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Page 272. XVI.—THAT A SULKY TEMPER IS A Misfortune.
New Monthly Magazine, September, 1826.

This was the last of the series and Lamb's last contribution to the New Monthly Magazine.

Page 273, line 19. velation x. Page 274, at foot. Noble patient in Argos. For "Argos" Lamb wrote "Horace" in the magazine. The reference is to Epistles, II., 2, lines 129-140, which describe the Argive gentleman, "who imagined that he was at a performance by tragic actors, and quite contented would sit in the empty theatre and applaud." He was cured with hellebore, whereupon he exclaimed: "By Pollux, my friend, you may have cured me, but you have killed me too; for you have delivered me from

Mysterious book in the Apocalypse. See Re

a great joy and robbed my soul of its pleasantest illusion.”


Page 279. ON SOME OF THE Old Actors, ETC.

See notes to the essays "On Some of the Old Actors," "The Artificial Comedy" and "The Acting of Munden," pages 392 to 399. Two portions of these essays, not reprinted by Lamb, call for comment: the story of the first night of "Antonio,' on pages 291-294, and the account of Charles Mathews' collection of pictures, on page 294.

Page 291, line 27. Opium pills. Referring to George Colman's attack on Kemble for failing to make a mark in Sir Edward Mortimer in "The Iron Chest," produced in 1796.

Page 291, line 36. "Fair in Otway..." ." From Pope's "Imitations of Horace," II., Epistle 1.

Page 291, line 40. My friend G.'s "Antonio." William Godwin's tragedy, produced on December 13, 1800, at Drury Lane. Lamb had written the epilogue (see Vol. V., page 121). Compare the letter to Manning of December 16, 1800.

Page 292, line 32. M. wiped his cheek. Writing to Godwin after the failure Lamb says: "The breast of Hecuba, where she did suckle Hector, looked not to be more lovely than Marshal's forehead when it spit forth sweat, at Critic-swords contending. I remember two honest lines by Marvel . . .

'Where every Mower's wholesome heat
Smells like an Alexander's sweat.'

And again, to Manning: "His [Marshal's] face was lengthened, and all over perspiration; I never saw such a care-fraught visage; I could have hugged him, I loved him so intensely. 'From every pore of him a perfume fell.'" The first quotation is from "Coriolanus," Act I., Scene 3, lines 43-46:

the breasts of Hecuba,

When she did suckle Hector, look'd not lovelier

Than Hector's forehead when it spit forth blood
At Grecian sword, contemning.

Some editions have "contending." The second is from Lee's "Rival
Queens," Act I., Scene 3, line 44.

Page 293, line 1.

Rs the dramatist. I imagine this to be Frederic Reynolds (1764-1841), author of "The Dramatist" and many other plays. We know Lamb to have known him later, from a mention in a letter to J. B. Dibdin.

Page 293, line 14. "First knew fear."

Then Satan first knew pain.

Paradise Lost, VI., line 327.

Page 293, at foot. Brutus... Appius. Brutus in "Julius Cæsar," or possibly in the play called "Brutus," by John Howard Payne, Lamb's friend (produced December 3, 1818), in which Brutus kills his son-a closer parallel. Appius was probably a slip of the pen for Virginius, who in Sheridan Knowles' drama that bears his name kills his daughter to protect her from Appius.



Page 294, line 6. G. thenceforward. Godwin did, however, write another play, Faulkener," for which Lamb wrote the prologue. was moderately successful.

Page 294, line 13. I do not know, etc. The paragraph beginning with these words is often printed by editors of Lamb as a separate article entitled "The Old Actors." Charles Mathews' collection of theatrical portraits is now in the Garrick Club. In his lifetime it occupied the gallery at Ivy Lodge, Highgate (or more properly Kentish town). A year or so before Mathews' death in 1835, his pictures were exhibited at the Queen's Bazaar in Oxford Street, Lamb's remarks being printed in the catalogue raisonné.

In the notes that follow I have not given particulars of the old actors whom Lamb merely enumerates, but have explained only certain allusions.

Page 294, line 16. by John O'Keeffe. Page 294, line 28.

