by the golden lustre in his eye, and the passionate wanness in his cheek, and by the fair and ample space of his forehood [forehead], which seemed a palace framed for the habitation of all glorious thoughts, he knew that this was his great Rival, who had power given him to rescue whatsoever victims Time should clutch, and to cause them to live for ever in his immortal verse. And muttering the name of Shakspeare, Time spread his Roc-like wings, and fled the controuling presence. And the liberated Court of the Fairies, with Titania at their head, flocked around the gentle Ghost, giving him thanks, nodding to him, and doing him curtesies, who had crowned them henceforth with a permanent existence, to live in the minds of men, while verse shall have power to charm, or Midsummer moons shall brighten.
What particular endearments passed between the Fairies and their Poet, passes my pencil to delineate; but if you are curious to be informed, I must refer you, gentle reader, to the "Plea of the [Midsummer] Fairies," a most agreeable Poem, lately put forth by my friend, Thomas Hood: of the first half of which the above is nothing but a meagre, and a harsh, prose-abstract. Farewell.
Elia.
The words of Mercury are harsh after the songs of Apollo.
AN AUTOBIOGRAPHICAL SKETCH
(1827)
Charles Lamb born in the Inner Temple 10 Feb. 1775 educated in Christ's Hospital afterwards a clerk in the Accountants office East India House pensioned off from that service 1825 after 33 years service, is now a Gentleman at large, can remember few specialities in his life worth noting except that he once caught a swallow flying (teste suâ manu); below the middle stature, cast of face slightly Jewish, with no Judaic tinge in his complexional religion; stammers abominably and is therefore more apt to discharge his occasional conversation in a quaint aphorism or a poor quibble than in set and edifying speeches; has consequently been libelled as a person always aiming at wit, which, as he told a dull fellow that charged him with it, is at least as good as aiming at dulness; a small eater but not drinker; confesses a partiality for the production of the juniper berry, was a fierce smoker of Tobacco, but may be resembled to a volcano burnt out, emitting only now and then a casual puff. Has been guilty of obtruding upon the Public a Tale in Prose, called Rosamund Gray, a Dramatic Sketch named John Woodvil, a Farewell Ode to Tobacco, with sundry other Poems and light prose matter, collected in Two slight crown Octavos and pompously christened his Works, tho' in fact they were his Recreations and his true works may be found on the shelves of Leadenhall Street, filling some hundred Folios. He is also the true Elia whose Essays are extant in a little volume published a year or two since; and rather better known from that name without a meaning, than from anything he has done or can hope to do in his own. He also was the first to draw the Public attention to the old English Dramatists in a work called "Specimens of English Dramatic Writers who lived about the time of Shakspeare," published about 15 years since. In short all his merits and demerits to set forth would take to the end of Mr. Upcott's book and then not be told truly. He died[59]
18—— much lamented.
Witness his hand, Charles Lamb.
10th Apr 1827.
[59] To any Body—Please to fill up these blanks.
SHAKSPEARE'S IMPROVERS
(1828)
To the Editor of The Spectator
Sir—Partaking in your indignation at the sickly stuff interpolated by Tate in the genuine play of King Lear, I beg to lay before you certain kindred enormities that you may be less aware of, which that co-dilutor of Sternhold and Hopkins,[60] with his compeers, were suffered—nay, encouraged—by an English public of a century and a half ago, to perpetrate upon the dramas of Shakspeare. I speak from imperfect recollection of one of these new versions which I have seen, namely, Coriolanus—by the same hand which touched up King Lear; in which he, the said Nahum, not deeming his author's catastrophe enough striking, makes Aufidius (if my memory fail me not) violate the person of the wife, and mangle the body of the little son, of his Roman rival! Shadwell, another improver, in his version of Timon of Athens, a copy of which (167–⅞) is lying before me, omits the character of Flavius, the kind-hearted Steward—that fine exception to the air of general perfidy in the play, which would else be too oppressive to reader or spectator; and substitutes for it a kind female, who is supposed to be attached to Timon to the last: thus making the moral of the piece to consist in showing—not the hollowness of friendships conciliated by a mere undistinguishing prodigality, but—the superiority of woman's love to the friendships of men. Evandra too has a rival in the affections of the noble Athenian. So impossible did these blockheads imagine it to be, to interest the feelings of an audience without an intrigue, that the misanthrope Timon must whine, and the daughterly Cordelia must whimper, their love affections, before they could hope to touch the gentle hearts in the boxes! Had one of these gentry taken in hand to improve the fine Scriptural story of Joseph and his Brethren, we should have had a love passion introduced, to make the mere fraternal interest of the piece go down—an episode of the amours of Reuben, or Issachar, with the fair Mizraim of Egypt.—Thus Evandra closes the eyes of Shadwell's dying Timon; who, it seems, has poisoned himself.
[60] New Version of the Singing Psalms, by Nahum Tate, and Nicholas Brady.
Evan. Oh my dear Lord! why do you stoop and bend Like flowers o'ercharged with dew, whose yielding stalks Cannot support them? Timon. So now my weary pilgrimage on earth Is almost finish'd! Now, my best Evandra, I charge thee by our loves, our mutual loves, Live, and live happy after me; and if A thought of Timon comes into thy mind, And brings a tear from thee— (What then? why then) —let some diversion Banish it.—
And so, after some more drivel of the same stamp, the noble Timon dies. And was not this a dainty dish to set before an audience of the Duke's Theatre in the year 167–⅞? Yet Betterton then acted Timon, and his wife Evandra.
I now come to the London acting edition of Macbeth of the same date, 1678 (played, if I remember, by the same players, at the same house); from which I made a few rough extracts, when I visited the British Museum for the sake of selecting from the "Garrick Plays." As I can scarcely expect to be believed upon my own word, as to what our ancestors at that time were willing to accept for Shakspeare, I refer the reader to that collection to verify my report. Who the improver was in this instance, we are left to guess, for the title-page leaves us to conjecture. Possibly the players, each one separately, contributed his new reading, which was silently adopted. Flesh and blood could not at this time of day submit to a thorough perusal of the thing; but, from a glance or two of casual inspection, I am enabled to lay before the reader a few flowers. In one of the lyric parts, Hecate is made to say—
——on a corner of the moon
A drop my spectacles have found. I'll catch it.
Hecate, the solemn president of classic enchantments, thence adopted into the romantic—the tri-form Hecate—wearing spectacles to assist old
