanity.

Charles Robert Leslie (1794-1859) American-born genre-painter who came to England in 1811 and studied with fellow-Americans Benjamin West and Washington Allston; he published Memoirs of the Life of John Constable (1843).

Thomas Norton Longman (1771-1842) A leading London publisher whose authors included Southey, Wordsworth, Scott, and Moore.

Thomas Babington Macaulay, baron Macaulay (1800-1859) English poet, critic, and historian, author of The History of England from the Accession of James the Second, 5 vols (1849-61).

William Macdonald (d. 1916) Scottish literary editor who produced a twelve-volume edition of the works of Charles Lamb in 1803.

John Major (1782-1849) English bookseller, poet, and publisher of reprints of standard works. He contributed verse to John Bull.

John Martin (1789-1854) English landscape and historical painter who illustrated Paradise Lost in mezzotint (1825-27).

Charles Mathews (1776-1835) Comic actor at the Haymarket and Covent Garden theaters; from 1818 he gave a series of performances under the title of Mr. Mathews at Home.

John Mitford (1781-1859) Educated at Oriel College, Oxford, he was rector of Benhall in Suffolk, a friend of Charles Lamb and Samuel Rogers. He was a book collector and editor of the Gentleman's Magazine (1834-50).

Mary Russell Mitford (1787-1855) English poet, playwright, and essayist; author of Our Village: Sketches of Rural Character and Scenery (1824, etc.).

Edward Moxon (1801-1858) Poet and bookseller; after employment at Longman and Company he set up in 1830 with financial assistance from Samuel Rogers and became the leading publisher of literary poetry.

Emma Lamb Moxon [née Isola] (1809-1891) The orphaned daughter of Charles Isola adopted by Charles and Mary Lamb; after working as a governess she married Edward Moxon in 1833.

John Murray II (1778-1843) The second John Murray began the Quarterly Review in 1809 and published works by Scott, Byron, Austen, Crabbe, and other literary notables.

Mary Sabilla Novello [née Hehl] (1789-1854) English author who married Vincent Novello in 1808 and had a family of eleven children, among them Mary Cowden Clarke.

Vincent Novello (1781-1861) English music publisher and friend of Charles Lamb, Leigh Hunt, and Percy Bysshe Shelley.

Elizabeth Paris [née Ayrton] (1762 c.-1847) The eldest daughter of the composer Edmund Ayrton; she married Thomas Paris and was the mother of the physician John Ayrton Paris.

Giuditta Pasta (1797-1865) Italian soprano who made her London debut in 1817.

Peter George Patmore [Tims] (1786-1855) English writer and friend of Charles Lamb and Leigh Hunt; an early contributor to Blackwood's, he was John Scott's second in the fatal duel, editor of the Court Journal, and father of the poet Coventry Patmore.

John Christopher Pepusch (1667-1752) English composer born in Germany remembered for his score for Gay's Beggar's Opera.

William Pickering (1796-1854) London literary publisher who issued the Aldine edition of the English poets (1830) and published the Gentleman's Magazine from 1834.

Gilbert Pidcock (1743 c.-1810) Showman and menagerie-keeper at the Exeter ’Change in London—his lions were grand attractions.

Stephen Polito (1763 c.-1814) Born in Italy, he was a menagerie keeper and showman who in 1810 succeeded Gilbert Pidcock at Exeter Change.

Bryan Waller Procter [Barry Cornwall] (1787-1874) English poet; a contemporary of Byron at Harrow, and friend of Leigh Hunt and Charles Lamb. He was the author of several volumes of poem and Mirandola, a tragedy (1821).

Henry Purcell (1659-1695) English composer and organist at Westminster Abbey; he produced the opera Dido and Eneas (1680).

Dora Quillinan [née Wordsworth] (1804-1847) The daughter of William Wordsworth who in 1841 married the poet Edward Quillinan despite her father's concerns about his debts.

Francçois Rabelais (1494 c.-1533) French physician and satirist; author of Gargantua and Pantagruel (1532-34, 1546-52, 1562); the English translation by Urquhart and Motteux (1653, 1693-94) has been much admired.

