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Pathos And Humor In Charles Lambs Essays

Humour and Pathos in Charles Lamb's essays

Charles Lamb is a great artist in showing humour and pathos in a single row. He had as keen a perception of the funny side of life as he had of the tragic. The funny side and the sense of humour never desert him. And we find a curious mingling of there two (humour and pathos) ingredients in his works. Laughter is followed by tears of sympathy in many of his essays. Moreover, humour may be described as an extreme sensitiveness to the true proportion of things and pathos that appeals to our feelings of compassion and evokes sympathy. In some essays, we have Pathos and Humour alternating each other, in others we have the two elements coexisting in the same passion that we see pathos and humour as facts of the same thing.



In the essays "South Sea House", we see humour and pathos existing side by side. Here we find the touch of humour and pathos at the same time. Here we have a melancholy note in his wistful description of the decaying building. We, the readers, feel sorry for its decadence. But the clerks of this company are masterpieces in comic characterization, where the groups of the clerks are described as "a sort of Noah's Ark" and "odd fishes". We laugh at John Tipp for making horrible sound while singing. Here Lamb says that John Tipp sang certainly, but "with other notes than to the Orphean lyre." What can e more effective way of saying that he did not sing well. The characterization of each clerk cannot fail to amuse but even while we laugh at the aristocratic pretensions of Thomas Tame. Lamb says, "He had the air and stoop of a nobleman." By stoop the author means "that gentle bending of the body forwards, which, in great men, must be supposed to be the effect of an habitual codescending attention to the applications of their inferiors." Amidst all the humour, one feels sorry for he pathetic situation of Thomas Tame who had developed an aristocratic air, not, we are told, to insult others, but to save himself from the insult of others. He was a poor man whose shallow intellect was cheered by the thought of aristocratic connections. The author says that Thomas Tame's intellect was "of the shallowest order" and that " A sucking babe might have posed him."



Similarly, in the essay "Christ's Hospital Five and Thirty Years Ago" we find the touch of humour and pathos at the same time. We feel sympathetic towards the boy who got inadequate and ill-cooked food in Christ's hospital. Although Lamb describes it humorously, our heart shakes when Lamb says, "There was love for the bringer; shame for the thing brought, and the manner of its bringing; sympathy for those who were too many to share in it; and, at top of all, hunger (eldest, strongest of the passion !) predominant, breaking down the sunny fences of shame, and awkwardness, and a troubling over-consciousness."



Even, we feel sorry for the psychology of the child who speaks of the home seekness. Here Lamb says in the guise of Coleridge, "I was a poor friendless boy." Again he says, " O the cruelty of separating a poor lad from his early homestead ! The yearning which I used to have towards it in those unfledged years ! How, in my dreams, would my native town (far in the west) come back, with its church, and trees, and faces!" However, humour is not far off - the account of Hodges' pet ass, which he kept in the dormitory, is funny. It is hilarious to read about how the ass betrayed itself and its patron by braying loudly.



There was also fun and games which relieved the darkness and gloom because of the comic characterization of these two masters. The Upper Master and the Lower Master presented a remarkable contrast. Field, The Lower Master, was a mild and lenient man who did not enforce discipline. Hue Upper Master Boyer, was very strict and heavy handed with his beatings and students feared him. He had two wigs which gave a clue to the mood he was in for the day. One wig denoted that he was in a good mood and would not beat anyone that day; the other denoted a bad mood and that day the boys would be in for a terrible time.



Similarly, the comments that he makes in "A Bachelor's Complaint of the Behaviour of Married People" are humorous as well as pathetic. Here the essayist tries to find out a number of weaknesses in married people in a humorous way and therefore finds much consolation in this state of bachelorhood.



He tells about some of the bitter experiences and expresses his agony for the behaviour of the married people whom he thinks pretend lovers. Here he says, " What oftenest offends of at the houses of married persons where I visit, is an error of quite a description:- it is that they are too loving". He thinks that the married people generally show that they are "too loving" and they show these things to the unmarried people "so shamelessly". This type of behaviour of the married people is painful to him.



