charles lamb personal essay

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Charles Lamb

Charles Lamb was an English poet, essayist, antiquarian. He is famous for his essays Elia and books tales of children from Shakespeare. He co-authored Tales of Shakespeare with his sister, Mary Lamb.

Lamb was a prominent figure of major literary circles in England. He was a friend with notable literary celebrities such as Robert Southey, Samuel Taylor Coleridge, William Hazlitt, and William Wordsworth. His principal biographer E. V. Lucas referred to him as “the most lovable figure in English literature.”

Charles Lamb Biography

Charles Lamb was born on 10 th February 1775, in London. In 1782, he attended Christ’s Hospital at the age of seven. It was a free boarding school to educate poor children. He befriended his school mate Samuel Taylor Coleridge. In 1789, he left school. He was appointed as a clerk in the East India Company, and he worked there for the next thirty-three years of his life.  

Lamb’s sister Mary Lamb stabbed their mother who died in a moment of fretful anger on 22nd September 1796. Mary was temporarily insane and put her in the custody of Charles. In 1799, their father died, and Mary Lamb started living with Charles Lamb for the rest of her life. The only time when Mary was not living with Charles was when she was put in the asylum for the treatment whenever her illness recurred. Lamb was a lifelong guardian of Mary and did not marry because of her. In 1795, he also spent six weeks in an asylum during the winter. His life was badly shattered, and he became an alcoholic. It was his guardianship and responsibility to his sister that he could get a hold on his own sanity.

In 1796, Lamb started his literary career with the publication of his four sonnets by Coleridge in his first volume, Poem on Various Subjects . Lamb published A Tale of Rosamund Gray, a sentimental romance, in 1798 with Charles Lloyd in a volume Blank Verse . Lamb started contributing short articles to newspapers in London by 1901. He had also started writing plays in an attempt to overcome his poverty. He published a blank verse play John Woodville   in 1802, which was not successful. In December 1806, Lamb’s two-act circus play, Mr. H. , met great admiration at the Drury Lane Theatre.

Charles and Mary together published a collection Tale from Shakespeare in 1807. The collection was a prose adaptation of the plays of Shakespeare for children. The collection was admired by both young and old readers. With the success of this collection, Charles published a children’s version of Homer’s Odyssey and The Adventures of Ulysses in 1808. Another collection in collaboration with Mary was published in 1809 titled Mrs. Leicester’s School, and Poetry for Children .

In 1808, Charles Lamb started a new career by editing the collection Specimens of the English Dramatic Poets Who Lived About the Time of Shakespeare. His comments on this work established his reputation as a critic, and revival in the study of Shakespeare’s contemporaries was started. In 1881, he published other critical books such as “The Tragedies of Shakespeare,” and “On the Genius and Character of Hogarth” in the journal of Leigh Hunt. He published a two-volume collection, The Works of Charles Lamb, in 1818. It is ironic that his literary career has not begun yet.

Lamb has not yet achieved his literary fame; he and Mary were much happy with life. They would invite their friends at their place at Inner Temple Lane to late Wednesday night gatherings. The gatherings would include the Romantic authors William Wordsworth, Coleridge, William Hazlitt, Robert Southey, and Hunt. Lamb also wrote the best letters to these friends in the same year that later got published. These letters were filled with critical comments and revealed the humoristic personality of Lamb.

It was these letters that prepare him for the forthcoming fame as an essayist. He wrote a series of immensely popular essays from 1820 to 1825 in London Magazine. The essays were written under a pseudonym Elia. These essays, like his letters, reveal his humorist personality, emotions, thoughts, and his experiences of life and literature. He also writes on disturbing subjects. His writing deals with past memories to create a sense of stability, calmness, and changelessness in his personality. His essays are implicitly nostalgic and melancholic, along with explicit humor, wit, and humanity. He has a bittersweet tone and remains the hallmark of his literary style. The famous essays he wrote in this time were “Witches and Other Night-Fears,” “A Dissertation upon Roast Pig,” and “Dream Children.”

Mary and Lamb adopted an orphan girl Emma Isola in 1823. Lamb shifted to London for the first time in August 1823. His health was continuously deteriorating, and his prolonged illness during 1824 caused him to retire from the East India Company. He spent his time with Emma Isola on walking trips around Hertfordshire. 

In 1833, Lamb shifted to Edmonton to take care of his sister Mary who had been receiving frequent mental attacks. In the same year, Lamb also ended his literary career by writing the last Essay of Elia. Emma Isola married Edward Moxon, a friend of Charles, in the same year, leaving him lonely and depressed. The depression and loneliness got intense with the death of his friend Coleridge in 1834. After five weeks of Coleridge’s death, Lamb also died on 27 th December 1834. 

Charles Lamb’s Writing style:

The French writer, Montaigne, was the father of the essay, and in the English language, essay writing was introduced by Francis Bacon. The essays of Bacon are very different from that of his model Montaigne. The essays of Montaigne are self-revelatory, tolerant, and humoristic. Whereas, Bacon’s essays are didactic with serious and objective style.  

With Bacon, the essay writing in England took the wrong direction, and for almost two centuries, it was slowly moving towards the original pattern set by Montaigne. However, with the essays of Romantic essayists, the essay writing became highly personal, lyrical in nature, and humoristic. And there has been no significant change in essay writing from then onwards.

Charles Lamb is one of the eminent romantic essayists . He has been referred to as the “ prince of all essayists ” of England. He is called essayist par excellence by Hugh Walker, whose essays must be taken as a model for writing essays. The existing definition of an essay is derived from the essays of Lamb, and his essay is put into criteria for judging the excellence and merit of any essayist . Though he is not as genius as Bacon, brilliant as Thomas Browne, clear as Addison, and energetic as Dr. Johnson, he is most charming of the essayists and excelled from all the essayist’s inability to catch the attention of readers.

A well-known literary figure of the 19 th century Romanticism, Charles Lamb is primarily known for his essays of “Elia.” His essays are well-known for irony and wit of common subjects . His works were noticeably known throughout the 19 th century and the 20 th century for his humorous peculiarities and nostalgia. With his essays, he brought unique warmth in prose of the English Language, which was previously considered to be dull and boring. He uses intense, screaming, and sneering sentences with rounded glow, which makes it melancholic and welcoming at the same time. Lamb uses the genre of prose for his “ personal essays .” He wrote about those things which tormented him most and extracted literary delightfulness from it. He talked about his drunkenness and resentment in beautiful sentences.

Charles’s land has a “quaint” or old fashioned style because of its strangeness. He imitated the style of 16th and 17 th writers like Milton, Fuller, Burton, Sir Thomas, and Isaac Walton. He also uses the diction and rhythm of these writing according to the subject he is dealing with, due to which, the style of every essay of Lamb is changed. He makes his style charming and prevents it from becoming tiresome and boring. Due to the continuously varying mood, his style is surprising. The following are the distinctive characteristics of Charles Lamb.

