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- W962797785 abstract "HARLES LAMB always seemed to claim a particular familiarity with readers. At the high point of popularity in the early twentieth century, E. V. Lucas compared Lamb favorably with William Hazlitt. For every reader of Hazlitt, he argues, there are scores of readers of a situation he attributes to Hazlitt's lack of sympathetic companionableness: Hazlitt has no tendrils; he makes us think, but he never enfolds us.' It was this sympathetic companionableness with readers that, even for Lamb's earliest admirers, gave writing its best qualities. His fellow London Magazine writer Barry Cornwall writes: his looks and movements are transfigured, and communicated to me by the art of the printer. His voice, so sincere and earnest, rings in my ear again.'2 Cornwall, perhaps unwittingly, draws attention to the difference between the text as physical, printed object, and the writer's living voice. The poor art of the printer is necessarily inadequate to convey the living presence of the man. Lamb, like many of cohorts in the periodical press of the early nineteenth century, frequently figured periodical writing as a kind of conversation with the reader. The conviviality of Lamb's style is often seen as an uncomplicated virtue, but Lamb sees the relationship between writing and speech more ambivalently. The idea of intimacy in the period is a charged one, particularly as writers began to recognize the dramatic changes in the size and constitution of the audience for print that marked the literary culture of the early nineteenth century, and nowhere more prominently than in the newly dominant field of periodical production. The growth in magazine popularity benefited Lamb, who acknowledges in most popular essays the value of an immethodical, chatty style. This conversational" @default.
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- W962797785 date "2008-01-01" @default.
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- W962797785 title "Charles Lamb’s distant correspondents: speech, writing and readers in Regency magazine writing" @default.
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