terrors in children. They can at most but give them direction." He
suggests that the kind of fear is purely spiritual, and incidentally
gives a characteristically quaint turn in "My night-fancies have long
ceased to be afflictive. I confess an occasional nightmare; but I do
not, as in early youth, keep a stud of them."

In "My Relations" we have an excellent instance of Lamb's veiled
autobiography; he begins by saying that he has no brother or sister
and at once proceeds to a close and analytical portrait of his
"cousin," James Elia, that supposed personage being Charles Lamb's own
brother John, who died in November, 1821, a few months after the
original appearance of this essay. "Mackery End in Hertfordshire,"
continues the theme of relations with another striking piece of
portraiture in another supposed cousin of Elia's, Bridget (really Mary
Lamb). In limning his sister he was of course hampered somewhat by her
terrible affliction, but wonderfully has he surmounted it, and
delightful indeed it is to follow the narrative of the "cousins'"
visit to unknown cousins at the old place in "the green plains of
pleasant Hertfordshire."

Dealing with the subject of "Modern Gallantry" Elia shows how it is
wanting in the true spirit of gallantry which should consist not in
compliments to youth and beauty but in reverence to sex.

"The Old Benchers of the Inner Temple" is one of the essays richest at
once in personal recollections, in wonderful portraiture, and in those
subtle literary touches which impart their peculiar flavour to the
whole. A sketch of the author's father as Lovel was quoted from this
essay in the opening chapter. Elia's observation, his felicity of
expression, his originality of thought, a hint of his playfulness, may