Self-revelation in Charles Lamb’s Essays

Charles persistently reveals everything about him to his readers in his essays. This is the striking feature of Bacon’s essays. The shift, from Bacon to Lamb, in the style of essays lies primarily in the shift from formality to informality and objectivity to subjectivity.

Among all of the essays, Charles Lamb is the most autobiographical. For him, his life is full of content to write the essays on. He would repeatedly say the Montaigne words about himself: -“I myself am the subject of my book”. Though, the evolution from objectivity to subjectivity in the essays was initiated by Abraham Cowley by writing the essay “Of Myself,” Charles Lamb completed the evolution. 

His essays contain the bits of his life and mending together these bits, an authentic picture of his life can be obtained. There is no essayist born yet who is more personal than Charles Lamb. His essays fully revealed the experiences, whims, past associates and prejudices that he discussed. In the essay “Night Fear,” Lamb portrayed himself as a superstitious and timid boy. Likewise in his essay, “Christ’s hospital,” he revealed his disgusting experiences of school.  

He introduced his various family members in his essay “My Relation,” Poor Relations,” and the Old Benchers in the Inner Temple. He discusses his time of adolescence in the essay “Mockery End in Hertfordshire”; professional life in “The, Superannuated Man” and “The South-Sea House.” His essay “Dream Children” is full of his sentimental memories of pathos.

 He talks about his predispositions in the essay “The Confessions of a Drunkard” and “Imperfect Sympathies.” His essays “Grace before Meat,” and “A Dissertation upon Roast Pig” are his humoristic essays on gourmandize. In the essay “Dream Children,” Lamb is having a reverie about his imagined children that would have been born if he married his beloved Alice, referring to his attachments with Ann Simmons. When the reverie ends, he says that he found himself sitting quietly in his bachelor arm-chair. He had fallen asleep in the chair with a devoted Briget sitting unchanged from his side but his brother John L was gone forever. 

In his essays, Lamb is excessively obsessed with himself that made readers assume that he is egocentric, selfish, and his writing is inartistic and vulgar. Apart from this, Lamb is also egotist, which makes him write offensive accounts. However, his egotism does not have any vulgarity.

Indeed, Lamb is egotist; however, he is not aggressive. He only talks about himself in his essay because it is the only subject he knows closely, not because it assumes himself to be more important than any other subject. Therefore, the egotism of Charles Lamb is not because of arrogance, but because of humility.

The familiarity of Tone in Charles Lamb’s Writings

Charles Lamb started a trend of using Familiar tone in English essays than a formal tone. This trend was then followed by almost all of the essayists. Campton-Rickett says that there was not any other man famous in print media that Lamb and he turned the ordinary conversation into fine art. 

The button holding familiarity with Charles Lamb greatly charms the readers. He writes as if he is playing with his readers in a naughty manner, always takes his readers into confidence, and shares his feelings with them. Before Charles Lamb, there is an obvious distance between the writer and readers in the essays. Addison and Francis Bacon wrote his essays as if they were delivering the sermon to the readers standing below them. In the essays of Cowley, the distance between the readers and writer was significantly reduced; Charles Lamb completely eliminated the distance. Charles Lamb addresses his readers as “dear readers.” It appears as if he is addressing his friends.  It mocks the familiar English narrow-mindedness and talks to his readers, treating them as men and his friends. His tone of familiarity makes his essay pleasant and Lamb best of associates.

No Didacticism in Essays of Charles Lamb

Charles Lamb does not use his essays for teaching didactic purposes. Essayist before Lamb would use prose mainly for didactic purposes; however, Lamb completely shed this approach in his essays. Because of the didactic nature, Bacon calls his essays counsel civil and moral. The didacticism of Bacon is intense and needs explanations. However, Lamb does not offer nor pretend to offer moral and civil counsels. Lamb’s essays do not carry any “philosophy of life.” He gives personal opinions and views, but they are not on purpose to be examined but just to give an insight into his mind.

Camnian, in his views about Charles Lamb, says that Lamb is neither a psychologist nor a moralist; his purpose of writing not analysse, research or confess. He is nothing but an artist. By his writing, he does not aim to save the pleasure of his readers but himself. 

Lamb is not an absolute educator or didactic. However, he does have sound wisdom that he concealed under the good tolerant nature. He appears to be a fool in the play King Lear and Twelfth Night , whose apparently funny and weird words are saturated with surprising sanity. A critic states that though Lamb often put the cap and bells, he was more than a joker or jester; his jokes were full of wisdom. 

In his essay “Character of Late Elia,” Charles Lamb gives a character sketch of apparently dead Elia saying that he would include a light humor or joke in the serious decision, however, the jokes would not be irrelevant or hard to understand. 

The confused Nature of Charles Lamb’s Essays

Charles lamb essays are of confusing nature and light in touch. This marks his essay distinguished from the rest of the essayist. Charles Lamb does not adhere to the point. He is continuously moving from one point to another. He sometimes ends his essay at a point, which is totally surprising for the readers. He could easily end his essay at any point. Critics and readers criticize Francis Bacon for his distributed thought in essays. However, Lamb knocks down everyone in his outrageous freeness.

His essay “The Old and the New School-master” is the best example of his outrageous freeness in essays. The essay is apparently written to compare the new and the old schoolmaster; the first two pages of the essay are an exaggerated and outrageous description of Lamb’s own ignorance. The point to ponder is what is the connection between Lamb’s ignorance and the subject of the essay? 

Similarly, in the essay “Oxford in the Vacation,” a great portion is dedicated to the account of Dyer, his friend. The essay of Charles Lamb is hardly well-patterned and artistic wholes. His essays do not have a proper beginning, middle, and end. Lamb describes his essays as “ a sort of unlocked inundated thing.”

Though the essays do not have artistic designs, they have a touch of spontaneity. This makes his essays lyrical and appealing to the readers.

Humor, Pathos, and Humanity

The humor, pathos, and his sense of humanity in Charles Lamb’s essays are the distinctive features that make him different from his contemporary writers. Lamb’s essays are rich in humor, fun, and wit. In the edition of the Introduction to Essays of Elia , the critics, Hill and Hallward, write that the terms humour, wit, and fun are confused most of the time, however, they are completely different in meaning. Wit is based in intellect, humous on sympathy, and fun is based on activeness and freshness of both mind and body. The writing of lamb has all these three qualities, however, what distinguishes him most is his humor. His sympathy is always strong and vigorous. 