This kind of display is an insult to a bachelor. He says that wife has the tendency to show that she is the happiest creature in the world. He amused us by telling of the young married lady who could not believe that a bachelor could know anything like the best-mode of breeding oysters. The tricks adopted by the wives to cut of the relation between their husband and the bachelors also amuse us. The most amusing event in this essay is Lamb's attitudes towards children. He says that children are not rare thing, they are common. So, couple should not be proud of them. He says,



"If they were young phoenix indeed that were born but one in a year there might be a pretext. But which they are so common..."



There is another expression bears a find humour as well are pathos, that the wife who kept him waiting for dinner two or three hours beyond the usual time and she passed on a more savoury dish to her husband, recommending a less savoury one to Lamb.



In the concluding part it can be said that in Charles Lamb's essays humour and pathos are inseparable and for these things his essays become rich and stylistic.

Charles Lamb And The Essays Of Elia

( Originally Published 1912 )

THE BEST BELOVED OF ALL THE ENGLISH WRITERS-QUAINTEST AND TENDEREST ESSAYIST WHOSE WORK APPEALS TO ALL HEARTS.

OF all the English writers of the last century none is so well beloved as Charles Lamb. Thirty years ago his Essays of Elia was a book which every one with any claim to culture had not only read, but read many times. It was the traveling companion and the familiar friend, the unfailing resource in periods of depression, the comforter in time of trouble. It touched many experiences of life, and it ranged from sunny, spontaneous humor to that pathos which is too deep for tears. Into it Lamb put all that was rarest and best in his nature, all that he had gleaned from a life of self-sacrifice and spiritual culture.

Such men as he were rare in his day, and not understood by the literary men of harder nature who criticised his peculiarities and failed to appreciate the delicacy of his genius. Only one such has appeared in our time�he who has given us a look into his heart in A Window in Thrums and in that beautiful tribute to his mother, Margaret Ogilvie. Barrie, in his insight into the mind of a child and in his freakish fancy that seems brought over from the world of fairyland to lend its glamour to prosaic life, is the only successor to Lamb.

Lamb can endure this neglect, for were he able to revisit this earth no one would touch more whimsically than he upon the fads and the foibles of contemporary life; but it's a great pity that in the popular craze about the new writers, all redolent with the varnish of novelty, we should consign to the dust of unused shelves the works of Charles Lamb. All that he wrote which the world remembers is in Elia and his many letters�those incomparable epistles in which he quizzed his friends and revealed the tenderness of his nature and the delicacy of his fancy.

Robert Louis Stevenson is justly regarded as the greatest essayist of our time, but I would not exchange the Essays of Elia for the best things of the author of Virginibus Puerisque. Stevenson always, except in his familiar early letters, suggests the literary artist who has revised his first draft, with an eye fixed on the world of readers who will follow him when he is gone. But Lamb always wrote with that charming spontaneous grace that comes from a mind saturated with the best reading and mellow with much thought. You fancy him jotting down his thoughts, with his quizzical smile at the effect of his quips and cranks. You cannot figure him as laboriously searching for the right word or painfully recasting the same sentence many rimes until he reached the form which suited his finical taste. This was Steven-son's method, and it leaves much of his work with the smell of the lamp upon it. Lamb apparently wrote for the mere pleasure of putting his thoughts in form, just as he talked when his stammering tongue had been eased with a little good old wine.

It is idle to expect another Lamb in our strenuous modern life, so we should make the most of this quaint Englishman of the early part of the last century, who seemed to bring over into an artificial age all the dewy freshness of fancy of the old Elizabethan worthies. Can anything be more perfect in its pathos than his essay on "Dream Children," the tender fancy of a bachelor whom hard fate robbed of the domestic joys that would have made life beautiful for him? Can anything be more full of fun than his "Dissertation on Roast Pig," or his "Mrs. Battle's Opinion on Whist"? His style fitted his thought like a glove; about it is the aroma of an earlier age when men and women opened their hearts like children. Lamb lays a spell upon us such as no other writer can work; he plays upon the strings of our hearts, now surprising us into wholesome laughter, now melting us to tears. You may know his essays by heart, but you can't define their elusive charm.

