He also refers to his sister and mystifies her as his maid Bridget and he apprehends that she will disturb his dream children. The essay ends in a note of melancholy when the dream shifts to reality. The Children of Alice call Bartrum, father. Lamb seems to have been constantly regretful of leading a lonely life.
Though Coleridge and Lamb were school fellows, Coleridge was speedily selected by Dr. James Boyer, the grammar master, as a boy to be trained for university education. He remained the head boy of the school and was later sent to Cambridge with extraordinary reputation. Boyer did not overlook Lamb but he perceived the genius of Coleridge, especially his versatility reflected in his exposure to classics and his English compositions. It remained a mystery to generations of the bluecoat boys of Christ Hospital how Lamb had not been sent to Cambridge.
Lamb used to visit Oxford in the vacation. For him the university is the most favourable place of visit. He wanted to roam on the campus, the quadrangle and to visit the library and to smell the moth scented books.
Lamb proclaims himself as an antiquarian and he finds the library the abode of the souls of ancient authors. I could as soon dislodge a shade. I seem to inhale learning, walking amid their foliage; and the odour of their old moth-scented coverings is fragrant as the first bloom of those sciential apples which grew amid the happy orchard.
Lamb becomes nostalgic when he speaks about Oxford and his comments are poetic passages of pathos aestheticized in his humour.
The axiom that the style is the man is more suited to Lamb than to any other essayists. The style of essay is gentle, archaic and irresistibly fascinating.
Lamb borrows from almost all English essayists. He is apparently influenced by the precision of Bacon, the Latinism of Milton, the melancholy of Burton, the rhetoric of Browne, the wit of Addison, the critical temper of Steele, the irony of Swift, the argumentative tone of Dryden and the humour of Fuller.
But Lamb expresses his new thoughts through their quaint expressions. Though the essays are social criticism of his age, they present excellent pictures of humanity in general and of Lamb in particular.
In his love for word coinage, fondness for alliteration, use of compound words, formation of adjectives from proper names and frequent use of Latin words, Lamb visits his Elizabethan counterparts. Saintsbury means that despite his borrowings in style, his thoughts remain his own, fresh and original.
Lamb also uses a variety of quotations like real quotations, half quotations, misquotations, disguised or pretended quotations in his essays. This is a craft evolved from the borrowing and blending of styles of his predecessors. Wit is based on intellect, humour on insight and sympathy, and fun on vigour and freshness of mind. His humour is largely benign or genial. He never laughs at people; he laughs with them at the follies of human life.
Before he assumed the mask of Elia, he tried a number of masks. He wrote on Charles Lamb as if he were a chance acquaintance of Lamb. He borrowed the person but not the personality of Coleridge. The cheerful and dynamic pen life of Elia helped Lamb to circumvent the misfortunes of his personal life.
Strip Elia of these and he is nothing. Of no one else is the saying that the style is the man more true than of Lamb. In the deepest sense his style is natural and all his own.
Every page of his essays is punctuated with his true self. Lamb always begins his essays without any trace of self assertion. He begins with some purely personal mood or experience and builds a rapport with the reader and leads him to view life or literature as he experienced it. Lamb thus succeeds in combining the personal with the universal. His original and fresh ideas are garbed in old style and quaint humour.
Though Lamb expresses broad and deep sympathies with humanity, he highlights his self. He was forever pretending to be scholastic philosopher or a seventeenth century preacher dividing the human species into great new categories.
Lamb recalls his memories as materials for his essays and transforms them through his fancy. As most of his personal memories are painful, he expresses them humourously. Lamb uniquely but skillfully blends humour and pathos in his essays. Students write a pastiche essay that incorporates quotations from several authors posted by peers across several discussion boards and the pastiche writer connects the significance of his selections of from his peers' citations.
Patricia A. This bistability of purpose and play has evolved in the contemporary terms and outcomes of Rhetoric-Composition into a serious bifurcation in not only how English Studies is to approach the teaching of college writing, but how WAC programs are to negotiate the essential creative play of WTL techniques into the more serious purpose of Writing to Communicate the discourse of a given academic discipline.
