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T A L E S FROM S.H. A. PCS P E A R E. BY CHARLES AND MARY, LAMB. EDITED, witH AN INTRoduction, BY THE REV. ALFRED AINGER, M. A. " -ºš- PHILADELPHIA H E N R Y A. L T E M US 1894 £|Itemugº JBookbimberg, |\bílabelpbia. } INTRODUCTION. , TN the year 1806 Charles and Mary Lamb were residing sº in Mitre Court Buildings in the Temple. For more & S than ten years Charles had devoted himself to the care sº of this sister, content to forego for her sake all thoughts Sº, of other ties, and living beneath the shadow, which never lifted, of a great family sorrow. Happily for both Sº they were united by strong common tastes and sym- a pathies as well as by the tenderest affection, and prom- i inent among such tastes, as all readers of the AEssays of Nº Elia well know, was the love of Shakspeare and the & other great Elizabethans. In a letter of May 1o in this ° year to his friend Manning, who had shortly before sailed for China, Charles Lamb writes of the sister who was never far from his thoughts, -“Mary, whom you seem to remember yet, is not quite easy that she had not a … formal parting from you. I wish it had so happened. But you must bring her a token, a shawl or something, * and remember a sprightly little mandarin for our mantel- º piece, as a companion to the child I am going to pur- J chase at the museum. She says you saw her writings ºz about, the other day, and she wishes you should know what they are. She is doing for Godwin’s bookseller twenty of Shakspeare's plays, to be made into children's tales. Six are already done by her, to wit, Zhe Zempest, Winter's Tale, Midsummer Night, Much Ado, Two Gentlemen of Verona, and Cymbeline; and the Mer- ichant of Venice is in forwardness. I have done Olhello, and Macbeth, and mean to do all the Tragedies. I think it will be popular among the little people, besides money, |It's to bring in sixty guineas. Mary has done them |capitally, I think you'd think.” - - . - (iii) iy 3 mttoouction * } “Godwin's bookseller” was the agent of william Godwin, the author of “Caleb Williams,” who ha started just a year before in Hanway Street, as one of th many ventures of his struggling life, what he called a “Magazine of books for the use and amusement of chil- dren,” Godwin himself, under the name of Baldwin (for he did not venture to connect his own name, associated as it was with so many novel and strange heresies, with books designed to educate the young), furnished several volumes of fables and school histories; and it was he, doubtless, and not his “bookseller,” who formed the happy thought of calling in the aid of Charles and Mary Lamb. “Printed for Thomas Hodgkins, at the Juvenile Library, Hanway Street,” and “embellished with copper plates,” appeared in the year 1807 the first edition of “Tales from Shakspeare, designed for the use of young persons, by Charles Lamb.” The illustrations were by Mulready, who did much work of the same kind for Godwin in the first years of his book-selling career. Neither on the Title-page nor in the Preſace did Mary Lamb's name appear, though in the latter it is not con- cealed that more than one hand had been engaged on the task. Perllaps it was the sister’s own wish that her name should be suppressed. But we have her brother's testimony to the important share which she bore in the work, and her name therefore appears in the title of the . present edition. It is only matter of conjecture to which of the two writers we owe the Preface—a singularly eloquent and musical piece of English prose. There are passages in it which suggest the woman's hand, and probably it repre- sents the joint counsels of brother and sister. The Pre- face sets forth the method on which the Tales had been constructed—that of weaving into the narrative the ver words of Shakspeare, wherever it seemed possible tºp bring them in, -a method which it is obvious only writers of the special training of Lamb and his siste could have hoped to pursue with success. To put th 1anguage of Rosalind and Beatrice in close contact wit 3 mttoouction V that of the ordinary compiler of children's books might result in anything but a harmonious whole. The writers, indeed, were evidently aware of the risks they ran, and adopted the very sound principle of avoiding as far as possible the use of words introduced into the language since Shakspeare's time. But not even this restriction might have saved the scheme from failure, had not the brother and sister been so familiar with the rhythm and cadences of Elizabethan English, that their own narra- tive style assimilated almost without effort with the lan- guage of their original, “transplanted from its own natural soil and wild poetic garden.” The Tales are twenty in number, and the general prin- ciple on which they were chosen is sufficiently clear. The whole series of English Histories is left unattempted, as well as the Roman Plays ; and of the few that remain, Move's Labour's Lost is the only one the reason for whose omission is not quite obvious. Perhaps Miss Lamb ſelt how little would have remained of the original comedy when the poetical element in its language and the brilliant wit of its dialogue had been removed. In fact, the share of the work undertaken by Mary Lamb was the more difficult and the less grateſul. It is easier to tell the story of Pławnlet effectively in narrative prose than Twelfth Night, or A //idsummer Night's Dream. The mere recurrence of the same class of incidents in the Comedies, such as the likeness existing between two persons, tried the patience of even so devout a Shak- spearian as Mary Lamb. Her brother writing to Words- worth, when the book was in progress, says:—“Mary is just stuck fast in All's Well that Ends Well. She com- plains of having to set forth so many female characters in boys' clothes. She begins to think Shakspeare must have wanted—imagination ' If Lamb, however, chose for himself the more grateful part of the joint labour, he was generous in always insisting upon the superiority of his sister's workmanship. In the Preface already referred to, the aims which the compilers had in view are distinctly explained. They wished to interest young persons in the story of each vi 3 introCuction drama, to supply them, with a clear and definite outline of the main argument, omitting such episodes or inci- dental sketches of character as were not absolutely necessary to its development. But, more than this, they sought to initiate the young reader into the unfamiliar diction of the dramatist, and by occasional slight changes in it to remove difficulties and clear up obscurities. Thus, in the first of the Tales—and it is thoroughly char- acteristic of Lamb that even when writing for children he adhered to the first folio arrangement by opening with the Tempest—the long and intricate narrative of Prospero in the first act—broken by grief and anger, sentences begun and left unfinished as recollection after recollection wells up and overflows its predecessor—is shortened and resolved into a harmony more intelligible to a child, so that the original, when it comes to be read, will be freed of most of its difficulties. In this way, a 1