Peeping Tom. "Peeping Tom of Coventry,"

Brinsley's famous comedy. "The School for

Lord Townley. In "The Provoked Husband,"

Scandal," by Richard Brinsley Sheridan.
Page 294, line 36.
by Vanbrugh and Cibber.

Page 294, line 38.

Kitely. In Ben Jonson's "Every Man in his

Page 294, last line. Retired Dioclesian. John Quick (1748-1881), the comedian, who had retired to Hornsey Row (afterwards Will's Row), Islington, where possibly, like the ex-Roman emperor, he cultivated his garden.

Page 295, line 7. "Drown an eye. Sonnet XXX., line 5 :

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Then can I drown an eye, unused to flow.

Page 295, line 12. Lady Quakeress . . .

Young Quakers," by O'Keeffe.

From Shakespeare,

of O'Keefe. In "The

Page 295, line 15.

Churchill's compliment. Charles Churchill (1731-1764), wrote in The Rosciad (1761), lines 695 to 702 :—

With all the native vigour of sixteen,
Among the merry troop conspicuous seen,
See lively Pope advance in jig, and trip
Corinna, Cherry, Honeycomb and Snip :
Not without art, but yet to Nature true,

She charms the town with humour just, yet new:
Cheer'd by her promise, we the loss deplore
The fatal time when Clive shall be no more.

Page 295, line 18. Lady Loverule. In "The Devil to Pay," by Charles Coffey. Also in "The Merry Cobler," the second part of the same play.

Page 295, line 20. Two Antics. These were Suett and Munden, eulogies of whom (see pages 138 and 148) followed this introduction in the London Magazine.



Accountants, Lamb on, 2.
Actors and acting, Lamb's essays on,
132, 141, 148, 163, 166, 168, 202, 279,
285, 294.

Actors among Lamb's friends, 204.
Adams, Parson, 43, 342.

Agar's wish, 314.

Aguecheek, Lamb on, 136.

Ainger, Canon, his notes on Lamb, 309,
319, 333, 366, 369, 378, 396, 400, 451,

Albion, The, and Lamb, 224, 440, 444.
Alice W, 28, 38, 101, 102, 301, 335, 377.
ALL FOOLS' DAY, 42, 341.

Allen, Bob, 22, 223, 323, 444.

Allsop, Thomas, quoting Lamb, 326.



Roast Pig," 389.

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Anatomy and love, 56.

Anatomy of Melancholy quoted, 40.
André, Major, 209, 432.

Anna Matilda, 459.

Antiquity, Lamb on, 9.

"Antonio," by Godwin, 291, 461.
Arcadia, The, by Sidney, 213, 436.
Arrowsmith, Aaron, 346.
"Artaxerxes," 98, 375.

Artificial comedy, Lamb's essay on, 141,

Artists, their want of imagination, 226.
Arundel Castle and the chimney-sweep
legend, 112.

Athenæum, The, Lamb's contribution to,

Athenian Oracle, The, 267, 459.

Australia, Lamb on, 107.

Ayrton, William, 333, 335.

VOL. II.-30




Baldwin, Cradock & Joy, 302.
Bannister, Jack, 139, 163, 394, 411.
BARBARA S., 202, 429.
Barker's book-shop, 249, 454.

MODERN ARt, 226, 446.
Barrington, Daines, 89, 369.
Bartholomew Fair, 112, 382.

Barton, Bernard, Lamb's letters to, 303,
407, 425, 428, 447, 458, 459.
his sonnet to Elia, 404.
Thomas, 89, 369.

Baskett prayer-book, 8.
Battle, Mrs., 32, 155, 408.

on whist, 32.

her identity, 333.

Beaumont and Fletcher, Lamb's copy,


Beauty, Lamb on, 259.


'Beggars' Petition," 387.

Begging, Lamb's essay on, 114, 383.
Belisarius, 115, 384.

"Belshazzar's Feast," Martin's picture
of, 229, 447.

Benchers, The Old, Lamb's essay on,

Bensley, Robert, 133, 282, 393.
Betty, Master, 418.

Bigod, Ralph, Lamb's name for Fenwick,
23, 325.
Billet, John, 162.

Binding, Lamb on, 416.

Blackwood's Magazine on Lamb, 323.
and Scott, 302.

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Blake, William, and Lamb, 381.
Blakesware near Widford, 100, 153, 377,


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