Chapter XXIX: Act II: SCENE.--At Flint's (6)

[Footnote 36: Lamb drew his pen through the four concluding lines, and wrote in the margin "_very_ bad."]

_Simon_. A melancholy catastrophe. For my part I shall never die for love, being as I am, too general-contemplative for the narrow passion. I am in some sort a general lover.

_Margaret_. In the name of the Boy-god who plays at blind man's buff with the Muses, and cares not whom he catches; what is it you love?

And so on until the end of Simon's famous description of the delights of forest life [page 173]. To this

_Margaret_ (_smiling_). And afterwards them paint in simile.

(_To Sir Walter._) I had some foolish questions to put concerning your son, Sir.--Was John so early valiant as hath been reported? I have heard some legends of him.

_Sir Walter_. You shall not call them so. Report, in most things superfluous, in many things altogether an inventress, hath been but too modest in the delivery of John's true stories.

_Margaret_. Proceed, Sir.

_Sir Walter_. I saw him on the day of Naseby Fight--
To which he came at twice seven years,
Under the discipline of the Lord Ashley,
His uncle by the mother's side,
Who gave his early principles a bent
Quite from the politics of his father's house.

_Margaret_. I have heard so much.

_Sir Walter_. There did I see this valiant Lamb of Mars,
This sprig of honour, this unbearded John,
This veteran in green years, this sprout, this Woodvil,
With dreadless ease, guiding a fire-hot steed
Which seem'd to scorn the manage of a boy,
Prick forth with such an ease into the field
To mingle rivalship and deeds of wrath
Even with the sinewy masters of the art[37]!
The rough fanatic and blood-practis'd soldiery
Seeing such hope and virtue in the boy,
Disclosed their ranks to let him pass unhurt,
Checking their swords' uncivil injuries
As both to mar that curious workmanship
Of valour's beauty in his youthful face.

_Simon_. Mistress Margaret will have need of some refreshment, etc.

Lamb has drawn his pen through this passage, and marked it "bad or dubious."

[Footnote 37: Some lines intervene here in the letter to Southey of January 21, 1799, which are not in the MS.]

At the beginning of the fourth act John Woodvil's soliloquy is broken in upon by Sandford. He has just told himself [page 186] that

Some, the most resolved fools of all,
Have told their dearest secrets in their cups,

when

_Enter Sandford in haste._

_Sandford_. O Sir, you have not told them anything?

_John_. Told whom, Sandford?

_Sandford_. Mr. Lovel or Mr. Gray, anything concerning your father?

_John_. Are they not my friends, Sandford?

_Sandford_. Your friends! Lord help you, they your friends! They were no better than two Court spies set on to get the secret out of you. I have just discovered in time all their practices.

_John_. But I have told one of them.

_Sandford_. God forbid, God forbid!

_John_. How do you know them to be what you said they were?

_Sandford_. Good God!

_John_. Tell me, Sandford, my good Sandford, your master begs it of you.

_Sandford_. I cannot speak to you. [_Goes out, John following him._]

Scene the Second. The forest.

This forest scene has been greatly altered. When Gray has said [page 188], "'Tis a brave youth," etc., there follows:--

_Sir Walter_. Why should I live any longer? There is my sword (_surrendering_). Son John, 'tis thou hast brought this disgrace upon us all.

_Simon_. Father, why do you cover your face with your hands? Why do you draw your breath so hard? See, villains, his heart is burst! O villains, he cannot speak! One of you run for some water; quick, ye musty rogues: will ye have your throats cut? [_They both slink off._] How is it with you, father? Look up, Sir Walter, the villains are gone.

"He hears" [page 188], down to "_Bears in the body_" [page 188], of the print is not in the MS., which goes on thus:--

_Sir Walter_. Barely a minute's breath is left me now,
Which must be spent in charity by me,
And, Simon, as you prize my dying words,
I charge you with your brother live in peace
And be my messenger,
To bear my message to the unhappy boy,
For certain his intent was short of my death.

_Simon_. I hope as much, father.

_Sir Walter_. Tell him I send it with my parting prayer,
And you must fall upon his neck and weep,
And teach him pray, and love your brother John,
For you two now are left in the wide world
The sole survivors of the Woodvil name.
Bless you, my sons-- [_Dies._]

_Simon._ My father's soul is fled.
And now, my trusty servant, my sword,
One labour yet, my sword, then sleep for ever.
Drink up the poor dregs left of Woodvil's name
And fill the measure of our house's crimes.
How nature sickens,
To view her customary bands so snapt
When Love's sweet fires go out in blood of kin,
And natural regards have left the earth.

Scene changes to another part of the forest.

_Margaret (alone)._
They are gone to bear the body to the town,
It was an error merely and no crime.

And so to the end of her long speech as printed [page 189].

At this point in the MS. comes in "the hodge-podge of German puerilities" (see the letter to Manning, February 15, 1802), the sacrifice of which so discontented Manning, who evidently considered the "supplementary scene" (closing the fourth act, [pages 189 to 191]), as Lamb called it, a poor substitute.

Scene changes to Woodvil Hall.

_John reading a letter by scraps--A Servant attending._

"An event beyond the possible reach of foresight. 'Tis thought the deep disgrace of supposed treachery in you o'ercame him. His heart brake. You will acquit yourself of worse crimes than indiscretion. My remorse must end with life.

"Your quondam companion and penitent for the wrong he has done ye.

"GRAY.

"_Postscript._--The old man being unhappily removed, the young man's advancement henceforth will find no impediment."

_John._ Impediment indeed there now is none:
For all has happened that my soul presag'd.
What hinders, but I enter in forthwith
And take possession of my crowned state?
For thy advancement, Woodvil, is no less;
To be a King, a King.
I hear the shoutings of the under-world,
I hear the unlawful accents of their mirth,
The fiends do shout and clap their hands for joy,
That Woodvil is proclaim'd the Prince of Hell.
They place a burning crown upon my head,
I hear it hissing now, [_Puts his hand to his forehead._]
And feel the snakes about my mortal brain.
[_Sinks in a swoon, is caught in the arms of a servant._]

Scene. A Courtyard before Woodvil Hall.

Sandford. Margaret (as just arrived from a journey).

_Margaret._ Can I see him to-night?

_Sandford._ I think ye had better stay till the morning:
he will be more calm.

_Margaret._ You say he gets no sleep?

_Sandford._ He hath not slept since Sir Walter died. I have sat up with him these two nights. Francis takes my place to-night--O! Mistress Margaret, are not the witch's words come true--"All that we feared and worse"? Go in and change your garments, you have travelled hard and want rest.

_Margaret._ I will go to bed. You will promise I shall see him in the morning.

_Sandford._ You will sleep in your old chamber?

_Margaret._ The Tapestry room: yes. Pray get me a light. A good night to us all.

