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CHARLS LAMB
Biography, Literary works and Style
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that as it may, Charles Lamb left us with a very rich legacy of work ranging from
short stories, essays, poetry, even plays, as well asletters filled with his
exceptional intimate style and humor. Lamb would succumb of an infection he
would unfortunately contract from a minor cut on his face after having fallen in the
street, in fact only several months after Coleridge. Charles Lamb would die at
Edmonton, a suburb of London on December 27th 1834 at the age of 59. He is
buried at All Saints Churchyard, also in Edmonton. Mary, his sister would survive
him by more than a decade and would be buried next to him. It is interesting to
note that in 1849, 15 years after Lambs death, the French author
EugneForcade (1820 - 1869) would describe Lamb as having been of an
eminently friendly nature, an original writer, a kind of hero constantly caring for his
poor sister.
The Essays are very personal, as they are somewhat fictionalized stories of him. It
tells us of what his life would have been had he made different decisions in his life.
In his essays, he mentions his family members often with different names. In
Dream Children: A Reverie, he fanaticizes his life, had he married his beloved
Ann Simmons, who he calls Alice W. in the Elia essays.
Lamb is chiefly remembered for his Elia essays, which are celebrated for their
witty and ironic treatment of everyday subjects. The Elia essays are
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His essays have a reflective quality; he talks about his schooling days in Christs
Hospital in the essay, Christs Hospital Five and Thirty Years Ago wherein he speaks
of himself in the third person as L.
Rosemund Gray is another essay in which he reflects upon his feelings for Ann
Simmons as the titular character and how their relationship doesnt go too far due
to Miss Gray passing away.
In the essay "New Year's Eve," which first appeared in the January 1821 issue of
The London Magazine, Lamb reflects wistfully on the passage of time.
To conclude we can see that Lambs essays are very personal. They possess humor
and pathos like most romantic works of literature. Lamb is also praised for his
allusive quality which is noted by many literary critics. And above all he is highly
evocative, a quality possessed by all Romantic writers.
In fact, Lambs essays are popular for various reasons, such as genial humor,
touching pathos, humanitarian outlook, practical commonsense, nobility and
gentility of nature and above all the revelation of their creators self. These factors,
individually as well as collectively, have won for Lamb a unique place in the history
of English essay.
Lambs essays are as various as the very human nature. Lambs thinking heart
finds a tale in everything that he saw or experienced. In fact, since Bacon, essay
had been used as a vehicle to give expression to the writers thoughts and ideas
on matters of general interest. But Lamb did not find pleasure in expressing his
thought systematically. His themes are suggested by sudden flashes of
imagination. As a matter of fact, his essays are his own revelations. It is his likes
and dislikesprejudices and opinions that find place in the essays. In
treatment almost every essay moves through a series of moods, wild and sweet,
grave and subdued, clear and practical, sumptuous and sonorousthe
essays are differenced many blossomed and handsome.
THEMES
Charles began writing both for pleasure and as a means of increasing his income
which was now supporting both himself and Mary. He found that writing allowed
him to escape his life of anxiety and come back to it refreshed and strengthened.
Charles wrote in many genres including drama, fiction, and poetry. He also
wrote literary criticism which was penetrating, interpretive, and imaginative. It
was his unique personality and his lack of concern for conventional order that
made Charles well suited for the personal essay, the genre for which he is best
remembered. Charles was more interested in portraying a character and
expressing his or her emotions than in following character development and
conflict in a story; and through the personal essay, he was able to write numerous
character sketches based solely on one character. It is also through the personal
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essay genre that Charles could express artistic themes that were most important
to him: the past, theater, and fantasy.
A Ballad
A Dramatic Fragment
A Farewell To Tobacco
A Parody
A Vision Of Repentance
Anger
As when a child...