Edward Rice (1795 c.-1853) Educated at Christ's Hospital and Trinity College, Cambridge, he was vicar of Horley, Surrey (1828-53), assistant Master at Christ's Hospital (1818-36), and head master (1836-53). A friend of Keats and Hood, he died a suicide.

Anthony Robinson (1762-1827) Educated at Bristol Baptist College, he was a sugar refiner and a Baptist minister before becoming a Unitarian; a friend of Henry Crabb Robinson and William Hazlitt, he contributed to the Analytical Review and the Monthly Repository. His wife and daughter suffered from mental illness.

Henry Crabb Robinson (1775-1867) Attorney, diarist, and journalist for The Times; he was a founder of the Athenaeum Club.

Gioacchino Rossini (1792-1868) Italian composer of the Barber of Seville and other popular operatic works.

Rachel Russell [née Wriothesley] (1637-1723) The daughter of Thomas Wriothesley, fourth earl of Southampton; her letters involving the trial of second husband, William Russell, Lord Russell, implicated in the Rye House Plot, were published in 1773.

John Scott (1784-1821) After Marischal College he worked as a journalist with Leigh Hunt, edited The Champion (1814-1817), and edited the London Magazine (1820) until he was killed in the duel at Chalk Farm.

Sir Walter Scott, baronet (1771-1832) Scottish poet, novelist, antiquary, biographer, editor, and sheriff.

William Shakespeare (1564-1616) The Bard of Avon.

Sir Philip Sidney (1554-1586) English poet, courtier, and soldier, author of the Arcadia (1590), Astrophel and Stella (1591) and Apology for Poetry (1595).

Robert Southey (1774-1843) Poet laureate and man of letters whose contemporary reputation depended upon his prose works, among them the Life of Nelson, 2 vols (1813), History of the Peninsular War, 3 vols (1823-32) and The Doctor, 7 vols (1834-47).

Lady Isabella Stoddart [née Wellwood] (d. 1846) The daughter of Sir Henry Wellwood-Moncreiff eighth baronet; in 1803 she married the writer John Stoddart. She published novels under the pseudonym “Martha Blackford.”

Joseph Strutt (1749-1802) Author, artist, and antiquary; he published Biographical Dictionary of Engravers, 2 vols (1785-86) and historical works. His romance Queenhoo-Hall was completed and published by Walter Scott.

Charles Richard Sumner, bishop of Winchester (1790-1874) The younger brother of John Bird Sumner, archbishop of Canterbury; he was educated at Eton and Trinity College, Cambridge; he was bishop of Llandaff and dean of St. Paul's (1826) and bishop of Winchester (1827).

Charles Lamb Talfourd (1828-1835) The son of Thomas Talfourd, named for the essayist.

Rachel Talfourd [née Rutt] (1787 c.-1842 fl.) The eldest daughter of John Towill Rutt, a nonconformist minister; she married Thomas Noon Talfourd in 1822; Leigh Hunt, Robert Browning, and Mary Russell Mitford were acquaintances.

Sir Thomas Noon Talfourd (1795-1854) English judge, dramatist, and friend of Charles Lamb who contributed articles to the London Magazine and New Monthly Magazine.

Charles Benjamin Tayler (1797-1875) Educated at Trinity College, Cambridge, he held various church livings and published tales and tracts. Charles Lamb said, “He is most esteem'd by me.”

Edward Hovell- Thurlow, second baron Thurlow (1781-1829) English poet, son of the lord chancellor; his affectation of the antique aroused critical derision, though Charles Lamb was an admirer.

John Thurtell (1794-1824) Amateur pugilist who brutally murdered the gambler William Weare; the lurid crime attracted national attention and figured in broadsides and later fiction.

Isabella Jane Towers [née Clarke] (1790-1867) Poet, author of books for children, and the sister of Charles Cowden Clarke; she contributed to Leigh Hunt's periodicals and published Perils in the Woods (1835) and other works.

Isaac Watts (1674-1748) English dissenting clergyman, hymn-writer, and author of the long-reprinted Logic, or The Right Use of Reason (1724).