A charming atmosphere is created in the Lamb’s essays with humor and associated sweetness drawn along with. The fluctuating style of essays ranges from Rabelaisian verboseness, mischievous attempts at mystification, playful pun, and ridiculous frivolity to the subtle irony which penetrates the heart of readers. The best example of his wit and humor is his essay “Poor Relation.” In the book English Humor, J. B. Priestly says that he has embodied the English humor deeply and tenderously. He does not master humor easily, but it is as if he has plucked the white flower from a dangerous nettle.

Humor is also part of the writings of other writers, however, Lamb’s humor is closely aligned with the pathos that mark it distinguishes from others. He is making fun of things, but he is also aware of the tragic nature of life (life in general, not particularly his own). That is why he has a “tearful smile.” He has witnessed the hard and struggling lives of chimney sweepers and the boys at Christ’s Hospital, which made him deeply humanistic. His descriptions of these events are really touching. However, it is also accompanied by humor, and therefore, it has prismatic effects. His treatment of events in such a way momentarily washes away the tragedy of real life. The overall effect of his essays is confusing as the readers do not know what id tragedy and what comedy is.

 Charles Lamb as a Remarkable Borrower

Another peculiarity of Lamb’s style, which belongs to him but is not his own. He remarkably borrowed his style from his predecessors. Lambs were greatly influenced by the writers of the “old world.” These writers include Sir Thomas Browne and Fuller. Though his style is archaic, it is natural. He used elongated and rambling sentences like the writers of the 17 th century. He, most of the time, uses old words if not out-dated. Charles has borrowed style, but his borrowed style belongs to him. A critic comments about his style as: “The blossoms are culled from other men’s gardens, but their blending is all Lamb’s own.”

The Chemistry of Lamb’s Literary Style

Ideas that passed through the imaginations of Lamb turned out to be fresh and unique. The style of Lamb is a mixture of many styles, and this mixture is not a mechanical mixture but a chemical mixture. His writing style extracts romantic colors from the inspiration of old writers, which is then intensified by strong imagination.

Like Wordsworth, he chooses his ordinary subject and with fanciful imagination makes it interesting and romantic. It is the process of “romanticizing” his subject that makes his essays interesting. Otherwise, the subject of everyday life would make his essays boring. He is not only a romantic essayist but also a romantic poet.

Works Of Charles Lamb

• Dream Children
• Poor Relations

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9 Charles Lamb, Elia, and Essays in Familiarity

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Charles Lamb helped develop the familiar essay genre through his Essays of Elia (1823) and Last Essays (1833). Highly popular through the nineteenth and early twentieth centuries, he faded from view through the twentieth century thanks to New Critical scorn. This chapter restores the Elian voice to contemporary conversations about the essay, tracing Lamb’s influence and afterlives in the work of later writers from Anne Fadiman to David Foster Wallace. More broadly, the chapter uses Lamb to open up the many nuances of the familiar essay, and to trace its origins and debts. From conversation to letter-writing to the work of the Romantic poets and the strange persona of Elia himself, it explores the many meanings and histories of the familiar mode.

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The Superannuated Man Essay Summary By Charles Lamb

Table of Contents

“The Superannuated Man” is an essay written by Charles Lamb , an English essayist and critic, published in 1825. The essay explores Lamb’s experience and thoughts on retirement and its effects on his life.

The Superannuated Man Essay Summary By Charles Lamb- Lamb begins the essay by describing his transition from a bustling life as a clerk in the East India Company to a life of leisure and solitude after retiring at the age of 45. He portrays retirement as a form of liberation, escaping the monotonous routine of work and embracing a life of idleness and reflection.

The Superannuated Man Essay Summary By Charles Lamb- The essay highlights the initial excitement and relief Lamb feels upon retiring, as he revels in the freedom from obligations and the ability to pursue his own interests. He immerses himself in literature, indulging in his love for books and spending his days reading and writing.

• On Going a Journey Essay Summary By William Hazlitt
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• On Some Verses of Virgil Essay Summary By Michel de Montaigne

The Superannuated Man Essay Summary By Charles Lamb- However, Lamb soon realizes that his newfound freedom comes at a cost. The lack of social interaction and purposeful activity takes a toll on his mental and emotional well-being. He becomes isolated and experiences a sense of ennui, longing for the camaraderie and stimulation that work provided.

The Superannuated Man Essay Summary By Charles Lamb- Lamb reflects on the value of work and the social connections it fosters. He acknowledges the importance of having a sense of purpose and the structure that work brings to one’s life. Through his musings, Lamb emphasizes the significance of human connections and the role they play in maintaining a fulfilling and meaningful existence.

“The Superannuated Man” is a contemplative essay that delves into the complexities of retirement. Lamb’s personal account serves as a reflection on the challenges and joys of leaving the workforce and offers insights into the psychological and social impact of retirement. It is a poignant exploration of the human desire for purpose and connection, and the consequences of their absence.

About Charles Lamb

The Superannuated Man Essay Summary By Charles Lamb- Charles Lamb, born on February 10, 1775, in London, England, was an influential figure in English literature during the Romantic period. He is best known for his essays, plays, and poetry. Lamb’s distinctive style, marked by wit, humor, and an intimate and personal tone, earned him a unique place in the literary landscape of his time.

The Superannuated Man Essay Summary By Charles Lamb- Charles Lamb grew up in a lower-middle-class family. His father, John Lamb, was a clerk in the Inner Temple, one of the four Inns of Court in London. Lamb’s mother, Elizabeth Field, was mentally unstable and frequently required care. Lamb had a close relationship with his sister, Mary Ann Lamb, with whom he would later collaborate on various literary works.

In 1791, Lamb started working as a clerk at the South Sea House, a prestigious financial institution. Although he found the work monotonous, it provided him with a stable income. During this time, he began writing poetry and essays, which he shared with a group of literary friends.

The Superannuated Man Essay Summary By Charles Lamb- Lamb’s literary career gained momentum with the publication of his first book, “Poems on Various Subjects” in 1796. The collection received positive reviews, but it did not bring him significant recognition. However, Lamb’s talent as an essayist began to shine through in the early 1800s.

In 1802, Lamb published a series of essays under the pseudonym “Elia” in the London Magazine. These essays, known as the “Essays of Elia,” were characterized by their conversational style and personal reflections on various topics. Lamb wrote about subjects ranging from everyday experiences to literature, art, and social issues. His essays were admired for their wit, charm, and depth of thought, and they soon gained a loyal following.

The Superannuated Man Essay Summary By Charles Lamb- Lamb’s essays explored the complexities of human nature and the struggles of everyday life. He often infused his writing with a sense of nostalgia, reminiscing about his childhood and the people and places he knew. His essay “Dream Children: A Reverie” is a poignant reflection on the loss of loved ones and the power of imagination.

