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　　LETTER 81

　　CHARLES LAMB TO WILLIAM WORDSWORTH

　　[P.M. January 30, 1801.]

　　Thanks for your Letter and Present. I had already borrowed your second volume. What most please me are, the Song of Lucy…. Simon's sickly daughter in the Sexton made me cry. Next to these are the description of the continuous Echoes in the story of Joanna's laugh, where the mountains and all the scenery absolutely seem alive—and that fine Shakesperian character of the Happy Man, in the Brothers,

　　—that creeps about the fields,

　　Following his fancies by the hour, to bring

　　Tears down his cheek, or solitary smiles

　　Into his face, until the Setting Sun

　　Write Fool upon his forehead.

　　I will mention one more: the delicate and curious feeling in the wish for the Cumberland Beggar, that he may have about him the melody of Birds, altho' he hear them not. Here the mind knowingly passes a fiction upon herself, first substituting her own feelings for the Beggar's, and, in the same breath detecting the fallacy, will not part with the wish.—The Poet's Epitaph is disfigured, to my taste by the vulgar satire upon parsons and lawyers in the beginning, and the coarse epithet of pin point in the 6th stanza. All the rest is eminently good, and your own. I will just add that it appears to me a fault in the Beggar, that the instructions conveyed in it are too direct and like a lecture: they don't slide into the mind of the reader, while he is imagining no such matter. An intelligent reader finds a sort of insult in being told, I will teach you how to think upon this subject. This fault, if I am right, is in a ten-thousandth worse degree to be found in Sterne and many many novelists & modern poets, who continually put a sign post up to shew where you are to feel. They set out with assuming their readers to be stupid. Very different from Robinson Crusoe, the Vicar of Wakefield, Roderick Random, and other beautiful bare narratives. There is implied an unwritten compact between Author and reader; I will tell you a story, and I suppose you will understand it. Modern novels "St. Leons" and the like are full of such flowers as these "Let not my reader suppose," "Imagine, if you can"—modest!—&c.—I will here have done with praise and blame. I have written so much, only that you may not think I have passed over your book without observation,—I am sorry that Coleridge has christened his Ancient Marinere "a poet's Reverie"—it is as bad as Bottom the Weaver's declaration that he is not a Lion but only the scenical representation of a Lion. What new idea is gained by this Title, but one subversive of all credit, which the tale should force upon us, of its truth? For me, I was never so affected with any human Tale. After first reading it, I was totally possessed with it for many days—I dislike all the miraculous part of it, but the feelings of the man under the operation of such scenery dragged me along like Tom Piper's magic whistle. I totally differ from your idea that the Marinere should have had a character and profession. This is a Beauty in Gulliver's Travels, where the mind is kept in a placid state of little wonderments; but the Ancient Marinere undergoes such Trials, as overwhelm and bury all individuality or memory of what he was, like the state of a man in a Bad dream, one terrible peculiarity of which is: that all consciousness of personality is gone. Your other observation is I think as well a little unfounded: the Marinere from being conversant in supernatural events has acquired a supernatural and strange cast of phrase, eye, appearance, &c. which frighten the wedding guest. You will excuse my remarks, because I am hurt and vexed that you should think it necessary, with a prose apology, to open the eyes of dead men that cannot see. To sum up a general opinion of the second vol.—I do not feel any one poem in it so forcibly as the Ancient Marinere, the Mad Mother, and the Lines at Tintern Abbey in the first.—I could, too, have wished the Critical preface had appeared in a separate treatise. All its dogmas are true and just, and most of them new, as criticism. But they associate a diminishing idea with the Poems which follow, as having been written for Experiment on the public taste, more than having sprung (as they must have done) from living and daily circumstances.—I am prolix, because I am gratifyed in the opportunity of writing to you, and I don't well know when to leave off. I ought before this to have reply'd to your very kind invitation into Cumberland. With you and your Sister I could gang any where. But I am afraid whether I shall ever be able to afford so desperate a Journey.