Beauty's Song
Blindness
Breakfast
Charity
Choosing A Name
The son of John and Elizabeth Field Lamb, Charles Lamb, a Londoner who loved and
celebrated that city, was born in the Temple, the abode of London lawyers, where
his father was factotum for one of these, Samuel Salt. The family was ambitious for
its two sons, John and Charles, and successful in entering Charles at Christ's
Hospital, a London charity school of merit, on 9 October 1782. Here he met Samuel
Taylor Coleridge, a fellow pupil who was Lamb's close friend for the rest of their
lives and who helped stir his growing interest in poetry. Lamb left school early, on
23 November 1789.
Soon after leaving school, he was sent to Hertfordshire to his ill grandmother,
housekeeper in a mansion seldom visited by its owners. Here he fell in love with
Ann Simmons, subject of his earliest sonnets. His "Anna" sonnets, which appeared
in the 1796 and 1797 editions of Coleridge's Poems, have a sentimental, nostalgic
quality:
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Though soon after his mother's death he announced his intention to leave poetry
"to my betters," Lamb continued to write verse of various kinds throughout his life:
sonnets, lyrics, blank verse, light verse, prologues and epilogues to the plays of
friends, satirical verse, verse translations, verse for children, and finally Album
Verses (1830), written to please young ladies who kept books of such tributes. By
1820 he had developed what was to be his "Elia" prose style. He was the first
intensely personal, truly Romantic essayist, never rivaled in popularity by his
friends Leigh Hunt and William Hazlitt. Many of Lamb's essays before those he
signed Elia came out in Hunt's publications."
Lamb's first publication was the inclusion four sonnets in Coleridge's Poems on
Various Subjects, published in 1796 by Joseph Cottle. The sonnets were
significantly influenced by the poems of Burns and the sonnets of William
Bowles, a largely forgotten poet of the late 18th century. Lamb's poems garnered
little attention and are seldom read today. As he himself came to realize, he was a
much more talented prose stylist than poet. Indeed, one of the most celebrated
poets of the dayWilliam Wordsworthwrote to John Scott as early as 1815
that Lamb "writes prose exquisitely"and this was five years before Lamb
began The Essays of Elia for which he is now most famous.
Notwithstanding, Lamb's contributions to Coleridge's second edition of the
Poems on Various Subjects showed significant growth as a poet. These poems
included The Tomb of Douglas and A Vision of Repentance. Because of
temporary fallout with Coleridge, Lamb's poems were to be excluded in the third
edition of the Poems though as it turned out a third edition never emerged.
Instead, Coleridge's next publication was the monumentally influential Lyrical
Ballads co-published with Wordsworth. Lamb, on the other hand, published a book
entitled Blank Verse with Charles Lloyd, the mentally unstable son of the
founder of Lloyds Bank. Lamb's most famous poem was written at this time and
entitled The Old Familiar Faces. Like most of Lamb's poems, it is unabashedly
sentimental, and perhaps for this reason it is still remembered and widely read
today, being often included in anthologies of British and Romantic period poetry. Of
particular interest to Liberians is the opening verse of the original version of The
Old Familiar Faces, which is concerned with Lamb's mother, whom Mary Lamb
killed. It was a verse that Lamb chose to remove from the edition of his Collected
Work published in 1818:
I had a mother, but she died, and left me,
Died prematurely in a day of horrors All, all are gone, the old familiar faces.
In his poem Anger the point is that we should be careful about how we portray
our anger, because it can easily lose our grasp. It is very important that we know
the time and place to express our emotions instead of letting them loose whenever
and wherever. As in this poem he compares anger to that of a snake and a bee,
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hence in this way he not only shows his intelligence of taking things on such a high
level but the best use of poetic devices is well mentioned as well.
Besides all this we came to knew from his poetry that he is well known to the use
of refrains and rhythm in poetry. There is a deep pleasure to listen his poems.
Furthermore the repetition of vowel sounds is well seen in his poetry. These all
characteristics can be seen in his poem The Old Familiar Faces.
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The style of Lamb is described as quaint, because it has the strangeness which
we associate with something old-fashioned. One can easily trace in his English the
imitations of the 16th and 17th century writers he most lovedMilton, Sir Thomas
Browne, Fuller, Burton, Isaac Walton. According to the subject he is treating, he
makes use of the rhythms and vocabularies of these writers. That is why, in every
essay Lambs style changes. This is the secret of the charm of his style and it
also prevents him from ever becoming monotonous or tiresome. His style is also
full of surprises because his mood continually varies, creating or suggesting its
own style, and calling into play some recollection of this or that writer of the older
world.
