look upon a child without recalling Lamb's portrayal of the grace of
childhood. He will have shared with you his perception of beauty. If
you possess children, he will have renewed for you the charm which
custom does very decidedly stale. It is further to be noticed that the
measure of his success in picturing the children is the measure of his
success in his main effect. The more real they seem, the more touching
is the revelation of the fact that they do not exist, and never have
existed. And if you were moved by the reference to their "pretty dead
mother," you will be still more moved when you learn that the girl who
would have been their mother is not dead and is not Lamb's.

As, having read the essay, you reflect upon it, you will see how its
emotional power over you has sprung from the sincere and unexaggerated
expression of actual emotions exactly remembered by someone who had an
eye always open for beauty, who was, indeed, obsessed by beauty. The
beauty of old houses and gardens and aged virtuous characters, the
beauty of children, the beauty of companionships, the softening beauty
of dreams in an arm-chair--all these are brought together and mingled
with the grief and regret which were the origin of the mood. Why is
_Dream Children_ a classic? It is a classic because it transmits to
you, as to generations before you, distinguished emotion, because it
makes you respond to the throb of life more intensely, more justly,
and more nobly. And it is capable of doing this because Charles Lamb
had a very distinguished, a very sensitive, and a very honest mind.
His emotions were noble. He felt so keenly that he was obliged to find
relief in imparting his emotions. And his mental processes were so
sincere that he could neither exaggerate nor diminish the truth. If
he had lacked any one of these three qualities, his appeal would have
been narrowed and weakened, and he would not have become a classic.
Either his feelings would have been deficient in supreme beauty,