English Literature: Its History and Significance for the Life of the English-Speaking World by William J. Long (good books for 8th graders txt) 📕

years old, Lamb left the charity school and was soon at work as a clerk in the South Sea House. Two years later he became a clerk in the famous India House, where he worked steadily for thirty-three years, with the exception of six weeks, in the winter of 1795-1796, spent within the walls of an asylum. In 1796 Lamb's sister Mary, who was as talented and remarkable as Lamb himself, went violently insane and killed her own mother. For a long time after this appalling tragedy she was in an asylum at Hoxton; then Lamb, in 1797, brought her to his own little house, and for the remainder of his life cared for her with a tenderness and devotion which furnishes one of the most beautiful pages in our literary history. At times the malady would return to Mary, giving sure warning of its terrible approach; and then brother and sister might be seen walking silently, hand in hand, to the gates of the asylum, their cheeks wet with tears. One must remember this, as well as Lamb's humble lodgings and the drudgery of his daily work in the-big commercial house, if he would appreciate the pathos of "The Old Familiar Faces," or the heroism which shines through the most human and the most delightful essays in our language.

When Lamb was fifty years of age the East India Company, led partly by his literary fame following his first Essays of Elia, and partly by his thirty-three years of faithful service, granted him a comfortable pension; and happy as a boy turned loose from school he left India House forever to give himself up to literary work.[231] He wrote to Wordsworth, in April, 1825, "I came home forever on Tuesday of last week--it was like passing from life into eternity." Curiously enough Lamb seems to lose power after his release from drudgery, and his last essays, published in 1833, lack something of the grace and charm of his earlier work. He died at Edmonton in 1834; and his gifted sister Mary sank rapidly into the gulf from which his strength and gentleness had so long held her back. No literary man was ever more loved and honored by a rare circle of friends; and all who knew him bear witness to the simplicity and goodness which any reader may find for himself between the lines of his essays.

Works. The works of Lamb divide themselves naturally into three periods. First, there are his early literary efforts, including the poems signed "C. L." in Coleridge's Poems on Various Subjects (1796); his romance Rosamund Gray (1798); his poetical drama John Woodvil (1802); and various other immature works in prose and poetry. This period comes to an end in 1803, when he gave up his newspaper work, especially the contribution of six jokes, puns, and squibs daily to the Morning Post at sixpence apiece. The second period was given largely to literary criticism; and the Tales from Shakespeare (1807)--written by Charles and Mary Lamb, the former reproducing the tragedies, and the latter the comedies--may be regarded as his first successful literary venture. The book was written primarily for children; but so thoroughly had brother and sister steeped themselves in the literature of the Elizabethan period that young and old alike were delighted with this new version of Shakespeare's stories, and the Tales are still regarded as the best of their kind in our literature. In 1808 appeared his Specimens of English Dramatic Poets Contemporary with Shakespeare. This carried out the splendid critical work of Coleridge, and was the most noticeable influence in developing the poetic qualities of Keats, as shown in his last volume.

Essays of EliaThe third period includes Lamb's criticisms of life, which are gathered together in his Essays of Elia (1823), and his Last Essays of Elia, which were published ten years later. These famous essays began in 1820 with the appearance of the new London Magazine[232] and were continued for many years, such subjects as the "Dissertation on Roast Pig," "Old China," "Praise of Chimney Sweepers," "Imperfect Sympathies," "A Chapter on Ears," "Mrs. Battle's Opinions on Whist," "Mackery End," "Grace Before Meat," "Dream Children," and many others being chosen apparently at random, but all leading to a delightful interpretation of the life of London, as it appeared to a quiet little man who walked unnoticed through its crowded streets. In the first and last essays which we have mentioned, "Dissertation on Roast Pig" and "Dream Children," we have the extremes of Lamb's humor and pathos.

Lamb's styleThe style of all these essays is gentle, old-fashioned, irresistibly attractive. Lamb was especially fond of old writers and borrowed unconsciously from the style of Burton's Anatomy of Melancholy and from Browne's Religio Medici and from the early English dramatists. But this style had become a part of Lamb by long reading, and he was apparently unable to express his new thought without using their old quaint expressions. Though these essays are all criticisms or appreciations of the life of his age, they are all intensely personal. In other words, they are an excellent picture of Lamb and of humanity. Without a trace of vanity or self-assertion, Lamb begins with himself, with some purely personal mood or experience, and from this he leads the reader to see life and literature as he saw it. It is this wonderful combination of personal and universal interests, together with Lamb's rare old style and quaint humor, which make the essays remarkable. They continue the best tradition of Addison and Steele, our first great essayists; but their sympathies are broader and deeper, and their humor more delicious than any which preceded them.