　　Separate from the pleasure of your company, I don't much care if I never see a mountain in my life. I have passed all my days in London, until I have formed as many and intense local attachments, as any of you mountaineers can have done with dead nature. The Lighted shops of the Strand and Fleet Street, the innumerable trades, tradesmen and customers, coaches, waggons, playhouses, all the bustle and wickedness round about Covent Garden, the very women of the Town, the Watchmen, drunken scenes, rattles,—life awake, if you awake, at all hours of the night, the impossibility of being dull in Fleet Street, the crowds, the very dirt & mud, the Sun shining upon houses and pavements, the print shops, the old book stalls, parsons cheap'ning books, coffee houses, steams of soups from kitchens, the pantomimes, London itself a pantomime and a masquerade,—all these things work themselves into my mind and feed me, without a power of satiating me. The wonder of these sights impells me into night-walks about her crowded streets, and I often shed tears in the motley Strand from fulness of joy at so much Life.—All these emotions must be strange to you. So are your rural emotions to me. But consider, what must I have been doing all my life, not to have lent great portions of my heart with usury to such scenes?—

　　My attachments are all local, purely local. I have no passion (or have had none since I was in love, and then it was the spurious engendering of poetry & books) to groves and vallies. The rooms where I was born, the furniture which has been before my eyes all my life, a book case which has followed me about (like a faithful dog, only exceeding him in knowledge) wherever I have moved—old chairs, old tables, streets, squares, where I have sunned myself, my old school,—these are my mistresses. Have I not enough, without your mountains? I do not envy you. I should pity you, did I not know, that the Mind will make friends of any thing. Your sun & moon and skys and hills & lakes affect me no more, or scarcely come to me in more venerable characters, than as a gilded room with tapestry and tapers, where I might live with handsome visible objects. I consider the clouds above me but as a roof, beautifully painted but unable to satisfy the mind, and at last, like the pictures of the apartment of a connoisseur, unable to afford him any longer a pleasure. So fading upon me, from disuse, have been the Beauties of Nature, as they have been confinedly called; so ever fresh & green and warm are all the inventions of men and assemblies of men in this great city. I should certainly have laughed with dear Joanna.

　　Give my kindest love, and my sister's, to D. & your_self_ and a kiss from me to little Barbara Lewthwaite.

　　C. LAMB.

　　Thank you for Liking my Play!!

　　[This is the first—and perhaps the finest—letter from Lamb to Wordsworth that has been preserved. Wordsworth, then living with his sister Dorothy at Dove Cottage, Grasmere, was nearly thirty-one years of age; Lamb was nearly twenty-six. The work criticised is the second edition of the Lyrical Ballads. The second and sixth stanzas of the "Poet's Epitaph" ran thus:—

　　A Lawyer art thou?—draw not nigh;

　　Go, carry to some other place

　　The hardness of thy coward eye,

　　The falshood of thy sallow face.

　　Wrapp'd closely in thy sensual fleece

　　O turn aside, and take, I pray,

　　That he below may rest in peace,

　　Thy pin-point of a soul away!

　　St. Leon was by Godwin.

　　Of "The Ancient Mariner, a Poet's Reverie," Wordsworth had said in a note to the first volume of Lyrical Ballads:—

　　"The Poem of my Friend has indeed great defects; first, that the principal person has no distinct character, either in his profession of Mariner, or as a human being who having been long under the controul of supernatural impressions might be supposed himself to partake of something supernatural; secondly, that he does not act, but is continually acted upon; thirdly, that the events having no necessary connection do not produce each other; and lastly, that the imagery is somewhat too laboriously accumulated."

　　"The Mad Mother." The poem beginning, "Her eyes are wild, her head is bare."

　　"I could, too, have wished." The passage from these words to "don't well

　　know when to leave off," used to be omitted in the editions of Lamb's

　　Letters. When Wordsworth sent the correspondence to Moxon, for

　　Talfourd's use, in 1835, he wrote:—

　　"There are, however, in them some parts which had better be kept back…. I have also thought it proper to suppress every word of criticism [Wordsworth meant adverse criticism] upon my own poems…. Those relating to my works are withheld, partly because I shrink from the thought of assisting in any way to spread my own praises, and still more I being convinced that the opinions or judgments of friends given in this way are of little value."

　　"Joanna." Joanna of the laugh. "Barbara Lewthwaite." See Wordsworth's

　　"Pet Lamb."

　　"Thank you for Liking my Play!!" We must suppose this postscript to contain a touch of sarcasm. Lamb had sent "John Woodvil" to Grasmere and Keswick. Wordsworth apparently had been but politely interested in it. Coleridge had written to Godwin: "Talking of tragedies, at every perusal my love and admiration of his [Lamb's] play rises a peg."

　　Here should come a letter from Lamb to Robert Lloyd, dated at end February 7, 1801, not available for this edition. It is one of the best letters written by Lamb to Robert Lloyd, or to any one. Lamb first praises Izaak Walton, whose Compleat Angler he loved for two reasons: for itself and for its connection with his own Hertfordshire country, Hoddesdon, Broxbourne, Amwell and the Ware neighbourhood. The letter passes to a third eulogy of London. Lamb closes by remarking that Manning is "a dainty chiel, and a man of great power, an enchanter almost."] The Works of Charles and Mary Lamb — Volume 5