hn Palmer's (see the essay "On
Some of the Old Actors").

Page 181, line 16. _Poor W----_. In the Key Lamb identifies W---- with
Favell, who "left Cambridge because he was asham'd of his father, who
was a house-painter there." Favell has already been mentioned in the
essay on "Christ's Hospital."

Page 183, line 22. _At Lincoln._ The Lambs, as we have seen, came from
Lincolnshire. The old feud between the Above and Below Boys seems now
to have abated, but a social gulf between the two divisions of the
city remains.

Page 184, line 11 from foot. _John Billet_. Probably not the real
name. Lamb gives the innkeeper at Widford, in "Rosamund Gray," the
name of Billet, when it was really Clemitson.

* * * * *

Page 185. STAGE ILLUSION.

_London Magazine_, August, 1825, where it was entitled "Imperfect
Dramatic Illusion."

This was, I think, Lamb's last contribution to the _London_, which had
been growing steadily heavier and less hospitable to gaiety. Some one,
however, contributed to it from time to time papers more or less in
the Elian manner. There had been one in July, 1825, on the Widow
Fairlop, a lady akin to "The Gentle Giantess." In September, 1825, was
an essay entitled "The Sorrows of ** ***" (an ass), which might,
both from style and sympathy, be almost Lamb's; but was, I think, by
another hand. And in January, 1826, there was an article on whist,
with quotations from Mrs. Battle, deliberately derived from her
creator. These and other essays are printed in Mr. Bertram Dobell's
_Sidelights on Charles Lamb_, 1903, with interesting comments.

The present essay to some extent continues the subject treated of in
"The Artificial Comedy," but it may be taken also as containing some
of the matter of the promised continuation of the essay "On the
Tragedies of Shakspeare," which was to deal with the comic characters
of that dramatist (see Vol. I.).

Page 185, line 15 from foot. _Jack Bannister_. See notes to the essay
on "The Old Actors." His greatest parts were not those of cowards; but
his Bob Acres was justly famous. Sir Anthony Absolute and Tony Lumpkin
were perhaps his chief triumphs. He left the stage in 1815.

Page 186, line 24. _Gatty_. Henry Gattie (1774-1844), famous for
old-man parts, notably Monsieur Morbleu in Moncrieffs "Monsieur
Tonson." He was also the best Dr. Caius, in "The Merry Wives of
Windsor," of his time. He left the stage in 1833, and settled down as
a toba