THOMAS DE QUINCY (1785-1859)

In De Quincey the romantic element is even more strongly developed than in Lamb, not only in his critical work, but also in his erratic and imaginative life. He was profoundly educated, even more so than Coleridge, and was one of the keenest intellects of the age; yet his wonderful intellect seems always subordinate to his passion for dreaming. Like Lamb, he was a friend and associate of the Lake poets, making his headquarters in Wordsworth's old cottage at Grasmere for nearly twenty years. Here the resemblance ceases, and a marked contrast begins. As a man, Lamb is the most human and lovable of all our essayists; while De Quincey is the most uncanny and incomprehensible. Lamb's modest works breathe the two essential qualities of sympathy and humor; the greater number of De Quincey's essays, while possessing more or less of both these qualities, are characterized chiefly by their brilliant style. Life, as seen through De Quincey's eyes, is nebulous and chaotic, and there is a suspicion of the fabulous in all that he wrote. Even in The Revolt of the Tartars the romantic element is uppermost, and in much of De Quincey's prose the element of unreality is more noticeable than in Shelley's poetry. Of his subject-matter, his facts, ideas, and criticisms, we are generally suspicious; but of his style, sometimes stately and sometimes headlong, now gorgeous as an Oriental dream, now musical as Keats's Endymion, and always, even in the most violent contrasts, showing a harmony between the idea and the expression such as no other English writer, with the possible exception of Newman, has ever rivaled,--say what you will of the marvelous brilliancy of De Quincey's style, you have still only half expressed the truth. It is the style alone which makes these essays immortal.

Life. De Quincey was born in Manchester in 1785. In neither his father, who was a prosperous merchant, nor his mother, who was a quiet, unsympathetic woman, do we see any suggestion of the son's almost uncanny genius. As a child he was given to dreams, more vivid and intense but less beautiful than those of the young Blake to whom he bears a strong resemblance. In the grammar school at Bath he displayed astonishing ability, and acquired Greek and Latin with a rapidity that frightened his slow tutors. At fifteen he not only read Greek, but spoke it fluently; and one of his astounded teachers remarked, "That boy could harangue an Athenian mob better than you or I could address an English one." From the grammar school at Manchester, whither he was sent in 1800, he soon ran away, finding the instruction far below his abilities, and the rough life absolutely intolerable to his sensitive nature. An uncle, just home from India, interceded for the boy lest he be sent back to the school, which he hated; and with an allowance of a guinea a week he started a career of vagrancy, much like that of Goldsmith, living on the open hills, in the huts of shepherds and charcoal burners, in the tents of gypsies, wherever fancy led him. His fear of the Manchester school finally led him to run away to London, where, without money or friends, his life was even more extraordinary than his gypsy wanderings. The details of this vagrancy are best learned in his Confessions of an English Opium-Eater, where we meet not simply the facts of his life, but also the confusion of dreams and fancies in the midst of which he wandered like a man lost on the mountains, with storm clouds under his feet hiding the familiar earth. After a year of vagrancy and starvation he was found by his family and allowed to go to Oxford, where his career was marked by the most brilliant and erratic scholarship. When ready for a degree, in 1807, he passed his written tests successfully, but felt a sudden terror at the thought of the oral examination and disappeared from the university, never to return.

Illustration: THOMAS DE QUINCEY
THOMAS DE QUINCEY

It was in Oxford that De Quincey began the use of opium; to relieve the pains of neuralgia, and the habit increased until he was an almost hopeless slave to the drug. Only his extraordinary will power enabled him to break away from the habit, after some thirty years of misery. Some peculiarity of his delicate constitution enabled De Quincey to take enormous quantities of opium, enough to kill several ordinary men; and it was largely opium, working upon a sensitive imagination, which produced his gorgeous dreams, broken by intervals of weakness and profound depression. For twenty years he resided at Grasmere in the companionship of the Lake poets; and here, led by the loss of his small fortune, he began to write, with the idea of supporting his family. In 1821 he published his first famous work, the Confessions of an English Opium-Eater, and for nearly forty years afterwards he wrote industriously, contributing to various magazines an astonishing number of essays on a great variety of subjects. Without thought of literary fame, he contributed these articles anonymously; but fortunately, in 1853, he began to collect his own works, and the last of fourteen volumes was published just after his death.

In 1830, led by his connection with Blackwood's Magazine, to which he was the chief contributor, De Quincey removed with his family to Edinburgh, where his erratic genius and his singularly childlike ways produced enough amusing anecdotes to fill a volume. He would take a room in some place unknown to his friends and family; would live in it for a few years, until he had filled it, even to the bath tub, with books and with his own chaotic manuscripts, allowing no one to enter or disturb his den; and then, when the place became too crowded, he would lock the door and go away and take another lodging, where he repeated the same extraordinary performance. He died in Edinburgh in 1859. Like Lamb, he was a small, boyish figure, gentle, and elaborately courteous. Though excessively shy, and escaping as often as possible to solitude, he was nevertheless fond of society, and his wide knowledge and vivid imagination made his conversations almost as prized as those of his friend Coleridge.

Works. De