Here, Gillman, come up to my Garret, and driven back by the guardian spirits of four huge flower-holders of omnigenous roses and honeysuckles—­(Lord have mercy on his hysterical olfactories!  What will he do in Paradise?  I must have a pair or two of nostril-plugs, or nose-goggles laid in his coffin)—­stands at the door, reading that to M’Adam, and the washer-woman’s letter, and he admits the facts.  You are found in the manner, as the lawyers say! so, Mr. Charles! hang yourself up, and send me a line, by way of token and acknowledgment.  My dear love to Mary.  God bless you and your Unshamabramizer.

S.T.  COLERIDGE.

Reynolds was John Hamilton Reynolds.  According to a marked copy in the possession of Mr. Buxton Forman, Reynolds wrote only the odes to Mr. M’Adam, Mr. Dymoke, Sylvanus Urban, Elliston and the Dean and Chapter of Westminster.

The newspaper in which Lamb complimented the book was the New Times, for April 12, 1825.  See Vol.  I. of the present edition for the review, where the remarks on puns are repeated.  The “Mag.  Ignotum” was the ode to the Great Unknown, the author of the Scotch novels.  In the same paper on January 8, 1825, Lamb had written an essay called “Many Friends” (see Vol.  I.) a little in the manner of this first paragraph.

“Your picture of the Camel.”  Probably the story of a caller told by Coleridge to Lamb in a letter.

“Your Enigma about Cupid.”  Possibly referring to the following passage in the Aids to Reflection, 1825, pages 277-278:—­

From the remote East turn to the mythology of Minor Asia, to the Descendants of Javan who dwelt in the tents of Shem, and possessed the Isles.  Here again, and in the usual form of an historic Solution, we find the same Fact, and as characteristic of the Human Race, stated in that earliest and most venerable Mythus (or symbolic Parable) of Prometheus—­that truly wonderful Fable, in which the characters of the rebellious Spirit and of the Divine Friend of Mankind ([Greek:  Theos philanthropos]) are united in the same Person:  and thus in the most striking manner noting the forced amalgamation of the Patriarchal Tradition with the incongruous Scheme of Pantheism.  This and the connected tale of Io, which is but the sequel of the Prometheus, stand alone in the Greek Mythology, in which elsewhere both Gods and Men are mere Powers and Products of Nature.  And most noticeable it is, that soon after the promulgation and spread of the Gospel had awakened the moral sense, and had opened the eyes even of its wiser Enemies to the necessity of providing some solution of this great problem of the Moral World, the beautiful Parable of Cupid and Psyche was brought forward as a rival FALL OF MAN:  and the fact of a moral corruption connatural with the human race was again recognized.  In the assertion of ORIGINAL SIN the Greek Mythology rose and set.

“Have you heard the Creature?”—­Giovanni Battista Velluti (1781-1861), an Italian soprano singer who first appeared in England on June 30, 1825, in Meyerbeer’s “Il Crociato in Egitto.”  He received L2,500 for five months’ salary.]