One of Lamb’s most famous essays is “A Dissertation upon Roast Pig,” in which he humorously describes the accidental discovery of roast pig and its subsequent popularity. The essay showcases Lamb’s ability to blend humor and satire with a keen observation of human behavior.

The Superannuated Man Essay Summary By Charles Lamb- Aside from his essays, Lamb also tried his hand at drama. In 1806, he published a play titled “John Woodvil,” a poetic drama inspired by Shakespearean tragedy. The play received mixed reviews and was not successful during Lamb’s lifetime. However, Lamb’s later play, “Mr. H,” a farce, was better received.

The Superannuated Man Essay Summary By Charles Lamb- In addition to his literary pursuits, Lamb faced personal challenges throughout his life. In 1796, his sister Mary had a mental breakdown and killed their mother in a fit of madness. Charles Lamb took responsibility for Mary’s actions and helped her recover. Despite the difficulties, Charles and Mary remained devoted to each other, living together and collaborating on various works, including the famous children’s book “Tales from Shakespeare.”

Lamb’s influence extended beyond his writing. He was a central figure in the literary circles of his time, known for his wit and conviviality. He counted notable authors such as William Wordsworth, Samuel Taylor Coleridge, and William Hazlitt among his friends.

The Superannuated Man Essay Summary By Charles Lamb- In his later years, Lamb’s health began to decline, and he retired from his clerkship at the East India Company in 1825. However, he continued to write and publish essays, including the collection “The Last Essays of Elia” in 1833.

The Superannuated Man Essay Summary By Charles Lamb- Lamb’s personal experience sheds light on the psychological and emotional challenges that can arise when one transitions from a busy working life to a life of idleness. It highlights the significance of human connections, companionship, and a sense of purpose in maintaining a meaningful existence.

“The Superannuated Man” prompts readers to consider the complexities of retirement and the need for a balanced approach. It encourages us to appreciate the freedom that retirement offers while also acknowledging the importance of staying socially engaged and finding new sources of fulfillment and purpose.

The Superannuated Man Essay Summary By Charles Lamb- Overall, Lamb’s essay reminds us that retirement is not merely the end of work but the beginning of a new chapter in life, one that requires careful thought and consideration to ensure a fulfilling and satisfying post-work existence.

Q: When was “The Superannuated Man” essay written?

A: “The Superannuated Man” essay was written by Charles Lamb and published in 1825.

Q: What is the main theme of “The Superannuated Man”?

A: The main theme of “The Superannuated Man” is retirement and its effects on one’s life, exploring the freedom and challenges that come with leaving the workforce.

Q: What does Charles Lamb reflect on in the essay?

A: Charles Lamb reflects on his personal experience of retirement, including the initial excitement and relief, as well as the subsequent feelings of isolation and longing for social connections and purposeful activity.

Q: What are the key insights from “The Superannuated Man”?

A: Some key insights from the essay include the importance of social connections and a sense of purpose in retirement, the value of work beyond financial reasons, and the need for a balanced approach to retirement that embraces freedom while staying socially engaged.

Q: Is “The Superannuated Man” a personal essay?

A: Yes, “The Superannuated Man” is a personal essay as it draws on Charles Lamb’s own experiences and reflections on retirement. It provides a subjective account of his thoughts and emotions during this period of his life.

Q: How does “The Superannuated Man” emphasize the importance of human connections?

A: “The Superannuated Man” emphasizes the importance of human connections by showcasing Lamb’s sense of isolation and longing for companionship after retiring. It highlights the value of social interaction and the role it plays in maintaining a fulfilling and meaningful existence.

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Charles Lamb as an Essayist | Salient Features of Lamb’s Essay

Charles Lamb as an Essayist

Both as a man and as a writer Charles Lamb occupies a distinct space in the arena of English literature. The circumstances of his personal life were harsh and even tragic. He was in large measure self-educated: his views on life and letters were worked out with an almost desperate geniality in order to preserve and develop a relish for the color and individuality of experience.

Lamb’s essay, thus, has some salient features. In his essays Lamb adopted a pseudonym ‘ Elia ‘ which was actually the name of an Italian who, like Lamb, too was a clerk at the South-Sea House. The manner and tune of Lamb’s essays are as changeful as their occasion and topic and his themes cover a wide range.

The first characteristic of his essay is its personal and autobiographical nature . As has been said earlier Lamb took the essay as a vehicle of self-revelation, and everywhere Lamb spoke of himself without making himself a subject.

Wit and humour are the second most striking feature of the essays of Lamb, which appeared in various forms and guises. He showed everywhere enough of humour–mild humour, gentle humour, boisterous humour, pungent humour, biting humour, ironical humour satirical humour all types and kind of humour, but never and nowhere are they cruel, malicious or spiteful, cynical or morbid. He made fun of others as well as of himself.

Humour is closely allied with Pathos and thus Pathos is the other important ingredient of Lamb’s essay, “ It has been said that Lamb’s humour was largely the effect of a sane and healthy protest against the overwhelming melancholy induced by the morbid taint in his mind. He laughed to save himself from weeping, but he could not prevent his mind from passing at times to the sadder aspects of life. The note of sadness inevitably enters many of Lamb’s essays. Indeed the heart touching pathos of some of the essays is responsible for much of their appeal to the reader.” Lamb had a deep sense of tragedy of his own life and suffered from the feelings of frustration in life, which always stood at the back of the pathos in his essay. His most moving essay ‘ Dream Children: A Reverie ‘ expresses this feeling of frustration.

Another important characteristic of his essay is his brief character sketches which Lamb did with great artistic skill. Lamb’s characters are brief, mere sketches of the real persons, but too vivid. He had keen observation and insight into human nature. One cannot forget the sketches of his great grandmother, or his lady love whom he depicted with great masterly skill in his essay “Dream Children”, a masterpiece work in English literature.

Lamb loved to give interesting anecdotes in his essay. To illustrate his points or the arguments he raised, Lamb used these anecdotes. They are thus integral parts to his essays and thus served as his another characteristic.

In his essays Lamb could hardly maintain a strict unity of expression . He often stays away from the theme and this rather loose structure of Lamb’s essays stand as his other noteworthy characteristic. Of course in certain essays he kept the theme in mind from its beginning to the end and the essay of our study, “Dream Children” belonged to this category.

Another salient feature of his essays is his delightful interpretation of the life of London . Charles Lamb was born in London and had spend his whole life in the London streets, with the unending waves of tragedies and comedies, pleasures and occupations of the city crowd of London. All these were of great interest to him and whenever and whatever he wrote, he always tried to interpret that crowded London life, its joy, sorrows and sufferings. His sympathetic insight enabled him to depict the life of those for off days which even after so many years, when we read, appear to be almost real to us.