HIS SELF -REVELATION:
What strikes one particularly about Lamb as an essayist is his persistent readiness
to reveal his everything to the reader. The evolution of the essay from Bacon to
Lamb lies primarily in its shift from objectivity to subjectivity, and from formality to
familiarity.
Of all the essayists it is perhaps Lamb who is the most autobiographic. His own life
is for him "such stuff as essays are made on. He could easily say what Montaigne
had said before him-"I myself am the subject of my book. The change from
objectivity to subjectivity in the English essay was, by and large, initiated by
Abraham Cowley who wrote such essays as the one entitled "Of Myself. Lamb with
other romantic essayists completed this change. Walter Pater observes
in Appreciations;
"With him, as with Montaigne, the desire of self-portraiture is below all mere
superficial tendencies, the real motive in 'writing at all, desire closely connected
with intimacy, that modern subjectivity which may be called the Montaignesque
element in literature. In his each and every essay we feel the vein of his
subjectivity."
His essays are, as it were, so many bits of autobiography by piecing which together
we can arrive at a pretty authentic picture of his life, both external and internal. It
is really impossible to think of an essayist who is more personal than Lamb. His
essays reveal him fully-in all his whims, prejudices, past associations, and
experiences. "Night Fears" shows us Lamb as a timid, superstitious boy. "Christ's
Hospital" reveals his unpalatable experiences as a schoolboy. We are introduced to
the various members of his family in numerous essays like "My Relations' "The Old
Benchers of the Inner Temple," and "Poor Relations. We read of the days of his
adolescence in "Mockery End in Hertfordshire. His tenderness towards his sister
Mary is revealed by "Mrs. Battle's Opinions on Whist. His professional life is
recalled in "The South-Sea House" and "The, Superannuated Man. His sentimental
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memories full of pathos find expression in "Dream Children. His prejudices come
to the fore in "Imperfect Sympathies" and "The Confessions of a Drunkard. His
gourmandize finds a humors utterance in "A Dissertation upon Roast Pig, Grace
before Meat, and elsewhere. In "Dream Children, for instance, his unfruitful
attachment with Ann Simmons is referred to. She got married and her children had
to "call Bartram father." Lamb is engaged in a reverie about "his children" who
would have possibly been born had he been married to Alice W-n (Ann Simmons).
When the reverie is gone this is what he finds:
"...and immediately awaking, I found myself quietly seated in my bachelor armchair where I had fallen asleep, with the faithful Bridget [his sister Mary]
unchanged by my side...but John L (his brother John Lamb) was gone forever."
Thus his egotism is born of a sense of humility rather than hauteur. Samuel C.
Chew observes:
Like all the romantics he is self-revelatory, but there is nothing in him of the
egotistical-sublime. Experience had made him too clear-sighted to take any
individual, least of all himself, too seriously. The admissions of his own
weaknesses, follies, and prejudices are so many humorous warnings to his
readers.
Lamb's excessive occupation with himself may lead one to assume that he is too
selfish or egocentric, or that he is vulgar or inartistic. Far from that, Egotism with
Lamb sheds its usual offensive accoutrements. His egotism is free from vulgarity.
Well does Compton-Rickettobserve:
"There is no touch of vulgarity in these intimacies; for all their frank unreserved we
feel the delicate refinement of the man's spiritual nature. Lamb omits no essential,
he does not sentimentalize, and does not brutalize his memories. He poetizes
them, preserving them for us in art that can differentiate between genuine reality
and crude realism."
His artistic sense of discrimination-selection and rejection-has also to be taken into
account. David Daiches maintains:
"The writer's own character is always there, flaunted before the reader, but it is
carefully prepared and controlled before it is exhibited.