William Weare (d. 1823) A professional gambler whose murder by John Thurtell was much discussed and written about in the nineteenth century.

Anne Whatley [née Rutt] (1806-1831 fl.) The daughter of the Unitarian John Towill Rutt (d. 1841); in 1826 she married the physician John Whatley and emigrated to Australia, where she left a diary. She was the sister-in-law of Thomas Noon Talfourd.

Grace Joanna Williams [née Applebee] (d. 1871) The daughter of the Rev. John Applebee; in 1819 she married James Haddy Wilson Williams, rector of Fornham, Suffolk; Emma Isola (Moxon) was governess in their family of five children.

James Haddy Wilson Williams (1777 c.-1842) The son of William Williams; educated at Clare College, Cambridge, he was rector of Westley with Fornham All Saints, Suffolk (1815-42).

Walter Wilson (1781-1847) The illegitimate son of John Walter, founder of the Times; he was a London bookseller and collector who published a three-volume life of Defoe (1830).

Dorothy Wordsworth (1771-1855) The sister of William Wordsworth who transcribed his poems and kept his house; her journals and letters were belatedly published after her death.

John Wordsworth (1803-1875) The son of William Wordsworth, educated at New College, Oxford; he was the rector at rector of Moresby, near Whitehaven (1828), Brigham (1832-75) and Plumblands (1840-75) in Cumberland.

Mary Wordsworth [née Hutchinson] (1770-1859) The sister of Sarah Hutchinson and wife of William Wordsworth, whom she married in 1802.

William Wordsworth (1770-1850) With Coleridge, author of Lyrical Ballads (1798), Wordsworth survived his early unpopularity to succeed Robert Southey as poet laureate in 1843.

Frederick Henry Yates (1797-1842) English actor and theater manager educated at Charterhouse; he performed with Charles Kemble and was a partner of Charles Mathews in the Adelphi Theatre (1825-35).

The Amulet, or Christian and Literary Remembrancer. 11 vols (London: W. Baynes and Son, 1826-36). A literary annual edited by Samuel Carter Hall.

The Atlas. (1826-1869). A weekly literary newspaper with a Benthamite bent edited by Robert Stephen Rintoul.

The Bijou, or Annual of Literature and the Arts. 3 vols (London: William Pickering, 1828-30). A literary annual edited by William Fraser.

Blackwood's Edinburgh Magazine. (1817-1980). Begun as the Edinburgh Monthly Magazine, Blackwood's assumed the name of its proprietor, William Blackwood after the sixth number. Blackwood was the nominal editor until 1834.

The Companion. (1828). A weekly periodical edited by Leigh Hunt.

The Eclectic Review. (1805-1868). Successively edited by Samuel Greatheed, Daniel Parken, and Theophilus Williams (1814-36), and the poet Josiah Conder (1837-50). It was friendly to evangelical publications.

The Edinburgh Review, or Critical Journal. (1802-1929). Founded by Francis Jeffery, Sydney Smith, and Henry Brougham, the Edinburgh Review was for decades a principal organ of Whig opinion in Britain.

The Examiner. (1808-1881). Founded by John and Leigh Hunt, this weekly paper divided its attention between literary matters and radical politics; William Hazlitt was among its regular contributors.

Forget Me Not: a Christmas, New Year's and Birthday Present. 25 vols (London: R. Ackermann, 1823-1847). The original literary annual; from 1827 edited by F. Shoberl.

The Gem, a Literary Annual. 4 vols (London: W. Marshall, 1829-1832). The first volume was edited by Thomas Hood.

The Keepsake. 30 vols (London: Hurst, Chance and Co., 1828-1857). An illustrated annual edited by William Harrison Ainsworth (1828), Frederic Mansel Reynolds (1829-35), and Caroline Norton (1836).

The Literary Souvenir. 10 vols (London: Hurst, Robinson, 1825-1834). An illustrated literary annual edited by Alaric Alexander Watts. The publisher varies.

The London Magazine. (1820-1829). Founded by John Scott as a monthly rival to Blackwood's, the London Magazine included among its contributors Charles Lamb, John Clare, Allan Cunningham, Thomas De Quincey, and Thomas Hood.