Lamb had one of the saddest of lives, yet he remained sweet and wholesome through trials that would have embittered a nature less fine and noble. He came of poor people and he and his sister Mary inherited from their mother a strain of mental unsoundness. Lamb spent seven years in Christ's Hospital as a "Blue Coat" boy, and the chief result, aside from the foundations of a good classical scholarship, was a friendship for Coleridge which endured through life. From this school he was forced to go into a clerkship in the South Sea house, but after three years he secured a desk in the East India house, where he remained for thirty years.

Four years later his first great sorrow fell upon Lamb. His sister Mary suddenly developed insanity, attacked a maid servant, and when the mother interfered the insane girl fatally wounded her with a knife. In this crisis Lamb showed the fineness of his nature. Instead of permitting poor Mary to be consigned to a public insane asylum, he gave bonds that he would care for her, and he did care for her during the remainder of her life. Although in love with a girl, he resolutely put aside all thoughts of marriage and domestic happiness and devoted himself to his unfortunate sister, who in her lucid periods repaid his devotion with the tenderest affection.

Lamb's letters to Coleridge in those trying days are among the most pathetic in the language. To Coleridge he turned for stimulus in his reading and study, and he never failed to get help and comfort from this great, ill-balanced man of genius. Later he began a correspondence with Southey, in which he betrayed much humor and great fancy. In his leisure he saturated his mind with the Elizabethan poets and dramatists; practically he lived in the sixteenth century, for his only real life was a student's dream life. He contributed to the London newspapers, but his first published work to score any success was his Tales From Shakespeare, in which his sister aided him. Then followed Poets Contemporary With Shakespeare, selections with critical comment, which at once gave Lamb rank among the best critics of his time. He wrote, when the mood seized him, recollections of his youth, essays and criticisms which he afterward issued in two volumes.

Twenty-five essays that he contributed to the LONDON MAGAZINE over the signature of Elia were reprinted in a book, the Essays of Ella, and established Lamb's reputation as one of the great masters of English. Another volume of Essays of Elia was published in 1833. In 1834 Lamb sorrowed over the death of Coleridge, and in November of the same year death came to him. Of all English critics Carlyle is the only one who had hard words for Lamb, and the Sage of Chelsea probably wrote his scornful comment because of some playful jest of Elia.

Charles Lamb's taste was for the writers of the Elizabethan age, and even in his time he found that this taste had become old-fashioned. He complained, when only twenty-one years old, in a letter to Coleridge, that all his friends "read nothing but reviews and new books." His letters, like his essays, reflect the reading of little-known books; they show abundant traces of his loiterings in the byways of literature.

Here there is space only to dwell on some of the best of the Essays of Elia. In these we find the most pathetic deal with the sufferings of children. Lamb himself had known loneliness and suffering and lack of appreciation when a boy in the great Blue Coat School. Far more vividly than Dickens he brings before us his neglected childhood and all that it represented in lonely helplessness. Then he deals with later things, with his love of old books, his passion for the play, his delight in London and its various aspects, his joy in all strange characters like the old benchers of the Inner Temple.

The essay opens with that alluring picture of the South Sea house, and is followed by the reminiscences of Christ's Hospital, where Lamb was a schoolboy for seven years. These show one side of Lamb's nature�the quaintly reminiscent. Another side is revealed in "Mrs. Battle's Opinions on Whist," with its delicate irony and its playful humor, while still another phase is seen in the exquisite phantasy of "Dream Children," with its tender pathos and its revelation of a heart that never knew the joys of domestic love and care. Yet close after this beautiful reverie comes "A Dissertation On Roast Pig," in which Lamb develops the theory that the Chinese first discovered the virtues of roast suckling pig after a fire which destroyed the house of Ho-ti, and that with the fatuousness of the race they regularly burned down their houses to enjoy this succulent delicacy.

The Last Essays of Elia, a second series which Lamb brought out with a curious preface "by a friend of the late Elia," do not differ from the earlier series, save that they are shorter and are more devoted to literary themes. Perfect in its pathos is "The Superannuated Man," while "The Child Angel" is a dream which appeals to the reader more than any of the splendid dreams that De Quincey immortalized in his florid prose. Lamb in these essays gives some wise counsel on books and reading, urging with a whimsical earnestness the claims of the good old books which had been his comfort in many dark hours. It is in such confidences that we come very close to this man, so richly endowed with all endearing qualities that the world will never forget Elia and his exquisite essays.

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