Though Lamb is an egotist yet he is not self-assertive. He talks about himself
not because he thinks himself to be important but because he thinks himself to be
the only object he knows intimately. Thus his egotism is born of a sense of humility
rather than hauteur. Samuel C. Chew observes:
"Like all the romantics he is self-revelatory, but there is nothing in him of the
'egotistical-sublime.' Experience had made him too clear-sighted to take any
individual, least of all himself, too seriously. The admissions of his own
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OF
FAMILIARITY:
Lamb's contribution to the English essay also lies in his changing the general tone
from formality to familiarity. This change was to be accepted by all the essayists to
follow. "Never", says Compton-Rickett
"was any man more intimate in print than he. He has made of chatter a fine art."
Lamb disarms the reader at once with his button holding familiarity. He plays with
him in a puckish manner, no doubt, but he is always ready to take him into
confidence and to exchange heart-beats with him. In the essays of the writers
before him we are aware of a well-marked distance between the writer and
ourselves. Bacon and Addison perch themselves, as it were, on a pedestal, and
cast pearls before the readers standing below. In Cowley, the distance between the
reader and writer narrows down-but it is there still. It was left for Lamb to abolish
this distance altogether. He often addresses the reader ("dear reader") as if he
were addressing a bosom friend. He makes nonsense of the proverbial English
insularity and "talks" to the readers as "a friend and man" (as Thackeray said he
did in his novels). This note of intimacy is quite pleasing, for Lamb is the best of
friends.
NO DIDACTICISM :
He is a friend, and not a teacher. Lamb shed once and for all the didactic
approach which characterizes the work of most essayists before him. Bacon called
his essays "counsels civil and moral." His didacticism is too palpable to need a
comment. Lamb is too modest to pretend to proffer moral counsels. He never
argues, dictates, or coerces. We do not find any "philosophy of life" in his essays,
though there are some personal views and opinions flung about here and there
not for examination and adoption, but just to serve as so many ventilators to let us
have a peep into his mind.
"Lamb", says Cazamian, "is not a moralist nor a psychologist, his object is not
research, analysis, or confession; he is, above all, an artist. He has no aim save the
reader's pleasure, and his own."
But though Lamb is not a downright pedagogue, he is yet full of sound wisdom
which he hides under a cloak of frivolity and tolerant good nature. He sometimes
looks like the Fool in King Lear whos weird and funny words are impregnated with
a hard core of surprising sanity. As a critic avers,
"though Lamb frequently donned the cap and bells, he was more than a jester;
even his jokes had kernels of wisdom.
n his "Character of the Late Elia" in which he himself gives a character-sketch of
the supposedly dead Elia, he truly observes : "He would interrupt the gravest
discussion with some light jest; and yet, perhaps not quite irrelevant in ears that
could understand it."
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OF
HIS ESSAYS
AND
HIS LIGHTNESS
OF
TOUCH:
The rambling nature of his essays and his lightness of touch are some other
distinguishing features of Lamb as an essayist. He never bothers about keeping to
the point. Too often do we find him flying off at a tangent and ending at a point
which we could never have foreseen? Every road with him seems to lead to the
world's end. We often reproach Bacon for the "dispersed" nature of his
"meditations", but Lamb beats everybody in his monstrous discursiveness. To
consider some examples, first take up his essay "The Old and the New Schoolmaster. In this essay which apparently is written for comparing the old and new
schoolmaster, the first two pages or thereabouts contain a very humorous and
exaggerated description of the author's own ignorance. Now, we may ask, what
has Lamb's ignorance to do with the subject in hand? Then, the greater part of the
essay "Oxford in the Vacation" is devoted to the description of his friend Dyer.
Lamb's essays are seldom artistic, well-patterned wholes. They have no
beginning, middle and end. Lamb himself described his essays as
"a sort of unlocked incondite things.
However, what these essays lose in artistic design they gain in the touch of
spontaneity. This is what lends them what is called "the lyrical quality."
AND
HUMANITY:
Lamb's humor, humanity, and the sense of pathos are all his own; and it is mainly
these qualities which differentiate his essays from those of his contemporaries. His
essays are rich alike in wit, humor, and fun. Hallward and Hill observe in the
Introduction to their edition of the Essays of Elia:
"The terms Wit, Humor and Fun are often confused but they are really different in
meaning. The first is based on intellect, the second on insight and sympathy, the
third on vigor and freshness of mind and body. Lamb's writings show all the three
qualities, but what most distinguishes him is Humor, for his sympathy is ever
strong and active."