• Blending of Humour and Pathos in Lamb’s Essay Dream Children
• The Superannuated Man by Charles Lamb | A Complete Summary

Lamb’s style is essentially his own and this is his another characteristic. As was said earlier Charles Lamb was greatly influenced by his predecessors like Fuller, Browne and Burton and their influence shines out conspicuously in his style. “However, it should be kept in mind that his style is not so much an imitation as a reflection of the older writers for the spirit he made himself their contemporary.” Though his style borrowed elements from the old writers yet he had wonderfully fused them wholly into a new and individual style. He used the metaphor with so much naturality that made his style rich without the least showiness.

Poetry was not Lamb’s choice and neither was he much of a poet. Yet he created a definite atmosphere of poetry in many of his essays. His Dream Children: A Reverie is superbly poetic and romantic.

Though Lamb had a great love for Wordsworth’s Nature , he was essentially and primarily a Londoner. Born in the Temple, educated at Chirst’s Hospital and spending the whole of his life in London, we can easily realize Lamb’s weakness for the “the great City.” To him the city was a good place for a man to live in and the better place for a booklover who would get there the facilities for bookish culture. In fact, London was Lamb’s country, his university, his family, his beloved and his all. Though Lamb was a clerk in his profession, but he had a strong dislike for commerce and business. His mind always turned towards books and reading. In , The Two Races of Men we get the evidence of Lamb’s love for books. He suffered from a constant regret throughout his life for his want of a university education. Living in London all his life, he tried to forget it, but perhaps failed.

Lamb had no interest in politics , though it was a chief feature of city life. There are no references to politics in his essays as well as Ietters. He never partook in such conversation which was related to politics.

The vividness and picturesque description of nature brought him immense popularity and gave beauty to his writings which always deserve admiration. Lamb’s attitude to the country-side area was not so emotional like Wordsworth who called him “a scorner of the fields” . But he never expressed abhorrence to country, rather he showed a keen and loving appreciation of the beauties of the country. Enjoying a holiday in the countryside, Lamb had written some essays describing the scenery he perceived there. But as he was essentially a lover of town, some deficiencies of his sense were found in his representation of the beauties of colour and the pleasure afforded by sweet scent. He had not possessed the car to catch the music of Nature. Lamb himself confessed these sense-deficiencies in one of his letters. This is called Lamb’s vivid obscurity’. His pictures were vivid but the readers cannot grasp them.

Lamb had a great love for antiquity : “What Lamb loved most in regard to the town, as opposed to the country, was the appearance of stability which the old and venerable buildings in a town give to human effort”. He loved old books and old writers. The dead were in fact alive to him. Lamb bore in his mind a tenderness to women and children. In The Praise of Chimney-Sweepers , he showed his great love for the distressed children.

Lamb was very fond of loving books. The classical allusions, reference to the Bible, quotations he incorporated into his essays are not entirely correct. But he had a full, intelligent and loving acquaintance with all the great writers from the time of Spenser to his own.

As an essayist Lamb occupies a foremost position in the history of English literature. E. V. Lucas rightly says:

“Lamb found the essay a comparatively frigid thing: he left it warm and flexible and companionable.”

Thus, the essays of Charles Lamb contain many features – “refined and exquisite humour, a genuine and cordial vein of pleasantry, a heart touching pathos, a romantic tendency to self-revelation and self-portraiture. His fancy is distinguished by great delicacy and tenderness, and even his conceits are imbued with human feelings and passion.” In whatever he wrote he is always the same Lamb, humour and pathos and love commingled, so that we cannot wonder that Wordsworth wrote about him-

“Oh he was good, if e’er a good man lived !”

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Element of Self-Reflection in the Essays of Charles Lamb

The Romantic period was a time in which prose writing witnessed a rapid development. Writers such as Charles Lamb and William Hazlitt changed the styles and topics of the eighteenth-century essay. They also created new forms of writing in which their personal impressions and the subjects of everyday life were central. But the best-known essayist of the 1820s was Charles Lamb. His essays gave him a very high reputation. The element of his self-reflection in his essays gave a personal touch to the readers that they took him to their hearts. This paper explores the literary essays and various elements that made his autobiographical aspect visible and tangible to the readers.

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Dr. GEORGE KOLANCHERY

Global English-Oriented Research Journal (GEORJ) is an international, peer-reviewed, open access online journal that is published quarterly (Mar/Jun/Sep/Dec) with ISSN 2454-5511 (International Standard Serial Number). It is devoted to breathing e-life into critical, scholarly and erudite studies and research related to multifarious facets of English Language, Literature, Linguistics and Education. In addition to being a platform for original academic articles in diverse fields of English Language and Language Education Practices (LEP), it also welcomes a few genres of Creative Writing.

About Charles Lamb, his works and style.

Ayesha Tariq

Bushra Siddiqui

Aswin Prasanth

Charles Lamb is generally considered the master of personal essays of which Montaigne is the greatest exponent. His essays are collected in Essays of Elia and Last Essays of Elia. In literary history he is remembered as the Prince of English essayists. His essays are marked by self- revelation, humour and pathos, and a conversational style. Lamb delights the reader with his personal details, genial humour, amiable personality and sweetness of disposition. His range of subject matter is amazingly diverse.

International Research Journal Commerce arts science

Charles Lamb is entitled to a place as an essayist beside Montaigne, Sir Thomas Browne, Steele and Addison. He unites many of the characteristics of each of these writers-refined and exquisite humour, a genuine and cordial vein of pleasantry and heart-touching pathos. His fancy is distinguished by great delicacy and tenderness; and even his conceits are imbued with human feeling and passion. Pathos and humour frequently jostle each other in his essays. There is a curious mingling of these two ingredients in his work. Laughter is quickly followed by tears of sympathy in many of his essays. Sometimes there are alternations of humour and pathos, and sometimes the two elements exist simultaneously in the same passage which has both a comic and a pathetic side. Charles Lamb is widely known as the master of personal essays of which Montaigne is the greatest exponent. His essays are composed in Essays of Elia and Last essays of Elia. His essays are marked by self-revelation, humour and pathos and a conversational manner. Lamb delights the reader with his personal details, genial humour, gracious personality and pleasant inclination. His scale of subject matter is astonishingly different. The inventive insights of Lamb's personal essays obtain its critical and innovative impulse uniformly from these traditions which superimpose in the comprehensive diversities of English essays. Lamb's essays are actually social criticisms which oppose; and even subvert the social and cultural configurations that restrain the preferences of individuals. As the narrator he puts in formidable management to oppose the hierarchical structures that interfere with individual freedom. The essay as a literary context resists the inquiry of times and the critical sensibilities of generations. In the romantic epoch, the principle of individualism and creative consideration acquire strengthened in the class of personal essay like Essays of Elia by Lamb. In these essays the centre platform is held by the various shades of the essayist's self-reflective subjectivities which establish a thorough record of memories, emotions, embarrassment and imaginations. Lamb assumes the role of a commentator and narrator in his essays. His narratives blend pictures of self and others in realistic condition. His essays portray a projection of his own self which is amiable and friendly. He attracts his readers by creating a confidential manner in his essays which as a matter of fact functions like a discourse between the essayist and his readers. The experience is theatrical in which Lamb's personality is dramatized through various means and revealed to the readers. His essays are the