_Sandford._ Amen, say I. [_They go in._]

Scene. The Servants' Hall.

Daniel, Peter and Robert.

_Daniel._ Are we all of one mind, fellows? He that lov'd his old master, speak. Shall we quit his son's service for a better? Is it aye, or no?

_Peter._ For my part, I am afraid to go to bed to-night.

_Robert._ For certain, young Master's indiscretion was that which broke his heart.

_Peter._ Who sits up with him to-night?

_Robert._ Francis.

_Peter._ Lord! what a conscience he must have, that he cannot sleep alone.

_Robert._ They say he is troubled with the Night-mare.

_Daniel._ Here he comes, let us go away as fast as we can.

_Enter John Woodvil and Francis._ [_They run out._]

_John._ I lay me down to get a little sleep,
And just when I began to close my eyes,
My eyes heavy to sleep, it comes.

_Francis._ What comes?

_John._ I can remember when a child the maids[38]
Would place me on their lap, as they undrest me,
As silly women use, and tell me stories
Of Witches--Make me read "Glanvil on Witchcraft,"
And in conclusion show me in the Bible,
The old Family-Bible with the pictures in it,
The 'graving of the Witch raising up Samuel,
Which so possest my fancy, being a child,
That nightly in my dreams an old Hag came
And sat upon my pillow.
I am relapsing into infancy,--
And shortly I shall dote--for would you think it?
The Hag has come again. Spite of my manhood,
The Witch is strong upon me every night.
[_Walks to and fro, then as if recollecting something._]
What said'st thou, Francis, as I stood in the passage?
Something of a Father:
The word is ringing in my ears now--

[Footnote 38: Twice afterwards Lamb returned to this episode--in "The Witch Aunt" in story _Mrs. Leicester's School_ (see Vol. III.), and in "Witches and other Night Fears," in _Elia_ (see Vol. II. 9).]

_Francis_. I remember, one of the servants, Sir, would pass a few days with his father at Leicester. The poor old man lies on his deathbed, and has exprest a desire to see his son before he dies. But none cared to break the matter to you.

_John_. Send the man here. [_Francis goes out_.]
My very servants shun my company.
I held my purse to a beggar yesterday
Who lay and bask'd his sores in the hot sun,
And the gaunt pauper did refuse my alms.

_Francis returns with Robert_.

_John_. Come hither, Robert. What is the poor man ailing?

_Robert_. Please your honour, I fear he has partly perish'd for want of physic. His means are small, and he kept his illness a secret to me not to put me to expenses.

_John_. Good son, he weeps for his father.
Go take the swiftest horse in my stables,
Take Lightfoot or Eclipse--no, Eclipse is lame,
Take Lightfoot then, or Princess[39],
Ride hard all night to Leicester.
And give him money, money, Francis--
The old man must have medicines, cordials,
And broth to keep him warm, and careful nurses.
He must not die for lack of tendance, Robert.

[Footnote 39: Lamb puts his pen through these two lines, and writes across them "miserable bad."]

_Robert_. God bless your honour for your kindness to my poor father.

_John_. Pray, now make haste. You may chance to come in time.

[_Robert goes out_.]

_John_. Go get some firewood, Francis,
And get my supper ready. [_Francis goes out_.]
The night is bitter cold.
They in their graves feel nothing of the cold,
Or if they do, how dull a cold--
All clayey, clayey. Ah God! who waits below?
Come up, come quick. I saw a fearful sight.

_Francis returns in haste with wood_.

_John_. There are such things as spirits, deny it who may.
Is it you, Francis? Heap the wood on thick,
We two shall sup together, sup all night,
Carouse, drink drunk, and tell the merriest tales--
Tell for a wager, who tells merriest--
But I am very weak. O tears, tears, tears,
I feel your just rebuke. [_Goes out_.]

Scene changes to a bed-room. John sitting alone: a lamp burning by him.

"Infinite torments for finite offences." I will never believe it. How divines can reconcile this monstrous tenet with the spirit of their Theology! They have palpably failed in the proof, for to put the question thus:--If he being infinite--have a care, Woodvil, the latitude of doubting suits not with the humility of thy condition. What good men have believed, may be true, and what they profess to find set down clearly in their scriptures, must have probability in its defence[40]. Touching that other question the Casuists with one consent have pronounced the sober man accountable for the deeds by him in a state of drunkenness committed, because tho' the action indeed be such as he, sober, would never have committed, yet the drunkenness being an act of the will, by a moral fiction, the issues are accounted voluntary also. I lose my sleep in attending to these intricacies of the schoolmen. I lay till daybreak the other morning endeavouring to draw a line of distinction between sin of direct malice and sin of malice indirect, or imputable only by the sequence. My brain is overwrought by these labours, and my faculties will shortly decline into impotence. [_Throws himself on a bed_.]

End of the Fourth Act.

[Footnote 40: Lamb had crossed out this passage from "Infinite torments," and written at "touching" "begin here."]

In the fifth act of the printed play [page 192] we have simply "Margaret enters." In the MS. Sandford prepares his master for her advent, and announces her thus:--

_Sandford_. Wilt please you to see company to-day, Sir?

_John_. Who thinks me worth the visiting?

_Sandford_. One that traveled hard last night to see you, She waits to know your pleasure.

_John_. A lady too! pray send her to me-- Some curiosity, I suppose.

[_Sandford goes out and returns with Margaret_.]

_Margaret_. Woodvil![41]

[Footnote 41: "Woodvil!" and some illegible words struck out, and nothing substituted.]

_John_. Comes Margaret here, etc.

When, a page further on [page 194], John has declared to Margaret that

This earth holds not alive so poor a thing as I am--
I was not always thus,

the MS. went on (but the passage is struck out as "bad"):--

You must bear with me, Margaret, as a child,
For I am weak as tender Infancy
And cannot bear rebuke--
Would'st think it, Love!
They hoot and spit upon me as I pass
In the public streets: one shows me to his neighbour,
Who shakes his head and turns away with horror--
I was not always thus--

_Margaret_. Thou noble nature, etc.

The next scene--the last [page l95]--is much cut about. The long speech of Margaret beginning,

To give you in your stead a better self,

and John's reply [both printed at pages 196-7], are struck out, and "Nimis" written by Lamb's pen in large characters in the margin; but after that all goes on in harmony with the print, to the end:--

It seem'd the guilt of blood was passing from me
Even in the act and agony of tears
And all my sins forgiven.
At this point in the MS. Simon arrives:--

[_A noise is heard as of one without, clamorous to come in_.]

_Margaret_. 'Tis your brother Simon, John.