New Monthly Magazine. (1814-1884). Founded in reaction to the radically-inclined Monthly Magazine, the New Monthly was managed under the proprietorship of Henry Colburn from 1814 to 1845. It was edited by Thomas Campbell and Cyrus Redding from 1821-1830.

Bernard Barton (1784-1849) “Battle of Gibeon” in A New Year's Eve and other Poems. (London: John Hatchard and Son, 1828).

Bernard Barton (1784-1849) “Fireside Quatrains to Charles Lamb” in A New Year's Eve and other Poems. (London: John Hatchard and Son, 1828).

Bernard Barton (1784-1849) A New Year's Eve and other Poems. (London: John Hatchard and Son, 1828).

Bernard Barton (1784-1849) “Sonnet to a Nameless Friend” in A New Year's Eve and other Poems. (London: John Hatchard and Son, 1828).

Samuel Laman Blanchard (1803-1845) Lyric Offerings. (London: William Harrison Ainsworth, 1828). Dedicated to Charles Lamb.

John Bunyan (1628-1688) The Pilgrim's Progress from this World to that which is to come: delivered under the Similitude of a Dream. (London: Nath. Ponder, 1678).

Samuel Taylor Coleridge (1772-1834) Lines written in the Album at Elbingerode, in the Harz Forest. (London: Rest Fenner, 1817).

Samuel Taylor Coleridge (1772-1834) “[Names, from Lessing]” in Morning Post. (27 August 1799). Reprinted in The Keepsake for 1829.

Thomas Dekker (1572 c.-1632) “Art thou pooer” in The Pleasant Comoedie of Patient Grissill. (London: Henry Rocket, 1603).

William Hazlitt (1778-1830) The Life of Napoleon Bonaparte. 4 vols (London: Hunt and Clarke, 1828). A cut-and-paste biography by one of the Emperor's great admirers.

William Hone (1780-1842) The Table Book; or, Daily Recreation and Information concerning remarkable Men, Manners, Times, Seasons. 2 vols (London: Hunt and Clarke, 1827-1828). Originally published in weekly numbers with illustrations by George Cruikshank.

Thomas Hood (1799-1845) The Comic Annual. 11 vols (London: Hurst, Chance, and Co., 1830-1842). Also titled Hood's Comic Annual.

Thomas Hood (1799-1845) Whims and Oddities: in Prose and Verse, with Forty Original Designs. (London: L. Relfe, 1826). A second series was pubished in 1827.

Thomas Hood (1799-1845) “A Widow” in The Gem, a Literary Annual. (London: 1829). Signed “Elia” for Charles Lamb.

Horace (65 BC-8 BC) Odes. (23 BC c.). Horace issued three books of odes in 23 BC and a fourth in 13 BC.

James Henry Leigh Hunt (1784-1859) The Indicator. 2 vols (1820-1821). A two-volume collection of Hunt's periodical essays that went through several editions in the 1830s and 40s.

James Henry Leigh Hunt (1784-1859) Lord Byron and some of his Contemporaries; with Recollections of the Author's Life, and of his Visit to Italy. (London: Colburn, 1828). Hunt's scathing portrait of Lord Byron won him few friends.

James Henry Leigh Hunt (1784-1859) “Walks Home by Night in Bad Weather. Watchmen” in The Companion. Vol. 1 (6 February 1828): 40-46.

Mary Anne Lamb (1764-1847) “To Emma, Learning Latin, and Desponding” in Blackwood's Magazine. Vol. 25 (June 1829): 751. Emma is Emma Isola, afterwards Emma Isola Moxon.

Charles Lamb [Elia] (1775-1834) Elia. Essays which have appeared under that Signature in the London Magazine. (London: Taylor and Hessey, 1823). A second collection was issued by Moxon as Last Essays in 1833.

Charles Lamb [Elia] (1775-1834) “In the Album of Mrs. Jane Towers” in Album Verses, with a few others. (London: Edward Moxon, 1830). A sonnet addressed to the sister of Charles Cowden Clarke.