This starting point for this monograph study is what intellectual historians such as Leslie Stephen and Élie Halévy once registered as a quietening of epistemological debate in Britain between Hume and the Romantics. I argue that this quelling of philosophical discourse signals not a hiatus, but a paradigm-shift away from epistemology, involving a corresponding change in genre and vocabulary. In The Testimony of Sense I explore the ways in which this philosophical realignment (the ‘socialisation’ of British empiricism) affects the development of a literary genre (the familiar essay), thereby producing a remarkable turn in the relationship between philosophy and literature between the middle of the eighteenth century and the early nineteenth century.

The Essay Review

Francesca Rendle-Short

Drawing is a common language beyond dialect, idiom, parlance, vernacular, or idiolect. It is like music. It touches us in the same way poetry touches us. It expresses the inexpressible, that which is seen and unseen, ineffable, that about which we dream, that which we long for. To draw is to yearn. "Drawing is a form of probing. And the first generic impulse to draw derives from the human need to search, to plot points, to place thing and to place oneself" (Berger 150). When we write, we draw. When we draw, we write. Draw what you see. I instruct them. Draw what is in front of you. [...] So here we are, dancing. Hairs. On. End. The purpose of The Essay Review is to recognize the poetic, academic, social, and existential achievements of the nonfiction essay. It is one of the only journals in existence that is dedicated solely to literary criticism of the nonfiction essay.

Attracting considerable critical interest over the past twenty or so years, there is an extended passage of angst-ridden Orientalism in Thomas De Quincey's Confessions of an English Opium-Eater, which features prominently in the latter half of the text's bipartite, pleasure-versus-pain structure. It begins with the incongruous yet initially harmless appearance of a Malay in the English Lake District, climaxes in gloriously bizarre dreams of a vast, teeming and persecutory Oriental world, and ends with the opium-eater's emotional re-awakening to a scene of domestic bliss. This tonally uneven and psychologically erratic passage embodieds the text's hybrid form, and, in addition to elements of phantasmagorical prose-poem, medical treatise and candid autobiography, the text less obviously utilises the diverse genres of the familiar essay and travel writing. A tension is identified between these two genres, predisposed as they are, respectively, to the domestic and the foreign. From this tension emerges an anxious, pre-colonial mode, and historical moment, of Orientalism, or "domestic extremism".

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New Year's Eve, by Charles Lamb

'I am content to stand still at the age to which I am arrived'

• An Introduction to Punctuation
• Ph.D., Rhetoric and English, University of Georgia
• M.A., Modern English and American Literature, University of Leicester
• B.A., English, State University of New York

An accountant in India House in London for more than 30 years and caregiver for his sister Mary (who, in a fit of mania, had stabbed their mother to death), Charles Lamb was one of the great masters of the English essay .

The most intimate of the early-19th-century essayists, Lamb relied on stylistic artifice ("whim-whams," as he referred to his antique diction and far-fetched comparisons ) and a contrived persona known as "Elia." As George L. Barnett has observed, "Lamb's egoism suggests more than Lamb's person: it awakens in the reader reflections of kindred feelings and affections" ( Charles Lamb: The Evolution of Elia , 1964).

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. You may find it interesting to compare Lamb's essay with three others in our collection:

• "At the Turn of the Year," by Fiona Macleod (William Sharp)
• "Last Year," by Horace Smith
• " The New Year," by George William Curtis
• "January in the Sussex Woods," by Richard Jefferies

New Year's Eve

by Charles Lamb

1 Every man hath two birth-days: two days, at least, in every year, which set him upon revolving the lapse of time, as it affects his mortal duration. The one is that which in an especial manner he termeth his . In the gradual desuetude of old observances, this custom of solemnizing our proper birth-day hath nearly passed away, or is left to children, who reflect nothing at all about the matter, nor understand any thing in it beyond cake and orange. But the birth of a New Year is of an interest too wide to be pretermitted by king or cobbler. No one ever regarded the First of January with indifference. It is that from which all date their time, and count upon what is left. It is the nativity of our common Adam.

2 Of all sounds of all bells--(bells, the music nighest bordering upon heaven)--most solemn and touching is the peal which rings out the Old Year. I never hear it without a gathering-up of my mind to a concentration of all the images that have been diffused over the past twelvemonth; all I have done or suffered, performed or neglected--in that regretted time. I begin to know its worth, as when a person dies. It takes a personal colour; nor was it a poetical flight in a contemporary, when he exclaimed

I saw the skirts of the departing Year.

It is no more than what in sober sadness every one of us seems to be conscious of, in that awful leave-taking. I am sure I felt it, and all felt it with me, last night; though some of my companions affected rather to manifest an exhilaration at the birth of the coming year, than any very tender regrets for the decease of its predecessor. But I am none of those who--

Welcome the coming, speed the parting guest.

I am naturally, beforehand, shy of novelties; new books, new faces, new years, from some mental twist which makes it difficult in me to face the prospective. I have almost ceased to hope; and am sanguine only in the prospects of other (former) years. I plunge into foregone visions and conclusions. I encounter pell-mell with past disappointments. I am armour-proof against old discouragements. I forgive, or overcome in fancy, old adversaries. I play over again for love , as the gamesters phrase it, games, for which I once paid so dear. I would scarce now have any of those untoward accidents and events of my life reversed. I would no more alter them than the incidents of some well-contrived novel. Methinks, it is better that I should have pined away seven of my goldenest years, when I was thrall to the fair hair, and fairer eyes, of Alice W----n, than that so passionate a love-adventure should be lost. It was better that our family should have missed that legacy, which old Dorrell cheated us of, than that I should have at this moment two thousand pounds in banco , and be without the idea of that specious old rogue.

3 In a degree beneath manhood, it is my infirmity to look back upon those early days. Do I advance a paradox , when I say, that, skipping over the intervention of forty years, a man may have leave to love himself , without the imputation of self-love?