_Enter Simon, with his sword in a menacing posture, John staggers towards him and falls at his feet, Margaret standing over him._

_Simon_. Is this the man I came so far to see--
The perfect Cavalier, the finish'd courtier
Whom Ladies lov'd, the gallant curled Woodvil,
Whom brave men fear'd, the valiant, fighting Woodvil,
The haughty high-ambitioned Parricide--
The same that sold his father's secret in his cups,
And held it but an after-dinner's trick?--
So humble and in tears, a crestfallen penitent,
And crawling at a younger brother's feet!
The sinews of my [_stiff_] revenge grow slack.
My brother, speak to me, my brother John.
(_Aside_) Now this is better than the beastly deed
Which I did meditate.

_John (rising and resuming his old dignity)_. You come to take my life,
I know it well.
You come to fight with me--[_Laying his hand upon his sword_.]
This arm was busy on the day of Naseby:
'Tis paralytic now, and knows no use of weapons.
The luck is yours, Sir. [_Surrenders his sword_.]

_Simon_. My errand is of peace:
A dying father's blessing and lost prayers
For his misguided son.
Sir Walter sends it with his parting breath.
He bade me with my brother live in peace,
He bade me fall upon his neck and weep,
(As I now do) and love my brother John;
For we are only left in the wide world
The poor survivors of the Woodvil name. [_They embrace_.]

_Simon_. And Margaret here shall witness our atonement--
(For Margaret still hath followed all your fortunes).
And she shall dry thy tears and teach thee pray.
So we'll together seek some foreign land,
Where our sad story, John, shall never reach.

_End of "Pride's Cure" and Charles Lamb's Dramatic Works!!_

After all this [Mr. Campbell adds finally] is the reader prepared to think Manning altogether wrong and Lamb altogether right as to what was done in the process of transforming Pride's Cure into _John Woodvil_?

The version of 1818 here printed differs practically only in minor matters of typography and punctuation from that of 1802. There are, however, a few alterations which should be noted. On page 176, in John's first speech, "fermentations" was, in 1802, "stimuli." On page 178, in the speech of the Third Gentleman, there is a change. In 1802 he said "(_dashing his glass down_) Pshaw, damn these acorn cups, they would not drench a fairy. Who shall pledge," &c. And at the end of Act III, one line is omitted. In 1802 John was made to say, after disarming Lovel (page 186):--

Still have the will without the power to execute,
As unfear'd Eunuchs meditate a rape.

This simile, which one reviewer fell upon with some violence, was not reprinted.

Mr. Thomas Hutchinson, writing in The Athenceum, December 28, 1901, remarks: "The truth is that in Lamb's imitations of the elder writers 'anachronistic improprieties' (as Thomas Warton would say) are exceedingly rare. In _John Woodvil_ it would not, I think, be easy to discover more than two: _caprice_, which, in the sense of 'a capricious disposition,' seems to belong to the eighteenth century, and _anecdotes_ (i.e., 'secret Court history'), which, in its English form at least, probably does not occur much before 1686."

This note is already too long, or I should like to say something of the reception of _John Woodvil_, which was not cordial. The _Annual Review_ was particularly severe, and the _Edinburgh_ caustic.

* * * * *

Page 109. "THE WITCH."

In the _Works_, 1818, this dramatic sketch followed _John Woodvil_.

Lamb sent "The Witch" to Robert Lloyd in November, 1798 (see _Charles Lamb and the Lloyds_, page 91), in a version differing widely from that of the _Works_ here given. The speakers are Sir Walter Woodvil's steward and Margaret. The principal variation is this, after the curse:--

_Margaret_. A terrible curse!

_Old Steward_. O Lady! such bad things are said of that old woman,
You would be loth to hear them!
Namely, that the milk she gave was sour,
And the babe, who suck'd her, shrivell'd like a mandrake,
And things besides, with a bigger horror in them,
Almost, I think, unlawful to be told!

In the penultimate line "The mystery of God" was "Creation's beauteous workmanship."

* * * * *

Page 202. "MR. H----."

Lamb composed this farce in the winter 1805-1806. Writing to Hazlitt on February 19, 1806, he says: "Have taken a room at 3s. a week to be in between 5 and 8 at night, to avoid my _nocturnal_ alias _knock-eternal_ visitors. The first-fruits of my retirement has been a farce which goes to manager tomorrow." Mary Lamb, writing to Sarah Stoddart at about the same time, says: "Charles is gone [to the lodging] to finish the farce, and I am to hear it read this night. I am so uneasy between my hopes and fears of how I shall like it, that I do not know what I am doing." The next day or so, February 21, she says that she liked the farce "very much, and cannot help having great hopes of its success"--stating that she has carried it to Mr. Wroughton at Drury Lane.

The reply came on June n, 1806, saying that the farce was accepted, subject to a few alterations, and would be produced in due course (see Lamb's letter to Wordsworth, written in "wantonness of triumph," of June 26). Mary Lamb, writing to Sarah Stoddart, probably in October, 1806, says that

Charles took an emendated copy of his farce to Mr. Wroughton, the
Manager, yesterday. Mr. Wroughton was very friendly to him, and
expressed high approbation of the farce; but there are two, he tells
him, to come out before it.... We are pretty well, and in fresh
hopes about this farce.

Lamb tells Manning about it, on December 5, adding after an outline of the plot:--"That's the idea--how flat it is here--but how whimsical in the farce!" Later he says: "I shall get £200 from the theatre if 'Mr. H----' has a good run, and, I hope, £100 for the copyright. Nothing if it fails; and there never was a more ticklish thing. The whole depends on the manner in which the name is brought out, which I value myself on, as a _chef-d'oeuvre_." And a little later still: "N.B. If my little thing don't succeed, I shall easily survive."

"Mr. H----" was produced on December 10, 1806. The play-bill for the night ran thus:--

Theatre Royal, Drury-Lane
This present Wednesday, December 10, 1806
Their Majesties Servants will act the Operatic Drama of
The Travellers;
Or, Music's Fascination
[&c. &c.]
After which will be produced (Never Acted) a new Farce, in Two acts,
called,
Mr. H----
The Characters by
Mr. Elliston
Mr. Wewitzer, Mr. Hartley, Mr. Penley, Mr. Purser
Mr. Carles, Mr. Cooke, Mr. Fisher, Mr. Placide, Mr. Webb
Miss Mellon, Mrs. Sparks
Miss Tidswell, Mrs. Harlowe
Mrs. Scott, Mrs. Maddocks, Miss Sanders
The Prologue to be spoken by Mr. Elliston
[&c., &c.]

According to Mrs. Baron-Wilson's _Memoirs of (Miss Mellon) Harriet, Duchess of St. Albans_, Lamb was allowed to cast "Mr. H----" himself. Miss Mellon played the heroine.

The Lambs sat near the orchestra with Hazlitt and Crabb Robinson, and the house was well salted with friendly clerks from the East India House and the South-Sea House. The prologue went capitally; and all was well with the play until the name of Hogsflesh was pronounced. Then disapproval set in in a storm of hisses, in which, Crabb Robinson tells us, Lamb joined heartily, standing on his seat to do so.

