Charles Churchill, the author of the Rosciad, was a sad drunkard. The caricature drawn of him by Hogarth will be remembered. A number of them had met as usual at their whist club in the Bedford Arms parlour. There it was that Churchill insulted Hogarth, called him a ‘very shallow fellow,’ and afterwards in writing derided the man, his productions, and his belongings. Hogarth revenged the sneer. He converted an old copper-plate into a palimpsest, on which he drew a caricature of Churchill as a growling bear with the ragged canonicals of a parson (for such the poet had been), a pot of porter by his side, and a ragged staff in his paw, each knot inscribed ‘lye.’
Theodore Hook was a highly convivial man. In a memoir of this once popular man, it is stated that the disorder under which he long laboured arose from a diseased state of the liver and stomach, brought on partly by anxiety, but chiefly, it is to be feared, by that habit of over indulgence at table, the curse of colonial life. (At the instance of the Prince Regent he had obtained a Government appointment in the Mauritius.)
A stanza of his own composition reveals in brief the man:—
Then now I’m resolved at all sorrows to blink—
Since winking’s the tippy I’ll tip ‘em the wink,
I’ll never get drunk when I cannot get drink,
Nor ever let misery bore me.
I sneer at the Fates, and I laugh at their spite,
I sit down contented to sit up all night,
And when my time comes, from the world take my flight,
For—my father did so before me.[226]
The name of Charles Lamb will naturally suggest itself. Of him one would fain observe silence in this connection. He must at any rate speak for himself: ‘A small eater but not drinker.’ He acknowledges a partiality for the production of the juniper. This would probably prepossess Hazlitt, who observes in his Thoughts and Maxims: ‘We like a convivial character better than an abstemious one, because the idea of conviviality in the first instance is pleasanter than that of sobriety.’ Lamb considered it a great qualification in his father that he made punch better than any man of his degree in England. C. Lamb was a schoolfellow of S. T. Coleridge, and something more—a friend, not of a day, but of a life. Severed during the University career of the Lake poet, the friendship was maintained by occasional visits of the latter to town, where at the Salutation and Cat, they supped, heard the midnight chimes, and possibly heard the clock strike one several times, in the little smoky room now historical. More than twenty years passed, and Lamb is found dedicating his works, then first collected, to the same old friend. Meantime, countless letters pass between them; on Lamb’s part the lower side of the convivial blending too freely with the literary. Does he anticipate a visit to his friend? The joy is infinitely heightened by the prospect of the tavern and the ‘egg-hot.’ Nor does he blush to confess ‘I am writing at random, and half tipsy.’
In his The Old Familiar Faces, he writes:—
I have been laughing, I have been carousing,
Drinking late, sitting late, with my bosom-cronies,
All, all are gone, the old familiar faces.
Reference need not be made to that terribly tragical dissertation in his incomparable Essays of Elia, entitled The Confessions of a Drunkard. The passage which begins: ‘The waters have gone over me, but out of the dark depths could I be heard, I would cry out to all those who have set foot on that perilous flood,’ is familiar to most lovers of literature. But whether the dismal language is the mirror of his own experience, may remain a moot point. However, facts contradict the assertion of Barry Cornwall, that ‘much injustice has been done to Lamb, by accusing him of excess in drinking,’ and Hazlitt was perfectly justified in unequivocally stating what he had taken scrupulous pains to verify. Thus much admitted, we may endorse the sentiment expressed so feelingly:—