'ITBE USE OF ALLUSIONS IN CHARLES LAMB'S ESSAYS OF EU4 By Herbert M. Spencer A Thesis Submitted to the Facdty of Graduate Studies In Partial Fulfiùnent of the Reqairements for the Degree of Master of Arts Department of English University of Manitoba Winnipeg, Manitoba Canada /*m National Library Bibliothèque nationale of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou su.f ormat électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits ~axs:o n permission. autorisation. THE UNIVERSITY OF MANITOBA FACULTY OF GRADUATE STUDIES ***** COPYRIGHT PERMISSION PAGE The Use of Aiiusions in Charles Lamb's Essays of Elia Herbert M. Spencer A ThesisPracticum submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfîliment of the requirements of the degree of Master of Arts HERBERT M. SPENCER 01999 Permission bas been granted to the Library of The University of Manitoba to Iend or seii copies of this thesis/practicum, to the Nati01181L ibrary of Canada to rnicrofiim thLc thesis and to lend or seii copies of the film, and to Dissertations Abstracts International to pablish an abstract of this thesis/practicum. The author reserves other publication rights, and neither this thesis/practicum nor extensive extracts from it may be printed or otherwise reproduced without the authorfs written permission. CONTENTS Pre face Giossary INTRODUCTION CHAPTER 1 Biblical and Classical Allusions in Lamb's Essays CHAPTER 2 Lamb's Referencrs to Shakespeare and Milton CHAPTER 3 Lamb and his Contemporaries CONCLUSION BIBLIOGRAPHY PIREFACE This thesis springs from an interest in Charles Lamb which 1 developed in my Grammar School days in Antigua. I have always felt that such an accomplished writer has ken sadly undervaiued. It has profited enormously from the patience and meticclous supervision of Dr Pamela Perkins, a young member of the Deparmient of English, who followed its development with exceptionai keenness. Withcut her support and encouragement it might not have been completed. 1 have also to thank Dr John Ogden, another rnember of the Department of English, who offered useful suggestions. Ms Lucia F l y ~th,e departmental administrative assistant. and Ms Marianne Harnis h, the departmental secretary , both offered valuable assistance and muc h chenshed moral support. 1 have to acknowledge. too, the cooperation of the principal of Sisler High School, Mr George Heshka, who is an effective promoter of teacher professional development. Above dl, however, I have to express my undying gratitude to Dr Keith A.P. Sandiford, a former professor of history at the University of Manitoba, and to his wife, Lorraine, who have encouraged ail of my efforts ever since 1 was an undergraduate student in Winnipeg. Dr Sandiford was aiways willing to type the various drafts of the dissertation and to offer solid advice on matters pertaining to style and historicai context. Herbert Spencer Student #û858040 Winnipeg, Manitoba October 1999 GLOSSARY Absorptive allusion: a reference mixed so thoroughly with the writer's context that distinction beween text and source is ahost impossible. Adsorptive assimilative allusion: a blending of context and source referred to which clings to the surface of the piece. Assimiiative allusion: a reference closely linked with die content and spirit of the writer's context. Cento: a linking together of passages from different authon. Comparative allusion: a reference intended to express discontinuity or difference r€ om the source alluded to . Compounded allusion: a reference or echo embedded in the prime allusion, or wo allusions from different sources. Contaminatio: a Renaissance pattern of allusion that denies special privilege to any single author or text or literary period. Double echo: another expression for compounded allusion. Topoi (singular tops): motif or therne. INTRODUCTION The weii-known English essayist Charles Lamb (1775-1834) wrote in that era commonly referred to as the late Romantic period (1808-1830). Even though rhere has aiways been fierce debate about what is meant by Romanticism and exactly who were the Romantic writea, it cm geneally be agreed rhar the Romantic movement contained within iwlf a number of identifiable characteristics. In this thesis, Romanticism is going to be defued very much in the same way that the literary critic Thomas McFarland has viewed it. He has identified, fmm his readhg of traditional texts, the following haltmarks: extemal nature, imagination, egotism. love of the particular, flight into the medieval, fiight into the Orient. flight into dnigs. a preoccupation with dreams, with melancholy, solicitudes, suicide, an ubiquitous awareness of process and curent, a longing for the inFinite and unaminable, an omnipresent involvement with the organic, and a profound cornmitment to symbol. (13) McFariand M e rc ontends that there are even more distinguishing fearures to Romantic writing. He suggests that "the diasparactive triad of incompletewss, fragmentation and min" (13), may also be added to this list. Lamb's Essays of Elia contain many of these elements, even though it mut be said that he eschewed extemai nature as well as flights into the mediaeval, dnigs and the Orient. Traditionally, commentaton thought that these elements were more clearly pronounced in the writing of such poets as Blake, Byron, Coleridge, Keats, Shelley and Wordsworth, and the buk of their literary criticism focused on poetry. Such an approach obviously ignored very important conmbutions made by dramatists, essayists and novelists. This failing has been vigorously cnticised by such modem scholars as Marilyn Butler and Anne Mellor who were quick to notice that fernale writen especially have consistentiy been marginalised. They have also observeci that much of what the so-called 