In a report of the first night of "Mr. H----" in _Monthly Literary Recreations_ for December, 1806, we read that on the secret of the name being made public "all interest vanished, the audience were disgusted, and the farce went on to its very conclusion almost unheard, amidst the contending clamours of 'Silence,' 'Hear! hear!' and 'Off! off! off!'"

Writing to Wordsworth on the next day Lamb told the story:--"Mr. H---- came out last night and failed. I had many fears; the subject was not substantial enough. John Bull must have solider fare than a _Letter_. We are pretty stout about it, have had plenty of condoling friends, but after all, we had rather it should have succeeded. You will see the Prologue in most of the Morning Papers. It was received with such shouts as I never witness'd to a Prologue. It was attempted to be encored. How hard! a thing I did merely as a task, because it was wanted--and set no great store by; and Mr. H.!! The quantity of friends we had in the house my brother and I being in Public Offices &c. was astonishing--but they yielded at length to a few hisses--"a hundred hisses--damn the word, I write it like kisses--how different--a hundred hisses outweigh 1000 claps. The former come more directly from the Heart. Well, 'tis withdrawn and there is an end. Better Luck to us."

Writing to Sarah Stoddart, Lamb put the case thus:--"Mary is a little cut at the ill success of 'Mr. H.,' which came out last night, and _failed_. I know you'll be sorry, but never mind. We are determined not to be cast down. I am going to leave off tobacco, and then we must thrive. A smoking man must write smoky farces." Thereafter Lamb's attitude to "Mr. H----" was always one of humorous resignation.

Lamb should have chosen a better, by which I mean a worse, name than Hogsflesh. As a matter of fact a great number of persons had become quite accustomed to the asperities of Hogsflesh, not only from the famous cricketer of that name, one of the pioneers of the game, but also from the innkeeper at Worthing. Indeed an old rhyme current at the end of the eighteenth century anticipated some of Lamb's humour, for the two principal landlords of Worthing, which was just then beginning to be a fashionable resort, were named Hogsflesh and Bacon, leading to the quatrain:--

Brighton is a pretty street,
Worthing is much taken;
If you can't get any other meat
There's Hogsflesh and Bacon.

The Drury Lane authorities do not seem to have considered the failure as absolute as did Lamb, for on the next day--December 11--the bills announced:--

*** The New Farce of Mr. H----, performed for the first time last
night, was received by an overflowing audience with universal applause,
and will be repeated for the second time to-morrow.

But the next evening's bill--December 12, 1806--stated that "The New Farce of Mr. H---- is withdrawn at the request of the author."

"Mr. H----" did not then disappear altogether from the stage. A correspondent of _Notes and Queries_, May 26, 1855, remembered seeing it at Philadelphia when he was a boy. The last scene, he says, particularly amused the audience. And in William B. Wood's _Personal Recollections of the Stage_, 1855, it is recorded of the Philadelphia Theatre, of which he was manager, that in 1812, "Charles Lamb's excellent farce of 'Mr. H----' met with extraordinary success, and was played an unusual number of nights." Lamb, however, did not profit thereby.

The little play was published in Philadelphia in 1813 under the title _Mr. H----, or Beware a Bad Name. A farce in two acts, as performed at the Philadelphia Theatre_--Lamb's name not figuring in any way in connection with it.

In England "Mr. H----" was not revived until 1885, when, as a curiosity, it was played by the Dramatic Students' Society. The performance was held at the Gaiety on October 27, 1885, the prologue being spoken by a gentleman made up to resemble Lamb. At the Cheadle Town Hall on October 19 and 20, 1910, "Mr. H----" was given again, with the difference that the secret of the name was disclosed from the start.

In _Notes and Queries_, August 3, 1889, the following amusing play-bill was printed, contributed by Mr. Bertram Dobell:--

Theatre Royal, English Opera House, Strand.
Particularly Private.
This present FRIDAY, April 26, 1822,
Will be presented a FARCE called
Mr. H....
(_N.B. This piece was damned at Drury Lane Theatre._)
[Caste follows.]
Previous to which a PROLOGUE will be spoken by Mrs. EDWIN.
After the Farce (for the first Time in this country, and now performing
with immense success in Paris)
A French _Petite Comedie_, called
Le Comedien D'Etampes.
(N.B. _This piece was never acted in London, and may very probably
be damned HERE_.)
[Caste follows.]
Immediately after which
A LOVER'S CONFESSION, in the shape of a SONG,
by M. EMILE
(From the Theatre de la Poste St. Martin, at Paris.)
To conclude with a _Pathetic Drama_, in
One Act, called
The Sorrows of Werther.
(N.B. This Piece was damned at Covent Garden Theatre.)
[Caste follows.]
Brothers and Sisters of Charlotte, by six Cherubims
got for the occasion.
Orchestra.
Leader of the Band, Mr. Knight, Conductor, Mr. E. Knight.
Piano Forte, Mr. Knight, Jun. Harpsichord, Master Knight (that was).
Clavecin, by the Father of the Knights, to come.
Vivat Rex! No Money returned (because none will be taken).
_On account of the above surprising Novelty, not an_ ORDER _can
possibly be admitted:_--
_But it is requested, that if such a thing finds its way into the front
of the house_, IT WILL BE KEPT.
Doors open at Half past Six, begin at Half past Seven precisely.
The Entrance for all parts of the House at the Private Box Door in
Exeter Street.
Lowndes, Printer, Marquis Court, Drury Lane, London.

Mr. Dobell wonders if Lamb had any knowledge of this performance, and he suggests that possibly he had a hand in the bill. Certainly the interpolations concerning damnation are in his manner.

I add a few notes:--

Page 208. _The man with the great nose_. See Slawkenbergius's tale in _Tristram Shandy_, Vol. IV.

Page 212. _The feeling Hurley_. Harley was the hero of Henry Mackenzie's novel, _The Man of Feeling_.

Page 217. _Jeremiah Pry_. John Poole may have taken a hint here for his farce "Paul Pry," produced in September, 1825. Lamb and he knew each other slightly. Lamb analysed the prying nature again in _The New Times_ early in 1825, in two papers on "Tom Pry" and "Tom Pry's Wife" which will be found in Vol. I. of this edition.

Page 220. _Old Q----_. William Douglas, fourth Duke of Queensberry (1724-1810), the most notorious libertine of his later days.

Page 224. _John, my valet_. This is a very similar incident to that described in the _Elia_ essay on the "Old Benchers," where Lovel (John Lamb) warns Samuel Salt, when dressing him, not to allude, at the party to which he is going, to the unfortunate Miss Blandy.

Page 228, line 1. _Mother Damnable_. There was at Kentish Town a notorious old shrew who bore this nickname in the 17th century.