Humor in Lamb's essays constitutes very like an atmosphere "with linked
sweetness long drawn out." Its Protean shapes range from frivolous puns, impish
attempts at mystification, grotesque buffoonery, and Rabelaisian verbosity (see,
for example, the description of a "poor relation") to the subtlest ironical stroke
which pierces down to the very heart of life. J. B. Priestley observes in English
Humor:
"English humor at its deepest and tenderness seems in him [Lamb] incarnate. He
did not merely create it, he lived in it. His humor is not an idle thing, but the white
flower, plucked from a most dangerous nettle."
What particularly distinguishes Lamb's humor is its close alliance with pathos.
While laughing he is always aware of the tragedy of life-not only his life, but life in
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general. That is why he often laughs through his tears. Witness his treatment of
the hard life of chimney sweepers and Christ's Hospital boys. The descriptions are
touching enough, but Lamb's treatment provides us with a humorous medium of
perception rich in prismatic effects, which bathes the tragedy of actual life in the
iridescence of mellow comedy. The total effect is very complex, and strikes our
sensibility in a bizarre way, puzzling us as to what is comic and what is tragic.
HE
IS A TREMENDOUS BORROWER:
A word, lastly, about Lambs peculiar style which is all his own and yet not his, as he is a
tremendous borrower. He was extremely influenced by some old-world writers like Fuller
and Sir Thomas Browne. It is natural, then, that his style is archaic. His sentences are long
and rambling, after the 17th century fashion. He uses words many of which are
obsolescent, if not obsolete. But though he struts in borrowed plumes, these borrowed
plumes seem to be all his own. Well a critic says:
The blossoms are culled from other mens gardens, but their blending is all
Lambs own.
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are purely of a personal nature, reminiscent, nostalgic and rambling. His style
reflects the idiosyncrasies, whims and personal likes of his.
FRANCIS BACON
CHARLES LAMB
Bacon is never personal in his Lambs essays are very much
essays and his essays obviously influenced by his personal life hence
are not influenced by his personal he is very much personal in his
life
essays.
His style is clear, impressive and Confidential
chat
present
in
not in the least bit resembling a Bacons style is the quality that is
Confidential chat.
most obvious in Lambian Style.
Both writers make profuse use of allusions and quotations, but the
difference lies in the method of use.
Bacon uses his allusions solemnly, Lamb uses allusions almost casually,
to illustrate his point, or to lend as if they simply came to him
weight to his analysis. For naturally not to convince a reader
example in Of Nature in Men, he but to share an experience.
warns that a man should not feel
complacent about a victory over
nature,
and
goes
on
to
substantiate the point with the
help of the allusion to one of
Aesops Fable. His allusions and
images are brought in with the
specific purpose of impressing an
idea all the more forcibly on
readers mind.
There is one aspect which both Lamb and Bacon share. Bacon in his all
essays and Lamb at least some of his, show mastery over aphoristic
sentences.
Studies serve for delight, for Marriage by its best title is a
ornament, and for ability.
monopoly and of the least invidious
(Of Studies, Bacon)
sort
(A Bachelors Complaint of the
Behavior of Married People, Lamb)
There is no touch of poetry in Touch
of
poetry
is
another
Bacons essays.Bacon has used characteristic of Lambian essays.
figurative
language
most For example:
effectively, as he has done in Of
Fantastic forms, whither are ye
Truth, Of Friendship, Of Unity in
fled?
Religion etc. But we cannot tell it
Or if the like of you exists
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poetic.
CONCLUSION
From the essays and biography it is seen that Lamb was very much
moved by the rises and clashes of life as we can refer the matter of his
pausing writing. From 1811 to 1820 he wrote nothing and was giving his
time to his friends, especially to the young ones. On the other hand
Bacon kept his personal life far away from his writing.
Bacon is the greatest of the English essayist of the informative,
impersonal and didactic kind, while Lamb is the master of personal
essays. Bacon is too magnificent to be humorous and Lamb is too
companionable to be stately. Bacon states his ideas confidently in the
tersest of language; Lambs style is full of interactions, ramblings and
intimate revelations.
THE END