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ELIA, AND GEOFFREY CRAYON.

So Mr. Charles Lamb and Mr. Washington Irvine choose to designate themselves; and as their lucubrations under one or other of these noms de guerre have gained considerable notice from the public, we shall here attempt to discriminate their several styles and manner, and to point out the beauties and defects of each in treating of somewhat similar subjects.

Mr. Irvine is, we take it, the more popular writer of the two, or a more general favourite: Mr. Lamb has more devoted, and perhaps more judicious partisans. Mr. Irvine is by birth an American, and has, as it were, skimmed the cream, and taken off patterns with great skill and cleverness, from our best known and happiest writers, so that their thoughts and almost their reputation are indirectly transferred to his page, and smile upon us from another hemisphere, like “ the pale reflex of Cynthia's brow:” he succeeds to our admiration and our sympathy by a sort of prescriptive title and traditional privilege. Mr. Lamb, on the contrary, being “native to the manner here,” though he too has borrowed from previous sources, instead of availing himself of the most popular and admired, has groped out his way, and made his most successful researches among the more obscure and intricate, though certainly not the least pithy or pleasant of our writers. Mr. Washington Irvine has culled and transplanted the flowers of modern literature, for the amusement of the general reader: Mr. Lamb has raked among the dust and col webs of a more remote period, has exhibited specimens of curious relics, and pored over moth-eaten, decayed manuscripts, for the benefit of the more inquisitive and discerning part of the public. Antiquity after a time has the grace of novelty, as old fashions revived are mistaken for new ones ; and a certain quaintness and singularity of style is an agreeable relief to the smooth and insipid monotony of modern composition. Mr. Lamb has succeeded not by conforming to the Spirit of the Age, but in oppo sition to it. He does not march boldly along with the crowd, but steals off the pavement to pick his way in the contrary direction. He prefers bye-ways to highways. When the full tide of human life pours along to some festive show, to some pageant of a day, Elia would stand on one side to look over an old

book-stall, or stroll down some deserted pathway in search of a pensive inscription over a tottering doorway, or some quaint device in architecture, illustrative of embryo art and ancient manners. Mr. Lamb has the very soul of an antiquarian, as this implies a reflecting humanity; the film of the past hovers forever before him. He is shy, sensitive, the reverse of every thing coarse, vulgar, obtrusive, and commonplace. He would fain “ shuffle off this mortal coil,” and his spirit clothes itself in the garb of elder time, homelier, but more durable. He is borne along with no pompous paradoxes, shines in no glittering tinsel of a fashionable phraseology; is neither fop nor sophist. He has none of the turbulence or froth of new-fangled opinions. His style runs pure and clear, though it may often take an underground course, or be conveyed through old-fashioned conduit-pipes. Mr. Lamb does not court popularity, nor strut in gaudy plumes, but shrinks from every kind of ostentatious and obvious pretension into the retirement of his own mind.

“ The self-applauding bird, the peacock see :

Mark what a sumptuous pharisee is he!
Meridian sun-beams tempt him to unfold
His radiant glories, azure, green, and gold:
He treads as if, some solomn music near,
His measured step were governed by his ear:
And seems to say— Ye meaner fowl, give place,
I am all splendour, dignity, and grace!

Not so the pheasant on his charms presumes,
Though he too has a glory in his plumes.
He, Christian-like, retreats with modest mien
To the close copse or far sequestered green,

And shines without desiring to be seen.” These lines well describe the modest and delicate beauties of Mr. Lamb's writings, contrasted with the lofty and vain-glorious pretensions of some of his contemporaries. This gentleman is not one of those who pay all their homage to the prevailing idol: he thinks that

“ New-born gauds are made and moulded of things past,” nor does he

“Give to dust that is a little gilt

More laud than gilt o'er-dusted.” His convictions “ do not in broad rumour lie,” nor are they “set off to the world in the glistering foil” of fashion ; but “live and breathe aloft in those pure eyes, and perfect judgment of all-seeing time. Mr. Lamb rather affects and is tenacious of the obscure and remote: of that which rests on its own intrinsic and silent merit; which scorns all alliance, or even the suspicion of owing any thing to noisy clamour, to the glare of circumstances. There is a fine tone of chiaro-scuro, a moral perspective in his writings. He delights to dwell on that which is fresh to the eye of memory;

he
yearns

after and covets what soothes the frailty of human nature. That touches

him most nearly which is withdrawn to a certain distance, which verges on the borders of oblivion :that piques and provokes his fancy most, which is hid from a superficial glance. That which, though gone by, is still remembered, is in his view more genuine, and has given more “ vital signs that it will live,” than a thing of yesterday, that may be forgotten to-morrow. Death has in this sense the spirit of life in it; and the shadowy has to our author something substantial in it. Ideas savour most of reality in his mind; or rather his imagination loiters on the edge of each, and a page of his writings recals to our fancy the stranger on the grate, fluttering in its dusky tenuity, with its idle superstition and hospitable welcome!

Mr. Lamb has a distaste to new faces, to new books, to new buildings, to new customs. He is shy of all imposing appearances, of all assumptions of self-importance, of all adventitious ornaments, of all mechanical advantages, even to a nervous excess. It is not merely that he does not rely upon, or ordinarily avail himself of them ; he holds them in abhorrence, he utterly abjures and discards them, and places a great gulph between him and them. He disdains all the vulgar artifices of authorship, all the cant of criticism, and helps to notoriety. He has no grand swelling theories to attract the visionary and the enthusiast, no passing topics to

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