* * * * *

Page 238. "THE PAWNBROKER'S DAUGHTER."

Printed in _Blackwood_, January, 1830, and not reprinted by Lamb.

This little play was never acted. Lamb refers to it in a letter to Bernard Barton--in July, 1829--as "an old rejected farce"; and Canon Ainger mentions a note of Lamb's to Charles Mathews, in October, 1828, offering the farce for production at the Adelphi. The theme is one that seems always to have interested Lamb (see his essay on the "Inconveniences of Being Hanged," Vol. I.).

Page 243, line 3. "_An Argument against the Use of Animal Food._" Joseph Ritson, 1752-1803, the antiquarian, was converted to vegetarianism by Mandeville's _Fable of the Bees_. The work from which Cutlet quotes was published in 1802. Pope's motto is from the _Essay on Man_, I., lines 81-84.

Page 243, last line. _Mr. Molyneux ... in training to fight Cribb_. Cutlet's rump steak did not avail in either of the great struggles between Tom Cribb and Tom Molineaux. At their first meeting, on December 18, 1810, Molineaux went under at the thirty-third round; and in the return match, on September 28, 1811, Molineaux's jaw was broken at the ninth and he gave in at the eleventh, to the great disappointment of the 20,000 spectators. Mr. Molineaux was a negro.

END OF VOL. IV.

INDEX

A

Acrostics:

"In the Album of a very Young Lady"
"To Caroline Maria Applebee"
"To Cecilia Catherine Lawton"
"To a Lady who Desired me to Write Her Epitaph"
"To Her youngest Daughter"
"To Mrs. F----, on Her Return from Gibraltar"
"To Esther Field"
"To Mrs. Williams"
"To S.F."
"To R.Q."
"To S.L."
"To M.L."
"An Acrostic against Acrostics"
"Un Solitaire"
"To S.T."
"To Mrs. Sarah Robinson"
"To Sarah"
"Acrostic" (Joseph Vale Asbury)
"To D.A."
"To Sarah James of Beguildy"
"To Emma Button"

Addington, Henry, Lamb's epigram on

Aders, Charles, Lamb's poem to

_Albion, The,_ and Lamb

"ALBUM VERSES"
"In the Album of a Clergyman's Lady"
"In the Autograph Book of Mrs. Sergeant W----"
"In the Album of Lucy Barton"
"In the Album of Miss ----"
"In the Album of a very Young Lady"
"In the Album of a French Teacher"
"In the Album of Miss Daubeny"
"In the Album of Mrs. Jane Towers"
"In My Own Album"
"In the Album of Edith S----"
"To Dora W----"
"In the Album of Rotha Q----"
"In the Album of Catherine Orkney"
"What is an Album"
"The First Leaf of Spring"
"To M.L.F."
"To the Book"
"On Being Asked to Write in Miss Westwood's Album"
"In Miss Westwood's Album"
"The Sisters" (See also under the heading of ACROSTICS.)

"Angel Help"

Ann Simmons (Lamb's "Anna")

_Annual Anthology_, Lamb's contribution to

_Anti-Jacobin, The,_ and Lamb

"ANTONIO" by Godwin

"Ape, The"

_Athenaeum, The_, Lamb's contributions to

B

"Ballad Noting the Difference of Rich and Poor"
"from the German"
"Singers, The"

"Barton, Bernard, To"
Lucy, Lamb's verses to

Beaumont, Francis, quoted

_Bijou, The_, Lamb's contribution to

_Blackwood's Magazine_, the Lambs' contributions to

Blakesware and Widford

"BLANK VERSE," by Lloyd and Lamb

Bourne, Vincent
Lamb's translations

Burney, Martin, Lamb's sonnet to
Sarah, Lamb's poem to

Burton, Lamb's imitation of

Byron, Lord, Lamb's epigram on

C

Campbell, J. Dykes, on JOHN WOODVIL

Canning, George, Lamb's epigrams on

Caroline of Brunswick, Lamb's championship of

Carter, Ben, of Blakesware

"Catechist, The Young"

_Champion, The_, Lamb's contributions to

"Change, The"

Chatterton, Thomas

"Cheap Gifts"

"Childhood"

"Christening, The"

Clarkes, the Cowden

Coleridge, S.T., Lamb's dedication to
his "POEMS ON VARIOUS SUBJECTS"
his "POEMS"
and Sara, Lamb's lines to
his "REMORSE"
his alteration of Lamb's sonnets
on Lamb's sonnet "We were two pretty babes"
in Gillray's cartoon
and "The Old Familiar Faces"
his translation of "Thekla's Song"
Sara, her Latinity

"Composed at Midnight"

"Confidant, The," by Crabbe, adapted by Lamb

"Cook, To David"

Cornwall, Barry. See PROCTER, B.W.

Cowley, Abraham, quoted

"Cowper, To the Poet"

Crabbe, George, Lamb's adaptation of

D

Da Vinci, Leonardo, poems upon

Day, Matthew, Lamb's epigram on

Dedication of Lamb's "WORKS" to Coleridge
of Lamb's "POEMS," 1797, to his sister

Dedication of Lamb's "ALBUM VERSES" to Moxon

Defoe, Daniel

"Dialogue between a Mother and Child"

"Dick Strype"

"Divine Subjects, Fancy Employed on"

Dix, Margaret, Lamb's epitaph on

Dockwra, Tom, of Widford

Dorrell, William, the swindler

"Douglas, The Tomb of"

Drake, Onesimus, of the East India House

"Dramatic Fragment"

Druitt, Mary, Lamb's epitaph upon

"Dying Lover"

E

East India House epigrams

_Englishman's Magazine_, Lamb's contributions to

Epigrams possibly by Lamb

Epilogue to Godwin's "ANTONIO"
to Siddons' "TIME'S A TELL-TALE"
to Kenney's "DEBTOR AND CREDITOR"
to an amateur performance of "RICHARD II"
to Knowles' "THE WIFE"

"Epitaph on a Dog"
"on a Young Lady"

_Examiner_, The, Lamb's contributions to

"Existence, Considered in Itself, no Blessing"

F

"Faces, The Old Familiar"

"Family Name, The"

"Fancy Employed on Divine Subjects"

"Farewell to Tobacco, A"

"FARMER, PRISCILLA, POEMS ON THE DEATH OF"

Fast Day, Lamb's epigram on

"FAULKENER," by Godwin

"Female Orators, The"

Fenwick, John, editor of _The Albion_

Field, family, the poems to
Mrs., Lamb's grandmother

"Free Thoughts on Several Eminent Composers"

Frend, Sophia, Lamb's poems to,

Frere, John Hookham, Lamb's epigram on

"Friend, To a"

"From the Latin"

Fryer, Miss, Lamb's poem for

G

George IV., Lamb's epigrams on

Gifford, William, Lamb's sonnet upon

Gillray, James, his cartoons

"Gipsy's Malison, The"