According to Lanham, the word processor, with its powers of selection and rearrangement has pointed the way, "above all, [to] a pervasive reversal of use and ornament, a turning of purpose to play and game, a continual effort not, as with the Amoldian canon, to purify our motives, but to keep them in a roiling, rich mixture of play, game and purpose , Dedicated to re tum us to this "roiling, rich mixture," Digital Pastiche is a "Creative Writing to Learn" exercise has deep roots in the modernist hybrid, and indeed, ancient matrices of the reader's journal, the personal essay.
Virtually any writing-intensive course that commits to collaborative, Web- accessible RRJs can now play seriously with digital pastiche to help students read and write across the academic curriculum in both creative and critical ways.
Bowen, Barbara C. Berven, 54— New York: Garland. Brush, Craig. New York: Fordham University Press. Carrigan, Rob. Elbow, Peter. Harvey, Gordon. Hoesterey, Ingeborg. T anham, Richard. The Electronic Word. Chicago: University of Chicago Press. Lopate, Phillip, ed.
Montaigne, Michel de. Complete Essays of Montaigne. Donald M. Frame, trans. Rice, Jeff. Skerl, Jenny. William S. Boston, MA: G. Stroupe, Craig. Sullivan, Patricia A. Tzara, Tristan. Questions and Topics for Discussion 1 In his introduction, Lopate suggests that the personal essay implies a "certain unity to human experience.
Can you read your own concerns and experiences into the framework of these essays? To what extent does its theme have meaning for you despite the aspects of its content that may be alien to you?
With these distinctions in mind, think about the pieces listed in the Contents by Form under "Memoir. When you tell a story from your own life, do you use similar techniques? I like this argument. Marriage is a lot of work and I think a lot of kids in my ward could benefit from this. My parents taught me well how much work marriage is, but I think many of my friends see it as the answer to their problems.
I think marriage is something wonderful and something I now look forward to though that was not always the case , but it needs to stop being idealized as a fix-all solution. Form: This was meant to be a persuasive essay.
Stevenson obviously has a lot of feeling on the subject because of personal experience as the biography states , but he leaves it pretty impersonal. In fact, before I read the biography and casually skimmed this essay I misunderstood it completely, thinking that Stevenson was arguing that marriage anything but a positive experience.
It is not very concrete and does not give many concrete examples, which might be one reason why it is kind of difficult to wade through. Along with that the organization is like most of the essays from this time, go with the flow till you reach the conclusion. What I can gather is that the essays starts on one large sentence on hope, goes through a few abstractions, and then argues them.
It takes a few paragraphs to get to the point, which is very unlike a more modern essay form. A Piece of Chalk by G. Chesterton Content: I love pretty much everything written by Chesterton. Even though he meant it more as a moral thing, virtue needing to be tested, the color debate it is one I have had with myself many times. As a painter, white is not a color. Black is.
London: Longman, The ethos of deep self reflection accompanied by introvert and solitary musing is pervasive in the Romantic personal essays. The essay ends in a note of melancholy when the dream shifts to reality. Academic writing—Study and teaching.
Before he assumed the mask of Elia, he tried a number of masks.
This stylistically defined aspect of freedom is accentuated by a contrast with those forms of expression where conformity to traditional frames is prescribed over individual creativity. Third, the realization of this subversive potential of the form logically leads to the revelation of its value as a mode of discourse and its repositioning at the centre instead at the margins. The advice given to his wife was clear on that, and he commended her for handling it so well. The cheerful and dynamic pen life of Elia helped Lamb to circumvent the misfortunes of his personal life. I have to hide my weaknesses under these great authorities" in Lopate , xli. According to Lanham, the word processor, with its powers of selection and rearrangement has pointed the way, "above all, [to] a pervasive reversal of use and ornament, a turning of purpose to play and game, a continual effort not, as with the Amoldian canon, to purify our motives, but to keep them in a roiling, rich mixture of play, game and purpose ,
As most of his personal memories are painful, he expresses them humourously.
In the deepest sense his style is natural and all his own. Klaus, Carl H. Refined Raw Materials. When you tell a story from your own life, do you use similar techniques? He borrowed the person but not the personality of Coleridge. By relating the essay to the concept of ideology he lifts the form out of the narrow www.
The cheerful and dynamic pen life of Elia helped Lamb to circumvent the misfortunes of his personal life.
Segall and Robert Smart; foreword by Hans Bergmann. Essays of Elia.