n the Inn until his death. As Dodd died in 1796 and Lamb
wrote in 1822, it would be fully twenty-six years and perhaps more
since Lamb met him.

Page 156, lines 26-29. _Foppington, etc._ Foppington in Vanbrugh's
"Relapse," Tattle in Congreve's "Love for Love," Backbite in
Sheridan's "School for Scandal," Acres in "The Rivals" by the same
author, and Fribble in Garrick's "Miss in her Teens."

Page 157, line 13. _If few can remember._ The praise of Suett that
follows is interpolated here from the third part of Lamb's original
essay (see page 332). Richard Suett, who had been a Westminster
chorister (not St. Paul's), left the stage in June, 1805, and died in
July.

Page 157, footnote, _Jem White_. See note above.

Page 158, line 22. _His friend Mathews._ Charles Mathews (1776-1835),
whom Lamb knew.

Page 159, line 1. _Jack Bannister._ John Bannister retired from the
stage in 1815. He died in 1836.

Page 159, line 7. _Children in the Wood._ Morton's play, of which Lamb
was so fond. It is mentioned again in "Barbara S----" and "Old China."

Page 159, line 19. _The elder Palmer._ The first part of the essay is
here resumed again. The elder Palmer was John Palmer, who died on the
stage, in 1798, when playing in "The Stranger." Lamb's remarks tend
to confuse him with Gentleman Palmer, who died before Lamb was born.
Robert Palmer, John's brother, died about 1805.

Page 159, line 22. _Moody_. John Moody (1727?-1812), famous as Teague
in "The Committee."

Page 159, lines 31 to 36. _The Duke's Servant, etc._ The Duke's
servant in Garrick's "High Life below Stairs," Captain Absolute in
Sheridan's "Rivals," Dick Amlet in Vanbrugh's "Confederacy."

Page 160, line 1. _Young Wilding ... Joseph Surface._ In Foote's
"Liar" and Sheridan's "School for Scandal."

* * * * *

Page 161. ON THE ARTIFICIAL COMEDY OF THE LAST CENTURY.

See note to the essay "On Some of the Old Actors."

See also "A Vision of Horns" (Vol. I.) for, as it seems to me, a
whimsical extension to the point of absurdity of the theory expressed
in this essay--a theory which Lord Macaulay, in his review of Leigh
Hunt's edition of the Dramatic Works of Wycherley, Congreve, etc., in
1840, opposed with characteristic vigour.

Hartley Coleridge, in a letter to Edward Moxon concerning Leigh Hunt's
edition of Wycherley and Congreve, happily remarked: "Nothing more or
better can be said in defence of these writers than what Lamb ha