Godwin, William, his "ANTONI"
his "FAULKENER"

Goethe on Lamb's "Family Name"

"Going or Gone"

"Grandame, The"

GRAY, ROSAMUND, quoted

H

Hamilton of Bangor quoted

Hardy, Lieutenant, Lamb's poem to

"Harmony in Unlikeness"

Haydon, B.R., Lamb's verses to

Hazlitt, William, on Lamb in the country

"Helen"

"Hercules Pacificatus"

Hessey, Archdeacon, his memories of Lamb

"Hester"

Hogsflesh, a well-known name

Hone, William, Lamb's poem to
his publications, Lamb's contributions to

Hood, Thomas, his child's death

"House-keeper, The"

Hunt, Leigh, Lamb's poem to
on "Composed at Midnight"
and Lamb's poem, "To T.L.H."
Thornton, Lamb's poem to

Hutchinson, Mr. Thomas, on JOHN WOODVIL

"Hypochondriacus"

I

"In Tabulam Eximii...."

_Indicator, The_, Lamb's contributions to

Isola, Agostino
Emma, Lamb's poems to

J

Jerdan, William, Lamb's epigram on

JOHN WOODVIL
volume, 1802, poems in

K

Kelly, Frances Maria (Fanny), and Lamb

"Kelly, To Miss"

Kenney, James, his "DEBTOR AND CREDITOR"

Knight, Ann.

Knowles, James Sheridan.
his comedy "THE WIFE"

L

"Lady's Sapphic, A"

Lamb, Charles, dedicates his "WORKS" to Coleridge
at the Salutation Inn
his Earliest Poem, "Mille viae mortis"
his contributions to Coleridge's "POEMS"
his praise of Mrs. Siddons
his partnership with Coleridge
his love poems
verses on his grandmother
his contributions to Coleridge's "POEMS," 1797
his poems to his sister
his verses to Charles Lloyd
his verses to Cowper
his Bristol holiday refused
his contributions to "BLANK VERSE," 1798
his lines on his aunt
his lines on his father
his grief for his mother's death
his "Old Familiar Faces"
Mary Lamb laughs at him in "Helen"
his translation from the German
his imitations of Burton
his "WORKS"
his lines on Hester Savory
his "Farewell to Tobacco"
his lines to Thornton Leigh Hunt
his sonnets to Miss Kelly
his sonnet on his name
his sonnet to his brother
his sonnet to Martin Burney
his "ALBUM VERSES"
his poem on Hood's child
his verses to Bernard Barton
his verses on Emma Isola
his sonnets on "Work" and "Leisure"
his sonnets to Samuel Rogers
his sonnet on the sheep stealer
his sonnet to Barry Cornwall
his lines to Sheridan Knowles
his quatrains to Hone
his skill in acrostics
his translations from Bourne
his "Ode to the Treadmill"
his poem on old Widford friends
his "POETICAL WORKS," 1836
his sonnet to Stothard
his lines to Moxon on his marriage
his poems on Louisa Martin
his "Free Thoughts on Composers"
his epitaph on Mary Druitt
his verses to Haydon
his sonnet to Sarah Burney
his sonnet to Leigh Hunt
his lines to Charles Aders
his translations from Palingenius
his lines to Clara Novello
ALBUM VERSES AND ACROSTICS
his political and other epigrams
and Sir James Mackintosh
his attacks on Canning
his contempt for George IV.
his attack on Gifford
on the spy system
his defence of Caroline of Brunswick
epigram on Lord Byron
writes for Merchant Taylors' boys
burlesque of "Angel Help"
his "Satan in Search of a Wife"
as a writer of prologues and epilogues
as a playwright

Lamb, Charles, and Coleridge's pamphlet of sonnets
his dedication of his verses to Mary Lamb
and _The Anti-Jacobin_
and Coleridge's "Wallenstein"
and Dr. Parr
his dedication to Moxon
attacked by _Literary Gazette_
defended by Southey in _The Times_
frames a picture with Hood
and Henry Meyer
and the thought of death
his letter from Samuel Rogers
on "The Gipsy's Malison"
Mary Lamb's poem on him
his farewell to albums
Archdeacon Hessey's memories of him
his epigrams on India House clerks
his generosity to Moxon
his history of JOHN WOODVIL
on the title of "Pride's Cure"
sends JOHN WOODVIL to Manning
on the plot of "MR. H."
hisses his own play
Elizabeth, Lamb's mother
John, Lamb's father
Lamb's brother, sonnet to
Mary, poems by
Lamb's poems
dedication to
on the death of John Wordsworth
her Latin pupils
Sarah (Hetty), Lamb's aunt

Landon, L.E., Lamb

Latin epigram by Lamb
verses to Haydon

"Leisure"

Lilley, John, of Blakesware

"Lines Addressed ... to Sara and S.T.C."
"Suggested by a Picture of Two Females"
"on the Same Picture being Removed to Make Place for the
Portrait of a Lady by Titian"
"on Da Vinci's 'Virgin of the Rocks'" (two poems)
"Addressed to Lieutenant Hardy"
"for a Monument"

_Literary Gazette_, Lamb's epigram on
and "ALBUM VERSES"

"Living without God in the World"

Lloyd, Charles, "POEMS ON THE DEATH OF PRISCILLA FARMER"
Lamb's poems to
his "BLANK VERSE"
his "Lines on the Fast"
and Sophia Pemberton
and JOHN WOODVIL

_London Magazine_, Lamb's contributions to

"Love will Come"

M

Mackintosh, Sir James, Lamb's verses to

Manning, Thomas, and JOHN WOODVIL

Martin, Louisa, Lamb's poems on

Massinger, Philip, quoted

Merchant Taylors' School, epigrams by Lamb

Meyer, Henry

"Mille Viae Mortis"

Mitford, John

Molineaux the pugilist

_Monthly Magazine, The_, Lamb's contributions to

_Morning Chronicle_, Lamb's contributions to
_Post_, Lamb's contributions to

Moxon, Edward, Lamb's poem to
his career
Lamb's dedication to

"MR. H----"
in America

Music, Lamb and

N

Nelson, epigram on

_New Monthly Magazine_, Lamb's contribution to

_Times_, Lamb's contribution to

Newton's _Principia_

"Nonsense Verses"

Novello, Clara, Lamb's poems to
the three sisters

O

"Old Familiar Faces, The"

"On a Deaf and Dumb Artist"

"On a Sepulchral Statue of an Infant Sleeping"

"On an Infant Dying as soon as Born"

"On seeing Mrs. K---- B----, aged upwards of eighty, nurse an Infant"

"On the Sight of Swans in Kensington Garden"

Orkney, Catherine, Lamb's poem to

P

Palingenius, Lamb's translations of

Parr, Dr., and Lamb

"Parting Speech of the Celestial Messenger"

"Pawnbroker's Daughter, The"

Pemberton, Sophia, and Charles Lloyd

Pichot, Amédée, his translation of "The Family Name"

"Pindaric Ode to the Tread Mill"

Pitt, William, epigram on

Plumer, Mrs., of Gilston

"POEMS ON VARIOUS SUBJECTS," Lamb's contributions to

_Poetical Recreations of "The Champion"_

"POETICAL WORKS OF CHARLES LAMB"

"Pride's Cure," first name for JOHN WOODVIL

Procter, B.W. (Barry Cornwall)

Prologue to Godwin's "FAULKENER"
Coleridge's "REMORSE"
Knowles' "THE WIFE"

Q

"Quatrains to the Editor of the _Every-Day Book_"

Quillinan, Rotha, Lamb's poems to.

