compatible with the bustle of
modern occupancy, and vanities of foolish present
aristocracy. The same difference of feeling, I think,
attends us between entering an empty and a crowded church.
In the latter it is chance but some present human
frailty--an act of inattention on the part of some of the
auditory--or a trait of affectation, or worse, vain-glory on
that of the preacher--puts us by our best thoughts,
disharmonizing the place and the occasion. But wouldst thou
know the beauty of holiness? go alone on some week-day,
borrowing the keys of good Master Sexton, traverse the cool
aisles of some country church: think of the piety that has
kneeled there--the congregations, old and young, that have
found consolation there--the meek pastor, the docile
parishioner. With no disturbing emotions, no cross
conflicting comparisons, drink in the tranquillity of the
place, till thou thyself become as fixed and motionless as
the marble effigies that kneel and weep around thee.

"Poor Relations" is a beautiful example of humour--provoking to smiles
while touching to tears--with a wonderful introductory piling up of
definitions: "A Poor Relation--is the most irrelevant thing in
nature,--a piece of impertinent correspondency,--a preposterous
shadow, lengthening in the noontide of your prosperity,--an unwelcome
remembrancer," and so on. "This theme of poor relations is replete
with so much matter for tragic as well as comic associations that it
is difficult to keep the account distinct without blending." The essay
includes three or four admirable examples of Elia's felicity in
drawing typical characters with just that touch of oddity that makes
them live as individuals. The theatre which we have seen always made
its triple appeal to Lamb--from the study, from the front, and from
the boards--inspired the next three essays, "Stage Illusions," "To the
Shade of Elliston," and "Ellistoniana." The first is an example of
subtle criticism showing how it is that we get enjoyment out of
unlovely attributes on the stage, thanks to the "exquisite art of the
actor in a perpetual sub-insinuation to us," that things are not
altogether what they seem to be. In the two essays on Elliston we have
at once an eloquent tribute to a stage-magnate of his day and a fine
character portrait.

"Detached Thoughts on Books and Reading," might be cited as one of the
most char