Critical appreciation of charles lamb s south sea house
The south sea house wikipedia
The metaphysical pressure to maintain the priority of what is represented over its representation helps to retire Shakespeare into the closet; and if not Shakespeare, then at least action, acting, and actors. That distrust has cast a long shadow. As Baer et al have variously argued, the popularity and conventions, or apparatus, of the theatre itself inculcated a ritualized mode of behaviour, or theatricality, in the city at large. He was the best executer in the world, taking very seriously the duty of protecting the rights of orphans. And again from many of his essays, we come to know that he likes irony, jokes, pun and paradox. By Simon P. The South-Sea House is of interest to Lamb because it is so rich in past associations, now fallen into neglect, though situated as it is in the very centre of business life. Lamb could have called up other shadowy figures from the past, but they are now no more than shadows and the living have little interest in them.
Though his portrayal of characters is humorous, the undercurrent of pathos can be felt by the readers. Where Hull differs, however, is in emphasising the importance of paying proper attention to the construction and development of the Elia figure, tracing it not only through the London Magazine, but also through Lamb's life and experiences within the city.
Old china by charles lamb summary
Thomas Tame was his deputy. He hailed from Wales and was quite passive all day until he would have his fill of some sweet muffins. The difference in the essayistic figure, furthermore, reflects the belief behind Elia that the crowd can, and should, be educated, or turned into sympathetic readers. What unifies Lamb's essays is his lyrical, conversational writing style. It appears in Elia in three distinct but interrelated ways. The essay starts with—typical for Elia—a flight of fancy, as he gets lost in a scene of a tea ceremony depicted on a cup. Aided by a population explosion in the rapidly expanding capital, theatre had never been more popular than in the first three decades of the nineteenth century. It was not till evening that he really came into life. He remembers his mates sharing jokes and having fun. He was well endowed with the principle of self-preservation, and never took any risk in life. Thomas Tame had, however, no riches to support his pretensions. Tip presided over it. It is this quality of self-revelation and confidential tone that entitles Lamb to be called the "Prince of English essayists". Hence the romantic appropriation of Shakespeare as above all a soliloquist, and the emergence of the monodrama as the characteristic form of high romantic theatre — a verse-form never intended for the stage. We also come to know about his relatives and friends.
The accountant, John Tip, was of a different sort. Merchants used to assemble here and business was transacted.
Hull brings out not only the vibrant, spirited dynamism of periodical culture in the s, but also its aggression and violence, most vividly demonstrated in the February duel between the London Magazine editor John Scott and a Blackwood's associate, John Christie, which left Scott dead.
Yet it is uniquely in Lamb that a shift occurs from writing in resistance to theatre, to the use of theatre in writing against mass culture.
Lamb speaks of his personal reactions to various aspects of life in all his essays. Moreover, he got his "extraordinary bread and butter" "from the hot-loaf of the Temple".
He says about himself in the guise of Coleridge, "I remember L.
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