R

_Reflector, The_, Lamb's contribution to

"Repentance, A Vision of"

"RICHARD II.," Lamb's epilogue for

Rigg family, the, tragedy of

"Rival Bells, The"

Rogers, Daniel, Lamb's sonnet on
Samuel, on his brother's death
"To Samuel" (two poems)

ROSAMUND GRAY quoted

Rutter, Mr. J.A., and "The Old Familiar Faces"

S

"Sabbath Bells, The"

"St. Crispin to Mr. Gifford"

"Salome"

Salutation Inn

"SATAN IN SEARCH OF A WIFE"

Schiller translated by Lamb

"Self-Enchanted, The"

"She is Going"

Siddons, Mrs., Lamb's sonnet to
Henry, his "TIME'S A TELL-TALE"

Simmons, Ann (Lamb's "Anna")

Smoking, Lamb on

Solomon, Dr., of the Balm of Gilead

Sonnet: "As when a child"
"Was it some sweet device"
"Methinks how dainty sweet"
"O! I could laugh"
"When last I roved"
"A timid grace"
"If from my lips"
"We were two pretty"
"The Lord of Life"
"To a Friend"
"To Miss Kelly"
"On the Sight of Swans in Kensington Garden"
"The Family Name"
"To John Lamb, Esq."
"To Martin Charles Burney, Esq."
"Harmony in Unlikeness"
"Written at Cambridge"
"To a Celebrated Female Performer in the 'Blind Boy'"
"Work"
"Leisure"
"To Samuel Rogers, Esq."
"The Gipsy's Malison"
"To the Author of Poems Published under the Name of Barry Cornwall,"
"In the Album of Edith S----"
"To Dora W----"
"In the Album of Rotha Q----"
"To T. Stothard, Esq."
"O lift with reverent hand"
"To Miss Burney"
"To Samuel Rogers, Esq., on the New Edition of his _Pleasures of Memory_"
"To Louisa Morgan"
"St. Crispin to Mr. Gifford"
"To Mathew Wood, Esq."
"O gentle look," by Coleridge and Lamb

Southey, Edith, Lamb's poem to
Robert, in Gillray's cartoon
his defence of Lamb
and JOHN WOODVIL

Spy system, Lamb's verses on

Stothard, Thomas, Lamb's poem to

Sturms, Captain, of the East India House

Suidas, Lamb's adaptation of

T

"Thekla's Song," by Schiller

Thelwall, John, and _The Champion_

"Three Graves, The"

"Time and Eternity"

_Times, The_, Lamb's contributions to

"To a Young Friend" (two poems)

"To a Young Lady"

"To Bernard Barton"

"To C. Aders, Esq."

"To Charles Lloyd"
(second poem)

"To Clara N----"

"To David Cook"

"To Emma Learning Latin"

"To John Lamb, Esq."

"To Margaret W----"

"To Martin Charles Burney, Esq."

"To Miss Burney"

"To My Friend _The Indicator_"

"To R.S. Knowles, Esq."

"To Samuel Rogers, Esq." (two poems).

"To Sir James Mackintosh"

"To T.L.H."

"To the Author of Poems Published under the Name of Barry Cornwall"

"To the Poet Cowper"

"To T. Stotbard, Esq."

"To a Friend on his Marriage"

"To Louisa M----"

"Tobacco, A Farewell to"

"Tomb of Douglas, The"

Towers, Mrs. Jane, Lamb's verses to.

Treadmill, the, Lamb's ode to.

"Triumph of the Whale, The"

Tween, Mrs., on Lamb.

"Twelfth Night Characters"

V

"Vision of Repentance, A"

W

Wagstaff, Timothy, of the East India House

"Wallenstein," ballad from

Wawd (or Wodd) of the East India House

Westwood, Frances, the Lambs' poems to

"Whale, The Triumph of the"

"What is an Album?"

Wheatley, Kitty

Widford and Blakesware

"Wife's Trial, The"

Wilde, Sergeant, Mrs., Lamb's verses to

William IV., Lamb's epigram on

Williams, Mrs., of Fornham, and family

"Witch, The"

Wood, Matthew, Lamb's sonnet to

WOODVIL, JOHN, poems in

Wordsworth, Dora, Lamb's poem to
John, lines on his death

"Work"

"WORKS," 1818, dedication of
poems in

"Written a Year after the Events"

"Written at Cambridge"

"Written on Christmas Day"

"Written on the Day of my Aunt's Funeral"

"Written soon after the Preceding Poem"

"Written upon the Cover of a Blotting Book"

Y

"Young Catechist, The"

"Young Friend, To a" (two poems)

"Young Lady, To a"

INDEX OF FIRST LINES

A Heart which felt unkindness, yet complained not, 88. A passing glance was all I caught of thee, 79. A sight like this might find apology, 92. A stranger, and alone, I past those scenes, 21. A thief, on dreary Bagshot's heath well known, 364. A timid grace sits trembling in her eye, 8. A tuneful challenge rings from either side, 66. A weeping Londoner I am, 247. Adsciscit sibi divitias et opes alienas, 123. Alas! how am I chang'd! Where be the tears, 22. All are not false. I knew a youth who died, 85. All unadvised, and in an evil hour, 118. Alone, obscure, without a friend, 12. An Album is a Banquet: from the store, 78. An Album is a Garden, not for show, 46. An Ape is but a trivial beast, 89. An author who has given you all delight, 140. And hath thy blameless life become, 70. Array'd--a half-angelic sight, 52. As swallows shrink before the wintry blast, 126. As when a child on some long winter's night, 4. At Eton School brought up with dull boys, 115.

Beautiful Infant, thou dost keep, 66. Beneath this slab lies Matthew Day, 126. Blank tho' I be, within you'll find, 114. Bound for the port of matrimonial bliss, 140. Bright spirits have arisen to grace the Burney name, 91. But now time warns (my mission at an end), 98. By crooked arts, and actions sinister, 359. By Enfield lanes, and Winchmore's verdant hill, 58. By myself walking, 29.