'Big Six' produced had origins in the writing of lesser-known contemporaries. Sexism and elitism are the wo feanires of traditional criticism which disnirb Butler and Mellor most of all. It should be added that other commentators, including St ephen Behrendt. have reached the same conciusion (13 ). Elitism in the Romantic period not only implied special literary privileges for the upper classes. it also meant hierarchy in t e m of genres. Poe6 were at the top of the totem pole. Behrendt refers to this bias as "The rnasculinist heroic ideology ... long associated with Romantic poetry" (7). He argues that "The distinction that has ken with us at ieast since the earIy eighteenth century betweer, 'great' works and 'popular' ones betrays a cultural elitism that has clouded judgements about culturai activities for centuries" (13). On this matter of elitism, Mellor posits that "The writing of poetry thus became a masculine occupation. and one associated especially with the aristocratie or leisured class" (6). Middle class male pets such as Coleridge and Wordsworth thus signalled the opening up of this exclusive club. It is in this context that Charles Lamb, as an essayist, suffered the same fate as many novelists who were mostly women. He bas seldom received the acclaim of a Byron or a Wordsworth and is not often thought of as a tmly Romantic writer.' This thesis will demonstrate, however, that Lamb's essays contain several elemenrs of Romanticism even though he often tried to distance himseif from the age in which he lived and worked. He once said, for instance, " D a .th e age, 1'11 write for antiquity " , a cfear statement of his intentions to deviare fiom the prevailing trend.' Even the form of wnting he employed marked him as a Romantic See, e.g., Robert Frank, Don? Col1 Me Gentle Charles (Corvallis: Oregon State University Press, 1976). 2 1. Charles Lumb Bulletin 1984, Juiy/October. 3 with a difference. In an age dorninated by the medium of poetry, Lamb resorted to the essay as the fom through which he anempted to cuve a literary niche for himself. He had previously tried without much success to write poetry and drama? Two striking feanires of his essays are their whimsy and chann, which do not meet with the same approval today as they once enjoyed. As Randel has obsewed, such critics as A.C. Bradley, Walter Pater and Algernon Swinburne al1 wrote admiringly of Lamb in the late Victorian and Edwardian period. But, apart from Virginia Woolf, twentieth-cenniry writers have, g--e nerally tended to neglect bim (Randel, preface). Randel himself suggests various reasons for this neglect, chief among which has ken the reluctance of modem cornmentaton to recognize that a familiar essay is no less a work of art than a lyric poem. On this matter of Lamb's waning popularity, Robert Frank considen Denys Thompson and Mario Raz as his most relentless detractors mainly because they saw Lamb as a sycophant appealing to the bourgeois foibles of his own the (21-22). According to Marie Hamilton Law, the essay as a form emerged in the work of Michel de Montaigne, its most distinguishing feature king its subjectivity. The familia essay conveys the moods, fantasies, the whims, the chance reflecrions and random observation of the essayist, and it has ken exceliently definod as a short prose composition in which the author, wriring of himself or of something mar to his hem, discloses his peaonality to the rearier in an intimate and famiiiar way. It was intxlduced to England in the seventeenth century. At the brginning of the eighteenth cenhuy the penodical essay, spearheaded by such emiaent writers as Addison and Swle, made its appearance in England. It fea& description, narration and informai discussion. îreating mvid material Sec Morley, pp. 112-18, 154-58 and 193-200. 4 for the moa part in the fust person, is conversational in tone. addresses the reader in a friendly fashion, is witty, humorous and brief. Thus, in many essentials, it is closely allied to the familiar or personal essay. The periodical essay may at times include autobiographical elements and m:.) express the opinion of the writen on a variest of topics, but it is not as self-revezling as the familiar essay. They do not show the innermost workings of their hem. but conceal themselves behind fictitious figures, such as Isaac Bickerstaff or the Spectator. The purpose of the periodicai essay is to report news. to provide entertainment, and to bring about reform in morals, rnanners and taste. Therefore, the penodical essay diffen on several counts fiom the . familjar essay In the work of Hazlitt, Hunt and Lamb, the farniliar essay preserved al1 of its earlier characteristics, but became so infused with the Romantic spirit, that it took on a new identity of its own. There was somethiag quite spontaneous about the familiar essay, the moral and didactic aspect so prominent in the penodical now largely conceaieci. Its c h con sisted in its numerous digressions. its flavour of good conversation, the wannth of its imaginative fancy and - the self-revelation of the writer. The subject matter grave, gay. humorous, w i q - depending on the mood of the essayist, displayed infinite variety. The perfect fretdom of the familiar essayists to wander whither rheir fancy led. to range over aii the, and to employ any theme. to begin where they pleased, and to stop when they wished, afforded an aesthetic of delight which had ken wanting in the more iimited range of subject matter, and in the redistic treatment characteristic of the periodical essay in the eighteenth cennuy (Law, 8-10). Despite his desire to be different, however, Lamb was clearly influenced by the literary trends of his gemration and the Wtings of the previous age. Like all writen of his time,