4 If I know aught of myself, no one whose mind is introspective--and mine is painfully so--can have a less respect for his present identity, than I have for the man Elia. I know him to be light, and vain, and humorsome; a notorious ***; addicted to ****: averse from counsel, neither taking it, nor offering it;--*** besides; a stammering buffoon; what you will; lay it on, and spare not; I subscribe to it all, and much more, than thou canst be willing to lay at his door--but for the child Elia--that "other me," there, in the back-ground--I must take leave to cherish the remembrance of that young master--with as little reference, I protest, to this stupid changeling of five-and-forty, as if it had been a child of some other house, and not of my parents. I can cry over its patient small-pox at five, and rougher medicaments. I can lay its poor fevered head upon the sick pillow at Christ's, and wake with it in surprise at the gentle posture of maternal tenderness hanging over it, that unknown had watched its sleep. I know how it shrank from any the least colour of falsehood. God help thee, Elia, how art thou changed! Thou art sophisticated. I know how honest, how courageous (for a weakling) it was--how religious, how imaginative, how hopeful! From what have I not fallen, if the child I remember was indeed myself, and not some dissembling guardian, presenting a false identity, to give the rule to my unpractised steps, and regulate the tone of my moral being!

5 That I am fond of indulging, beyond a hope of sympathy, in such retrospection, may be the symptom of some sickly idiosyncrasy. Or is it owing to another cause; simply, that being without wife or family, I have not learned to project myself enough out of myself; and having no offspring of my own to dally with, I turn back upon memory and adopt my own early idea, as my heir and favourite? If these speculations seem fantastical to thee, reader (a busy man, perchance), if I tread out of the way of thy sympathy, and am singularly-conceited only, I retire, impenetrable to ridicule, under the phantom cloud of Elia.

6 The elders, with whom I was brought up, were of a character not likely to let slip the sacred observance of any old institution; and the ringing out of the Old Year was kept by them with circumstances of peculiar ceremony. In those days the sound of those midnight chimes, though it seemed to raise hilarity in all around me, never failed to bring a train of pensive imagery into my fancy. Yet I then scarce conceived what it meant, or thought of it as a reckoning that concerned me. Not childhood alone, but the young man till thirty, never feels practically that he is mortal. He knows it indeed, and, if need were, he could preach a homily on the fragility of life; but he brings it not home to himself, any more than in a hot June we can appropriate to our imagination the freezing days of December. But now, shall I confess a truth? I feel these audits but too powerfully. I begin to count the probabilities of my duration, and to grudge at the expenditure of moments and shortest periods, like miser's farthings. In proportion as the years both lessen and shorten, I set more count upon their periods, and would fain lay my ineffectual finger upon the spoke of the great wheel. I am not content to pass away "like a weaver's shuttle." Those  metaphors  solace me not, nor sweeten the unpalatable draught of mortality. I care not to be carried with the tide, that smoothly bears human life to eternity; and reluct at the inevitable course of destiny. I am in love with this green earth; the face of town and country; the unspeakable rural solitudes, and the sweet security of streets. I would set up my tabernacle here. I am content to stand still at the age to which I am arrived; I, and my friends: to be no younger, no richer, no handsomer. I do not want to be weaned by age; or drop, like mellow fruit, as they say, into the grave. Any alteration, on this earth of mine, in diet or in lodging, puzzles and discomposes me. My household-gods plant a terrible fixed foot, and are not rooted up without blood. They do not willingly seek Lavinian shores. A new state of being staggers me.

7  Sun, and sky, and breeze, and solitary walks, and summer holidays, and the greenness of fields, and the delicious juices of meats and fishes, and society, and the cheerful glass, and candle-light, and fire-side conversations, and innocent vanities, and jests, and  irony itself --do these things go out with life?

8  Can a ghost laugh, or shake his gaunt sides, when you are pleasant with him?

9  And you, my midnight darlings, my Folios! must I part with the intense delight of having you (huge armfuls) in my embraces? Must knowledge come to me, if it come at all, by some awkward experiment of intuition, and no longer by this familiar process of reading?

10  Shall I enjoy friendships there, wanting the smiling indications which point me to them here,--the recognisable face--the "sweet assurance of a look"--?

11  In winter this intolerable disinclination to dying--to give it its mildest name--does more especially haunt and beset me. In a genial August noon, beneath a sweltering sky, death is almost problematic. At those times do such poor snakes as myself enjoy an immortality. Then we expand and burgeon. Then are we as strong again, as valiant again, as wise again, and a great deal taller. The blast that nips and shrinks me, puts me in thoughts of death. All things allied to the insubstantial, wait upon that master feeling; cold, numbness, dreams, perplexity; moonlight itself, with its shadowy and spectral appearances,--that cold ghost of the sun, or Phoebus' sickly sister, like that innutritious one denounced in the Canticles:--I am none of her minions--I hold with the Persian.

12  Whatsoever thwarts, or puts me out of my way, brings death into my mind. All partial evils, like humours, run into that capital plague-sore. I have heard some profess an indifference to life. Such hail the end of their existence as a port of refuge; and speak of the grave as of some soft arms, in which they may slumber as on a pillow. Some have wooed death--but out upon thee, I say, thou foul, ugly phantom! I detest, abhor, execrate, and (with Friar John) give thee to six-score thousand devils, as in no instance to be excused or tolerated, but shunned as a universal viper; to be branded, proscribed, and spoken evil of! In no way can I be brought to digest thee, thou thin, melancholy  Privation , or more frightful and confounding  Positive!

13  Those antidotes, prescribed against the fear of thee, are altogether frigid and insulting, like thyself. For what satisfaction hath a man, that he shall "lie down with kings and emperors in death," who in his life-time never greatly coveted the society of such bed-fellows?--or, forsooth, that "so shall the fairest face appear?"--why, to comfort me, must Alice W----n be a goblin? More than all, I conceive disgust at those impertinent and misbecoming familiarities, inscribed upon your ordinary tombstones. Every dead man must take upon himself to be lecturing me with his odious truism, that "such as he now is, I must shortly be." Not so shortly, friend, perhaps, as thou imaginest. In the meantime I am alive. I move about. I am worth twenty of thee. Know thy betters! Thy New Years' Days are past. I survive, a jolly candidate for 1821. Another cup of wine--and while that turn-coat bell, that just now mournfully chanted the obsequies of 1820 departed, with changed notes lustily rings in a successor, let us attune to its peal the song made on a like occasion, by hearty, cheerful Mr. Cotton.--

"Hark, the cock crows, and yon bright star Tells us, the day himself's not far; And see where, breaking from the night, He gilds the western hills with light. With him old Janus doth appear, Peeping into the future year, With such a look as seems to say, The prospect is not good that way. Thus do we rise ill sights to see, And 'gainst ourselves to prophesy; When the prophetic fear of things A more tormenting mischief brings, More full of soul-tormenting gall, Than direst mischiefs can befall. But stay! but stay! methinks my sight, Better inform'd by clearer light, Discerns sereneness in that brow, That all contracted seem'd but now. His revers'd face may show distaste, And frown upon the ills are past; But that which this way looks is clear, And smiles upon the New-born Year. He looks too from a place so high, The Year lies open to his eye; And all the moments open are To the exact discoverer. Yet more and more he smiles upon The happy revolution. Why should we then suspect or fear The influences of a year, So smiles upon us the first morn, And speaks us good so soon as born? Plague on't! the last was ill enough, This cannot but make better proof; Or, at the worst, as we brush'd through The last, why so we may this too; And then the next in reason shou'd Be superexcellently good: For the worst ills (we daily see) Have no more perpetuity, Than the best fortunes that do fall; Which also bring us wherewithal Longer their being to support, Than those do of the other sort: And who has one good year in three, And yet repines at destiny, Appears ungrateful in the case, And merits not the good he has. Then let us welcome the New Guest With lusty brimmers of the best; Mirth always should Good Fortune meet, And renders e'en Disaster sweet: And though the Princess turn her back, Let us but line ourselves with sack, We better shall by far hold out, Till the next Year she face about."