Canadia! boast no more the toils, 79. Caroline glides smooth in verse, 63. Charles Lamb, to those who know thee justly dear, 331. Charmed with the lines thy hand has sent, 352. Choral service, solemn chanting, 64. _Ci git_ the remains of Margaret Dix, 125. Close by the ever-burning brimstone beds, 119. Consummate Artist, whose undying name, 80. Cowper, I thank my God, that thou art heal'd, 16. Crown me a cheerful goblet, while I pray, 57.

Dim were the stars, and clouded was the azure, 357. Divided praise, Lady, to you we owe, 113. Droop not, dear Emma, dry those falling tears, 93.

Emma, eldest of your name, 114. Envy not the wretched Poet, 109. Esther, holy name and sweet, 106. External gifts of fortune, or of face, 58.

False world, 143. Fine merry franions, 75. For much good-natured verse received from thee, 69. For their elder Sister's hair, 57. Forgive me, Burney, if to thee these late, 45. Fresh clad from heaven in robes of white, 50. Friend of my earliest years and childish days, 18. Friendliest of men, Aders, I never come, 94. From broken visions of perturbed rest, 26.

Go little Poem, and present, 107. Grace Joanna here doth lie, 65. Great Newton's self, to whom the world's in debt, 71. Guard thy feelings pretty Vestal, 102.

Habits are stubborn things, 86. Had he mended in right time, 341. Had I a power, Lady, to my will, 46. Hard is the heart that does not melt with ruth, 18. He lies a Volunteer so fine, 124. Here lies the body of Timothy Wagstaff, 125. Here lieth the body of Captain Sturms, 125. High-born Helen, round your dwelling, 28. His namesake, born of Jewish breeder, 116. Hold on thy course uncheck'd, heroic Wood! 119. How blest is he who in his age, exempt, 113. How many wasting, many wasted years, 106.

I am a widow'd thing, now thou art gone, 25. I deal in aliments fictitious, 116. I had a sense in dreams of a beauty rare, 81. I have had playmates, I have had companions, 25, 323. I like you, and your book, ingenuous Hone! 63. I put my night-cap on my head, 115. I saw a famous fountain, in my dream, 13. I saw where in the shroud did lurk, 53. I was not train'd in Academic bowers, 59. If from my lips some angry accents fell, 9. If we have sinn'd in paring down a name, 202. Implored for verse, I send you what I can, 49. In a costly palace Youth goes clad in gold, 30. In Christian world Mary the garland wears, 78. In days of yore, ere early Greece, 95. In merry England I computed once, 123. In my poor mind it is most sweet to muse, 9. In one great man we view with odds, 118. Inspire thy spirit, Spirit of De Foe, 72. Io! Paean! Io! sing, 116.

Jane, you are welcome from the barren Rock, 105. John, you were figuring in the gay career, 44. Joy to unknown Josepha who, I hear, 48. Judgements are about us thoroughly, 112.

Ladies, ye've seen how Guzman's consort died, 138. Lady Unknown, who crav'st from me Unknown, 50. Laura, too partial to her friends' enditing, 122. Lazy-bones, lazy-bones, wake up, and peep! 123. Least Daughter, but not least beloved, of Grace, 65. Let hate, or grosser heats, their foulness mask, 61. Little Book, surnamed of _white_, 47. Little Casket! Storehouse rare, 107. Louisa, serious grown and mild, 82.

Manners, they say, by climate alter not, 121. Margaret, in happy hour, 102. Maternal lady with the virgin grace, 42. May the Babylonish curse, 34. Methinks how dainty sweet it were, reclin'd, 5, 311. Model of thy parent dear, 38. Much speech obscures the sense; the soul of wit, 122. Must I write with pen unwilling, 109. My feeble Muse, that fain her best wou'd, 110. Mystery of God! thou brave and beauteous world, 19.

Nigh London's famous Bridge, a Gate more famed, 72. Not a woman, child, or man in, 120. Now, by Saint Hilary, 341. Now the calm evening hastily approaches, 356.

O gentle look, that didst my look beguile, 308. O! I could laugh to hear the midnight wind, 5, 311. O Lady, lay your costly robes aside, 33. O lift with reverent hand that tarnish'd flower, 82. Of all that act, the hardest task is theirs, 145. Of these sad truths consideration had, 99. Off with Briareus, and his hundred hands, 359. On Emma's honest brow we read display'd, 101. On the green hill top, 6. Once on a charger there was laid, 39. One summer night Sir Francis, as it chanced, 199.

Poor Iras' faithful wolf-dog here I lie, 67. Princeps his rent from tinneries draws, 116.

Queen-bird that sittest on thy shining nest, 43. Quid vult iste equitans? et quid oclit ista virorum, 90.

Rare artist! who with half thy tools, or none, 59. Rogers, of all the men that I have known, 60. Roi's wife of Brunswick Oëls! 120. Rotha, how in numbers light, 108.

Sarah, blest wife of "Terah's faithful Son," 111. Sarah,--your other name I know not, 112. Shall I praise a face unseen, 109. Sleep hath treasures worth retracing, 113. Small beauty to your Book my lines can lend, 110. Solemn Legends we are told, 108. Solitary man, around thee, 111. Some cry up Haydn, some Mozart, 83. Some poets by poetic law, 49. Soul-breathing verse, thy gentlest guise put on, 111. Such goodness in your face doth shine, 48. Suck, baby, suck, mother's love grows by giving, 61.

Tears are for lighter griefs. Man weeps the doom, 94. The cheerful sabbath bells, wherever heard, 10. The cloud doth gather, the greenwood roar, 324. The clouds are blackening, the storms threatening, 29. The Devil was sick and queasy of late, 128. The frugal snail, with fore-cast of repose, 71. The Gods have made me most unmusical, 101. The Lady Blanch, regardless of all her lovers' fears, 41. The Lord of Life shakes off his drowsihed, 16. The reason why my brother's so severe, 345. The truant Fancy was a wanderer ever, 10. There are, I am told, who sharply criticise, 142. They talk of time, and of time's galling yoke, 60. This rare tablet doth include, 51. Thou fragile, filmy, gossamery thing, 105. Thou should'st have longer liv'd, and to the grave, 24. Thou too art dead,...! very kind, 21. Though thou'rt like Judas, an apostate black, 115. Time-mouldering crosses, gemm'd with imagery, 121. 'Tis a Book kept by modern Young Ladies for show, 104. 'Tis pleasant, lolling in our elbow chair, 93. To gratify his people's wish, 120. To name a Day for general prayer and fast, 123. To the memory, of Dr. Onesimus Drake, 125. Twelve years ago I knew thee, Knowles, and then, 62. Two miracles at once! Compell'd by fate, 122.

Under this cold marble stone, 88. Untoward fate no luckless wight invades, 146.