Charles Lamb [Elia] (1775-1834) “On an Infant Dying as soon as Born” in The Gem, a Literary Annual. (London: 1829). The infant was Thomas Hood's, born in 1827.

Charles Lamb [Elia] (1775-1834) “The Pawnbroker's Daughter” in Eliana: being the hitherto uncollected Writings of Charles Lamb. (London: Edward Moxon, 1864). An unsuccessful farce that was not acted.

Charles Lamb [Elia] (1775-1834) “Serenata, for two Voices” in Recollections of Writers. (London: S. Low, 1878). As was latterly discovered, Lamb's Epithalamium for the marriage of Charles and Mary Cowden Clarke in 1828 was a reworking of an old poem by the eighteenth-century writer John Hughes; it was first printed in their Recollections.

Charles Lamb [Elia] (1775-1834) “The Wife's Trial; or The Intruding Widow. A Dramatic Poem” in Blackwood's Magazine. Vol. 24 (December 1828): 765-81. After a tale by George Crabbe.

Charles Lamb [Elia] (1775-1834) “Work” in The Examiner. (29 August 1819). A sonnet.

Charles Lamb [Elia] (1775-1834) The Works of Charles Lamb. 2 vols (London: C. and J. Ollier, 1818).

Thomas Babington Macaulay, baron Macaulay (1800-1859) “Southey's edition of the Pilgrim's Progress” in Edinburgh Review. Vol. 54 (December 1831): 450-461.

Mary Russell Mitford (1787-1855) Rienzi: a Tragedy in Five Acts. 3 vols (London: J. Cumberland, 1828).

Peter George Patmore [Tims] (1786-1855) Mirror of the Months. (London: G. B. Whittaker, 1826). Reprinted from the New Monthly Magazine.

Henry Crabb Robinson (1775-1867) Diary, Reminiscences, and Correspondence. 3 vols (London: Macmillan, 1869). Edited by Thomas Sadler; reprinted with additions, 2 vols 1872.

William Shakespeare (1564-1616) Love's Labour's Lost. (London: 1598). First performed about 1595 and published in quarto in 1598.

William Shakespeare (1564-1616) The Merry Wives of Windsor. (London: 1602). Shakespeare's comedy was first printed in quarto.

William Shakespeare (1564-1616) The Rape of Lucrece. (London: Richard Field, 1594).

Robert Southey (1774-1843) The Pilgrim's Progress: with a Life of John Bunyan. (London: J. Murray and J. Major, 1830). The life by Robert Southey.

Joseph Strutt (1749-1802) Glig-gamena Angel-deod, or, the Sports and Pastimes of the People of England: including the Rural and Domestic Recreations, May-games, Mummeries, Pageants, Processions, and Pompous Spectacles from the Earliest Period to the Present Time. (London: J. White, 1801).

Charles Benjamin Tayler (1797-1875) A Fireside Book: or, the Account of a Christmas spent at Old Court. (London: J. A. Hessey, 1828). Illustrated by George Cruikshank.

Charles Benjamin Tayler (1797-1875) May you like it. (London: T. Boys, 1823).

Edward Hovell- Thurlow, second baron Thurlow (1781-1829) “To a Bird, that haunted the Water of Lacken, in the Winter” in Poems on Several Occasions. (London: Messrs. White, Cochrane, and Co., 1813).

Isabella Jane Towers [née Clarke] (1790-1867) The Children's Fire-side: being a Series of Tales for Winter Evenings. (London: Hunt and Clarke, 1828). With a folding plate and musical score.

INFORMATION FROM TEI HEADER

Source Description:

Authors: Charles Lamb; Mary Lamb

Title: The Works of Charles and Mary Lamb. Letters (London: Methuen and Co., 1905).

Electronic Edition:

Series: Lord Byron and his Times: http://lordbyron.org

Encoding Description: Any dashes occurring in line breaks have been removed. Obvious and unambiguous compositors’ errors have been silently corrected.

Markup and editing by: David Hill Radcliffe

Completed January 2012

Publication Statement:

Publisher: Center for Applied Technologies in the Humanities, Virginia Tech

Availability: Published under Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported License