Books with author Lamb Charles 1775-1834

father survived but a few montlis; a sister of his who had formed one of the family died about the same time. Thus Charles and Mary, who had meantime recovered her reason, were left practically alone in the world; for their brother John held aloof, desiring that Mary should remain in the asylum. Charles had had an attack of insanity in the winter of 1795-6; it was, perhaps, in consequence of this, and the care of his sister, that he gave up the idea of marrying the Anna of his sonnets. He had no return of the madness, bui Mary had frequent relapses, the approach of which she felt in time to enable her to retire to the lunatic asylum. It was in 1796 that Lamb first appeared as an author, when four sonnets by him were published in a volume of Coleridge spoems. Lamb's sfirst attempt in prose, exclusive of letters, was the tale of Rosamund Gray (1798), incongruous and improbable, showing the authors weakness in narrative, but exhibiting the pathos, quaintness of description and appropriateness of quotation which form the excellence of the Essays of Elia. Of it Shelley wrote: "What a lovely thing is his Rosamund Gray! How much knowledge of the sweetest and deepest part of our nature is in it!" In the same year he wrote what is perhaps the best known of his poems, the first stanza of which he afterwards omitted - "Where are they gone, the old familiar faces? I had a mother, but she died and left me - Died prematurely in a day of horrors - All, all are gone, the old familiar faces." For the first seventeen years of the present century, Charles and Mary Lamb resided within the precincts of the Temple; first in Mitre Court Buildings, then in Inner Temple Lane. At the beginning of this period, Charles was employed as an occasional writer of trifles for newspapers, but he soon attempted more ambitious work. Rosamund Gray had shown that he was defective in the qualities which

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This work is designed as a supplement to the Adventures of Telemachus. It treats of the conduct and sufferings of Ulysses, the father of Telemachus. The picture which it exhibits is that of a brave man struggling with adversity; by a wise use of events, and with an inimitable presence of mind under difficulties, forcing out a way for himself through the severest trials to which human life can be exposed; with enemies natural and preternatural surrounding him on all sides. The agents in this tale, besides men and women, are giants, enchanters, sirens: things which denote external force or internal temptations, the twofold danger which a wise fortitude must expect to encounter in its course through this world. The fictions contained in it will be found to comprehend some of the most admired inventions of Grecian mythology.The groundwork of the story is as old as the Odyssey, but the moral and the coloring are comparatively modern. By avoiding the prolixity which marks the speeches and the descriptions in Homer, I have gained a rapidity to the narration which I hope will make it more attractive and give it more the air of a romance to young readers, though I am sensible that by the curtailment I have sacrificed in many places the manners to the passion, the subordinate characteristics to the essential interest of the story. The attempt is not to be considered as seeking a comparison with any of the direct translations of the Odyssey, either in prose or verse, though if I were to state the obligations which I have had to one obsolete version, [Footnote: The translation of Homer by Chapman in the reign of James I.] I should run the hazard of depriving myself of the very slender degree of reputation which I could hope to acquire from a trifle like the present undertaking.

From the preface: This work is designed as a supplement to the Adventures of Telemachus. It treats of the conduct and sufferings of Ulysses, the father of Telemachus. The picture which it exhibits is that of a brave man struggling with adversity; by a wise use of events, and with an inimitable presence of mind under difficulties, forcing out a way for himself through the severest trials to which human life can be exposed; with enemies natural and preternatural surrounding him on all sides. The agents in this tale, besides men and women, are giants, enchanters, sirens: things which denote external force or internal temptations, the twofold danger which a wise fortitude must expect to encounter in its course through this world. The fictions contained in it will be found to comprehend some of the most admired inventions of Grecian mythology. The groundwork of the story is as old as the Odyssey, but the moral and the coloring are comparatively modern. By avoiding the prolixity which marks the speeches and the descriptions in Homer, I have gained a rapidity to the narration which I hope will make it more attractive and give it more the air of a romance to young readers, though I am sensible that by the curtailment I have sacrificed in many places the manners to the passion, the subordinate characteristics to the essential interest of the story. The attempt is not to be considered as seeking a comparison with any of the direct translations of the Odyssey, either in prose or verse, though if I were to state the obligations which I have had to one obsolete version, [Footnote: The translation of Homer by Chapman in the reign of James I.] I should run the hazard of depriving myself of the very slender degree of reputation which I could hope to acquire from a trifle like the present undertaking.

Excerpt from Beauty and the BeastThe wise philosopher who superintended the literature sold at his wife's shop, was marked by a trusting simplicity, and a habit of asking strangers to take up his bills. If Charles Lamb really wrote the metrical Beauty and the Beast for this philosopher, one can only hope that Lamb's trusting simplicity did not go without its reward. But the statement of Mr. Hazlitt appears to be more dogmatic than the circum stances warrant. It is not at all certain that Lamb wrote Beauty and t/ze Beast. At best, the subject seems part of the engaging science of Comparative Hypothetics. Lamb was a writer for children for them the author of dream-children pro duced his Adventures of Ulysses (with quite as much Chapman as Homer in them) and his Tales from S/zakspeare and his Prz'uce Dorus.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Tales from Shakespeare' was written by Charles and Mary Lamb in the early nineteenth century to introduce children to the greatest plays of William Shakespeare. They adapted twenty of Shakespeare's plays in simple language so that it makes easy reading for the young readers. Conveying all Shakespeare's wit, wisdom and humanity, and never losing the feel of his beautiful language, these tales are classic literature in their own right.

This work is designed as a supplement to the Adventures of Telemachus. It treats of the conduct and sufferings of Ulysses, the father of Telemachus. The picture which it exhibits is that of a brave man struggling with adversity; by a wise use of events, and with an inimitable presence of mind under difficulties, forcing out a way for himself through the severest trials to which human life can be exposed; with enemies natural and preternatural surrounding him on all sides. The agents in this tale, besides men and women, are giants, enchanters, sirens: things which denote external force or internal temptations, the twofold danger which a wise fortitude must expect to encounter in its course through this world. The fictions contained in it will be found to comprehend some of the most admired inventions of Grecian mythology.The groundwork of the story is as old as the Odyssey, but the moral and the coloring are comparatively modern. By avoiding the prolixity which marks the speeches and the descriptions in Homer, I have gained a rapidity to the narration which I hope will make it more attractive and give it more the air of a romance to young readers, though I am sensible that by the curtailment I have sacrificed in many places the manners to the passion, the subordinate characteristics to the essential interest of the story. The attempt is not to be considered as seeking a comparison with any of the direct translations of the Odyssey, either in prose or verse, though if I were to state the obligations which I have had to one obsolete version, [Footnote: The translation of Homer by Chapman in the reign of James I.] I should run the hazard of depriving myself of the very slender degree of reputation which I could hope to acquire from a trifle like the present undertaking.

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