14  How say you, reader--do not these verses smack of the rough magnanimity of the old English  vein? Do they not fortify like a cordial ; enlarging the heart, and productive of sweet blood, and generous spirits, in the concoction? Where be those puling fears of death, just now expressed or affected? Passed like a cloud--absorbed in the purging sunlight of clear poetry--clean washed away by a wave of genuine Helicon, your only Spa for these hypochondries--And now another cup of the generous! and a merry New Year , and many of them, to you all, my masters!

"New Year's Eve," by Charles Lamb, was first published in the January 1821 issue of  The London Magazine  and was included in  Essays of Elia , 1823 (reprinted by Pomona Press in 2006).

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Charles Lamb: Essays

By charles lamb.

• Charles Lamb: Essays Summary

In his Essays of Elia and its sequel, Last Essays of Elia , Charles Lamb explores a broad range of topics and works with various non-fiction tropes that often edge into the terrain of fiction. We see him writing obituaries, dream journals, diatribes, and tributes. What unifies Lamb's essays is his lyrical, conversational writing style. Like many fellow Romantics, he often employs purple prose and shows off his sharp wit, but the essays themselves remain accessible and often fun. Elia is the persona Lamb uses when writing essays, so instead of referring to Lamb or "the narrator," these synopses will refer simply to "Elia."

"Old China"

Elia details his pet obsession, old china. The essay starts with—typical for Elia—a flight of fancy, as he gets lost in a scene of a tea ceremony depicted on a cup. The essay veers into a conversation with Cousin Bridget about whether the days when they were poorer were more fulfilling than those of their comparative wealth.

"Dream-Children; A Reverie"

Much of this essay reads as Elia's elegy to his grandmother, Field , the magnanimous, fearless woman who took care of a mansion where Elia spent much of his childhood. He recounts Field as well as his late brother John to his children, but when Elia begins to tell the children about their mother Alice , they fade away, and Elia wakes up from a dream. He never had any children by Alice, since Alice chose to marry another man.

"A Dissertation Upon Roast Pig"

A comical essay which includes many nuggets of fiction, "A Dissertation" is Elia's attempt to imagine the provenance of people eating roast pork, a dish that he loves. He talks about an imaginary ancient boy who burns down his family's shack but eats the pig that died in the fire and loves it. The essay veers into a discussion of Elia's love of sharing food with other people, before ending with a moral conundrum of how animals that are to be eaten should be slaughtered.

"The South-Sea House"

Elia describes the bank where he used to work, the South Sea House, which was the site of a famous financial speculation hoax. He recounts his various co-workers as well as the owners of the bank, but eventually reveals that his account may be as much of a hoax as the scam that the bank infamously ran.

"Ellistoniana"

Elia writes an obituary for his friend Elliston , a beloved stage actor whose on-stage and off-stage presences were indistinguishable from one another. Elliston is described as a passionate man whose only regrets are that he was pigeonholed late in his career for doing what he did best.

"Rejoicings Upon a New Year's Coming of Age"

This is a fanciful essay which is effectively a work of fiction imagining a New Year's Day party where all of the days of the year are personified and mingle with one another. April Fool's is the master of ceremonies and creates delightful chaos throughout the celebration.

"Detached Thoughts on Books and Reading"

In this essay, Elia talks about his compulsive reading habit, praising his favorites, Shakespeare and Milton, while confessing that he'll read just about anything with text that is put in front of him. He rails against newspapers and especially the practice of reading them out loud in public settings, as this violates that individualistic style of reading that Elia favors.

"Grace Before Meat"

Elia is typically skeptical of hypocrisy in organized religion, but this is really the essay where he outlines the substance of his critique by way of articulating his own religious and moral convictions. He believe that grace is usually uttered insincerely, and that only the poor really have dignity in saying it, as they are truly grateful for the opportunity to have food on their table. This extends to a broader condemnation of the rich.

"The Old and New Schoolmaster"

Elia talks about the limits of his education based on the old style of pedagogy, which was wholly rooted in learning English and literature pertinent to it. The new schoolmasters know a little bit about everything so that their pupils' curiosity can always be satisfied. The essay ends with a letter from a schoolmaster about how alienated he feels from his students after the passing of his wife.

"The Praise of Chimney-Sweepers"

In an essay that is somewhat uncomfortable to read because of its treatment of race, Elia praises young boys who are chimney sweepers. He praises the tea they drink and their jovial attitude, before describing dinners that his late friend used to throw for the boys every year where they were treated like nobility. As with many of Elia's essays, this one elevates the nobility of the lower classes.

Charles Lamb: Essays Questions and Answers

The Question and Answer section for Charles Lamb: Essays is a great resource to ask questions, find answers, and discuss the novel.

Which quality Charles Lamb a romantic writer?

As a Romantic, Lamb brought a key innovation to the somewhat new form, inserting his own personally to give the essays a conversational tone. His essays showcase his passions and anxieties, imbuing the non-fiction form with a personal and literary...

What is the major theme of "Poor Relation" by Charles Lamb?

The major theme is that of the "poor relation"... their irrelevance and unpleasant place in one's life.

Explain the theme of the essay ''A Dissertation upon Roast Pig''.

The essay describes the discovery of the exquisite flavour of roast pig in China in a time when all food was eaten raw. This is really a light hearted theme speaking to how odd it is that humans eat cooked animals at all.

Study Guide for Charles Lamb: Essays

Charles Lamb: Essays study guide contains a biography of Charles Lamb, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About Charles Lamb: Essays
• Character List

Essays for Charles Lamb: Essays

Charles Lamb: Essays essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Charles Lamb: Essays by Charles Lamb.

• Charles Lamb and Spaces Separate from Rationality

Wikipedia Entries for Charles Lamb: Essays

• Introduction
• Youth and schooling
• Family tragedy
• Religious views

• Work & Careers
• Life & Arts

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