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The Project Gutenberg EBook of The Atlantic Monthly, Vol. 12, No. 72, October, 1863, by Various This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Atlantic Monthly, Vol. 12, No. 72, October, 1863 Author: Various Release Date: May 16, 2005 [EBook #15838] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK THE ATLANTIC MONTHLY, VOL. *** Produced by Cornell University, Joshua Hutchinson, Josephine Paolucci and the Online Distributed Proofreading Team. [Transcriber's Note: Footnotes moved to end of document.] THE ATLANTIC MONTHLY. A MAGAZINE OF LITERATURE, ART, AND POLITICS. VOL. XII.--OCTOBER, 1863.--NO. LXXII. Entered according to Act of Congress, in the year 1868, by TICKNOR AND FIELDS, in the Clerk's Office of the District Court of the District of Massachusetts. * * * * * CHARLES LAMB'S UNCOLLECTED WRITINGS.[1] SECOND PAPER. Readers of Lamb's "Life and Letters" remember that before "Mr. H." was written, before Kemble had rejected "John Woodvil," Godwin's tragedy of "Antonio" had been produced at Drury-Lane Theatre, and that Elia was present at the performance thereof. But perhaps they do not know (at least, not many of them) that Elia's essay on "The Artificial Comedy of the Last Century," as originally published in the "London Magazine," contained a full and circumstantial account of the cold and stately manner in which John Kemble performed the part of Antonio in Godwin's unfortunate play. For some reason or other, Lamb did not reprint this part of the article. Admirers of Charles Lamb and admirers of the drama will be pleased--for 'tis a very characteristic bit of writing--with what Elia says of * * * * * JOHN KEMBLE AND GODWIN'S TRAGEDY OF "ANTONIO." "The story of his swallowing opium-pills to keep him lively upon the first night of a certain tragedy we may presume to be a piece of retaliatory pleasantry on the part of the suffering author. But, indeed, John had the art of diffusing a complacent equable dulness (which you knew not where to quarrel with) over a piece which he did not like, beyond any of his contemporaries. John Kemble had mad
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