criticism was introduced by the following note by Leigh Hunt:—
We must make the public acquainted with a hard case of ours.—Here had we been writing a long elaborate, critical, and analytical account of the new pieces at the Lyceum, poring over the desk for two hours in the morning after a late night, and melting away what little had been left of our brains and nerves from the usual distillation of the week, when an impudent rogue of a friend, whose most daring tricks and pretences carry as good a countenance with them as virtues in any other man, and who has the face, above all, to be a better critic than ourselves, sends us the following remarks of his own on those two very pieces. What do we do? The self-love of your inferior critic must vent itself somehow; and so we take this opportunity of showing our virtue at the expense of our talents, and fairly making way for the interloper.
Dear, nine closely-written octavo pages! you were very good after all, between you and me; and should have given way to nobody else. If there is room left, a piece of you shall be got in at the end; for virtue is undoubtedly its own reward, but not quite.
Page 222, foot. "Belles without Beaux." This was probably, says Genest, another version of the French piece from which "Ladies at Home; or, Gentlemen, we can do without You" (by J. G. Millingen, and produced also in 1819) was taken. The date of production was August 6, 1819.
Page 223, lines 2–7. There is Miss Carew, etc. The seven ladies in the play were: Miss Kelly, who played Mrs. Dashington; Mrs. W. S. Chatterly, née Louisa Simeon (b. 1797), wife of William Simmonds Chatterly, the actor (1787–1822): she was said to be the best representative of a Frenchwoman on the English stage; Miss Carew (b. 1799), a comic opera prima donna, at first the understudy of Miss Stephens, and a special favourite with Barry Cornwall, who says in his Sicilian Story, "Give me (but p'r'aps I'm partial) Miss Carew;" Mrs. Grove, probably the wife of Grove, an excellent impersonator of whimsical old men and scheming servants; Miss Love (b. 1801), excellent in chambermaids, to whom Colonel Berkeley turned (see note on page 521) after leaving Miss Foote; Miss Stevenson (see note above); and Mrs. Richardson, who was probably the wife of Richardson, a member of the Covent Garden Company.
Page 223, line 15. Holcroft's last Comedy. "The Vindictive Man" (see note "On the Custom of Hissing," page 450).
Page 223, line 19. Mrs. Harlow. Sarah Harlowe (1765–1852), a low-comedy actress, who played many of Mrs. Jordan's parts. She left the stage in 1826.
Page 224, line 5. Wilkinson … in a "Walk for a Wager." In "Walk for a Wager; or, A Bailiff's Bet," a musical farce, the hero, Hookey Walker, was impersonated by John Penbury Wilkinson, and Miss Kelly played Emma.
Page 224, line 12. "Amateurs and Actors" … Mr. Peak. A musical farce, by Richard Brinsley Peake (1792–1847), produced in 1818.
Page 224, last paragraph. Last week's article. That on "The Hypocrite," preceding this (see notes above). "A New Way to Pay Old Debts," published 1632, is a comedy by Massinger, in which Sir Giles Overreach is the leading character.
Page 225. Four Reviews.
These four reviews, together with that of Wordsworth's Excursion, written five years earlier (see page 187), and that of Hood and Reynolds' Odes and Addresses (see page 335), make up the total number of reviews that Lamb is known positively to have written. We know from his Letters that in 1803 he was trying to review Godwin's Chaucer, and again in 1821 he writes to Taylor that he is busy on a review for a friend; but neither of these articles has come to light. The fact is that Lamb always reviewed with difficulty, and after his bitter experience with Gifford (see note on page 470) he was more than ever disinclined to attempt that form of writing.
Page 225. I.—"Falstaff's Letters."
Examiner, September 5 and 6, 1819. Signed ****. Reprinted in The Indicator, January 24, 1821. Not reprinted by Lamb.
James White, born in the same year as Lamb, was nominally the author of this book, but there is strong reason to believe that Lamb had a big share in it. Jem White, who is now known solely by the pleasant figure that he cuts in the Elia essay "The Praise of Chimney Sweepers," was at school with Lamb at Christ's Hospital, receiving his nomination from Thomas Coventry, Samuel Salt's friend and fellow Bencher. Lamb saw much of White for a few years after leaving school, finding him, on the merry side, as congenial a companion as he could wish.
It was Lamb who, probably in 1795, when they both were only twenty, induced White to study Shakespeare; and it is impossible to believe that a friend of Lamb's, whom he saw nearly every night, could have been composing a full-blooded Shakespearian joke, and Lamb have no hand in it. Southey, indeed, in a letter to Edward Moxon after Lamb's death, states the fact that Lamb and White were joint authors of Falstaff's Letters, as if there were no doubt about it.
My own impression is that Lamb's fingers certainly held the pen when the Dedication to Master Samuel Irelaunde was written.
And very characteristically Elian is the following explanation, in the preface, of certain gaps in the Letters:—
"Reader, whenever as journeying onward in thy epistolary progress, a chasm should occur to interrupt the chain of events, I beseech thee blame not me, but curse the rump of roast pig. This maiden-sister, conceive with what pathos I relate it, absolutely made use of several, no doubt invaluable letters, to shade the jutting protuberances of that animal from disproportionate excoriation in its circuitous approaches to the fire."
Either Lamb wrote that, or to James White's influence we owe some of the most cherished mannerisms of Elia. Be that as it may, it is probably true that White's zest in the making of this book helped towards Lamb's Elizabethanising.
Lamb admired Falstaff's Letters more than it is possible quite to understand except on the supposition that he had a share in it; or, at any rate, that it brought back to him the memory of so many pleasant nights. He never, says Talfourd, omitted to buy a copy when he saw one in the sixpenny box of a bookstall, in order to give it with superlative recommendations to a friend. For example, after sending it to Manning, he asks: "I hope by this time you are prepared to say the Falstaff Letters are a bundle of the sharpest, queerest, profoundest humours of any these juice-drained latter times have spawned?" The little volume is now very rare. A second edition was published in 1797 and reprints in 1877 and 1905. The full title runs: Original Letters, &c., of Sir John Falstaff and his friends; now first made public by a gentleman, a descendant of Dame Quickly, from genuine manuscripts which have been in the possession of the Quickly Family near four hundred years. 1796. "White," said J. M. Gutch, another schoolfellow, "was known as Sir John among his friends." See the footnote to the Elia essay on "The Old Actors".
