to currency. It is often said, for instance, with an air of deploring a phase of general mental degeneracy, that "letter-writing is a lost art." And so it is—not because men nowadays, if they were put to it, could not, on the average, write as good letters as ever (the average although we certainly have no Lambs, and perhaps no Walpoles or Southeys to raise it, would probably be higher), but because the conditions that call for and develop the epistolary art have largely passed away. With our modern facility of communication, the letter has lost the pristine dignity of its function. The earth has dwindled strangely since the advent of steam and electricity, and in a generation used to Mr. Edison's devices, Puck's girdle presents no difficulties to the imagination. In Charles Lamb's time the expression "from Land's End to John O'Groat's" meant something; to-day it means a few comfortable hours by rail, a few minutes by telegraph. Wordsworth in the North of England was to Lamb, so far as the chance of personal contact was concerned, nearly as remote as Manning in China. Under such conditions a letter was of course a weighty matter; it was a thoughtful summary of opinion, a rarely recurring budget of general intelligence, expensive to send, and paid for by the recipient; and men put their minds and energies into composing it. "One wrote at that time," says W.C. Hazlitt, "a letter to an acquaintance in one of the home counties which one would only write nowadays to a settler in the Colonies or a relative in India."
But to whatever conditions or circumstances we may owe the existence of Charles Lamb's letters, their quality is of course the fruit of the genius and temperament of the writer. Unpremeditated as the strain of the skylark, they have almost to excess (were that possible) the prime epistolary merit of spontaneity. From the brain of the writer to the sheet before him flows an unbroken Pactolian stream. Lamb, at his best, ranges with Shakspearian facility the gamut of human emotion, exclaiming, as it were at one moment, with Jaques, "Motley's the only wear!"—in the next probing the source of tears. He is as ejaculatory with his pen as other men are with their tongues. Puns, quotations, conceits, critical estimates of the rarest insight and suggestiveness, chase each other over his pages like clouds over a summer sky; and the whole is leavened with the sterling ethical and aesthetic good sense that renders Charles Lamb one of the wholesomest of writers.
As to the plan on which the selections for this volume have been made, it needs only to be said that, in general, the editor has aimed to include those letters which exhibit most fully the writer's distinctive charm and quality. This plan leaves, of course, a residue of considerable biographical and critical value; but it is believed that to all who really love and appreciate him, Charles Lamb's "Best Letters" are those which are most uniquely and unmistakably Charles Lamb's.
E. G. J. September, 1891.
[1] Letter L.
[2] Cowley.
[3] The James Elia of the essay "My Relations."
[4] Letter I.
[5] Talfourd's Memoir.
[6] Carlyle.
[7] It would seem from Lamb's letter to Coleridge (Letter IV.) that it was he, not the landlord, who appeared thus too late, and who snatched the knife from the unconscious hand.
[8] The reader is referred to Lamb's beautiful essay, "Dream Children."
[9] If we except his passing tenderness for the young Quakeress, Hester Savory, Lamb admitted that he had never spoken to the lady in his life.
[10] Letter LXXXIII.
[11] Letters LXV IL., LXVIII., LXIX.
[12] W. S. Landor.
[13] In assuming this pseudonym Lamb borrowed the name of a fellow-clerk who had served with him thirty years before in the South Sea House—an Italian named Elia. The name has probably never been pronounced as Lamb intended. "Call him Ellia," he said in a letter to J. Taylor, concerning this old acquaintance.
[14] Letter XVII.
[15] The rather unimportant series, "Popular Fallacies," appeared in the "New Monthly."
[16] In the essay "The Superannuated Man" Lamb describes, with certain changes and modifications, his retirement from the India House.
I.
TO SAMUEL TAYLOR COLERIDGE.
May 27, 1796.
Dear Coleridge—Make yourself perfectly easy about May. I paid his bill when I sent your clothes. I was flush of money, and am so still to all the purposes of a single life; so give yourself no further concern about it. The money would be superfluous to me if I had it.
When Southey becomes as modest as his predecessor, Milton, and publishes his Epics in duodecimo, I will read 'em; a guinea a book is somewhat exorbitant, nor have I the opportunity of borrowing the work. The extracts from it in the "Monthly Review," and the short passages in your "Watchman," seem to me much superior to anything in his partnership account with Lovell. [1] Your poems I shall procure forthwith.
There were noble lines in what you inserted in one of your numbers from "Religious Musings," but I thought them elaborate. I am somewhat glad you have given up that paper; it must have been dry, unprofitable, and of dissonant mood to your disposition. I wish you success in all your undertakings, and am glad to hear you are employed about the "Evidences of Religion." There is need of multiplying such books a hundred-fold in this philosophical age, to prevent converts to atheism, for they seem too tough disputants to meddle with afterwards. …
Coleridge, I know not what suffering scenes you have gone through at Bristol. My life has been somewhat diversified of late. The six weeks that finished last year and began this, your very humble servant spent very agreeably in a madhouse at Hoxton. I am got somewhat rational now, and don't bite any one. But mad I was and many a vagary my imagination played with me—enough to make a volume, if all were told. My sonnets I have extended to the number of nine since I saw you, and will some day communicate to you. I am beginning a poem in blank verse, which, if I finish, I publish. White [2] is on the eve of publishing (he took the hint from Vortigern) "Original Letters of Falstaff, Shallow," etc.; a copy you shall have when it comes out. They are without exception the best imitations I ever saw. Coleridge, it may convince you of my regards for you when I tell you my head ran on you in my madness as much almost as on another person, who I am inclined to think was the more immediate cause of my temporary frenzy.
The sonnet I send you has small merit as poetry; but you will be curious to read it when I tell you it was written in my prison-house in one of my lucid intervals.
TO MY SISTER.
If from my lips some angry accents fell,
Peevish complaint, or harsh reproof unkind,
'T was but the error of a sickly mind
And troubled thoughts, clouding the purer well
And waters clear of Reason; and for me
Let this my verse the poor atonement be—
My verse, which thou to praise wert e'er inclined
Too highly, and with partial eye to see
