Charles Lamb
Dream Children: A Reverie
By Charles Lamb
Title Explanation
हिं📖 कहानी के नाम का राज़!
Dream Children (सपनों के बच्चे): ये वो बच्चे हैं जो असल में नहीं हैं, सिर्फ लेखक के सपनों और ख्यालों में हैं। 💭👧👦
A Reverie (एक मीठा सपना): इसका मतलब है दिन में देखा गया सपना, जब आप जागे हुए हों पर यादों में खोए हों। 🌌
तो, ये कहानी उन बच्चों की है जो लेखक के मीठे सपनों का हिस्सा थे, पर हकीकत नहीं।
Dream Children: This phrase immediately signals that the children in the essay are not real. They are products of the narrator’s imagination, desire, or memory—ethereal and intangible beings born from a dream-like state.
A Reverie: This word clarifies the nature of the “dream.” A reverie is a state of being pleasantly lost in one’s thoughts; a daydream. It suggests the essay is not a narrative of a nighttime dream but a waking fantasy, a wistful journey into the narrator’s mind, blending memory and imagination.
Combined Significance: The full title, “Dream Children: A Reverie,” perfectly encapsulates the essay’s essence. It is a deeply personal and melancholic piece where the author, Charles Lamb, conjures an imaginary family to cope with his real-life loneliness and unfulfilled desires, particularly his love for Ann Simmons. The essay exists in the hazy space between reality and fantasy.
About the Author: Charles Lamb
हिंCharles Lamb (1775–1834) was a celebrated English essayist, poet, and antiquarian, best known for his *Essays of Elia*. He was a central figure in the literary circles of London during the Romantic period, a close friend to writers like Samuel Taylor Coleridge and William Wordsworth.
Lamb’s life was marked by profound personal tragedy. In 1796, his sister Mary, in a fit of madness, killed their mother. Lamb dedicated his life to caring for her, forgoing marriage and a family of his own. This deep-seated melancholy and sense of loss permeate his work. His essays, written under the pseudonym ‘Elia’, are famous for their whimsical charm, conversational tone, deep pathos, and blend of autobiography with fiction. “Dream Children” is a poignant example of this style, reflecting his own unfulfilled longing for a family.
The Romantic Period
हिं🎨 रोमांटिक पीरियड क्या था?
ये वो समय था (लगभग 1780-1850) जब लेखक नियमों से ज़्यादा अपनी भावनाओं (emotions ❤️), कल्पना (imagination 🦄), और प्रकृति (nature 🌳) को महत्व देते थे। वो पुरानी कहानियों और बीती यादों के बारे में लिखना पसंद करते थे।
ये कहानी इसका एक बेहतरीन उदाहरण है क्योंकि इसमें लेखक अपनी कल्पना और यादों में पूरी तरह खो जाते हैं।
“Dream Children” is a quintessential work of the English Romantic Period (roughly 1780s-1850s). This literary movement was a reaction against the Enlightenment’s emphasis on reason and logic, instead prioritizing:
- Emotion and Individualism: Focus on the personal feelings, experiences, and inner world of the writer.
- Imagination: Glorification of the imagination as a powerful creative and healing force.
- Interest in the Past: A nostalgic and often idealized view of history, folklore, and personal memories.
- The Supernatural: Fascination with dreams, visions, and the mysterious.
Lamb’s essay perfectly embodies these traits. It is a deeply personal and emotional reflection, driven entirely by his imagination and nostalgic memories of his grandmother and his lost love. The essay’s dream-like quality and its focus on what “might have been” make it a classic example of Romantic prose.
The Complete Essay & Analysis
Paragraph 1
हिंकहानी की शुरुआत! 🎬
लेखक के दो छोटे बच्चे, एलिस और जॉन, उनके पास बैठकर अपनी परदादी (great-grandmother) की कहानी सुनने की ज़िद कर रहे हैं। वो उस बड़े से घर के बारे में जानना चाहते हैं जहाँ वो रहती थीं। 🏡
Children love to listen to stories about their elders, when they were children; to stretch their imagination to the conception of a traditionary great-uncle, or grandame, whom they never saw. It was in this spirit that my little ones crept about me the other evening to hear about their great-grandmother Field, who lived in a great house in Norfolk (a hundred times bigger than that in which they and papa lived) which had been the scene—so at least it was generally believed in that part of the country—of the tragic incidents which they had lately become familiar with from the ballad of the Children in the Wood. Certain it is that the whole story of the children and their cruel uncle was to be seen fairly carved out in wood upon the chimney-piece of the great hall, the whole story down to the Robin Redbreasts, till a foolish rich person pulled it down to set up a marble one of modern invention in its stead, with no story upon it. Here Alice put out one of her dear mother’s looks, too tender to be called upbraiding.
Analysis
Difficult Words:
- Grandame: An old woman, a grandmother (पुरानी दादी/नानी).
- Crept about me: Moved quietly and slowly around me (मेरे आस-पास धीरे-धीरे आए).
- Tragic incidents: Very sad events (दुखद घटनाएँ).
- Ballad: A song or poem that tells a story (गाथागीत).
- Chimney-piece: The ornamental structure around a fireplace (चिमनी के आस-पास की सजावट).
- Upbraiding: Scolding or criticizing (डांटना).
Main Theme:
The introduction of the narrative frame. The narrator begins telling his “dream children,” Alice and John, about their great-grandmother Field and the grand house she cared for, immediately blending family history with folklore (the ballad of the Children in the Wood).
Literary Devices:
Allusion: The reference to the popular ballad “Children in the Wood” connects the family home to a well-known story of tragedy and innocence, setting a melancholic tone.
Paragraph 2
हिंपरदादी की कहानी! 👵
लेखक बताते हैं कि उनकी परदादी, मिसेज फील्ड, उस घर की मालकिन नहीं थीं, बस उसकी देखभाल करती थीं। वो बहुत ही धार्मिक और अच्छी महिला थीं, और सब लोग उन्हें बहुत प्यार करते थे। उनकी मौत पर बहुत लोग रोए थे। 😢
Then I went on to say, how religious and how good their great-grandmother Field was, how beloved and respected by every body, though she was not indeed the mistress of this great house, but had only the charge of it (and yet in some respects she might be said to be the mistress of it too) committed to her by the owner, who preferred living in a newer and more fashionable mansion which he had purchased somewhere in the adjoining county; but still she lived in it in a manner as if it had been her own, and kept up the dignity of the great house in a sort of ghostly solitude, where she knew all the primitive furniture, black oaken-panelling, with the carved imagery, making a story about every panel or tapestry within the house; and still she put visitors into the state-beds, though she herself slept in a little chamber hung round with some pointed tapestry, never showing any sign of decay, though she was fallen into it before she died.
Analysis
Difficult Words:
- Mistress: The female head of a household (मालकिन).
- Charge of it: Responsibility for it (इसकी ज़िम्मेदारी).
- Adjoining county: A nearby region (पड़ोसी जिला).
- Ghostly solitude: Lonely and quiet like a place with ghosts (भूतिया अकेलापन).
- Primitive furniture: Very old and basic furniture (पुराना फर्नीचर).
- Tapestry: A heavy cloth with pictures woven into it (दीवार पर टांगने वाला चित्र-वस्त्र).
Main Theme:
A character sketch of great-grandmother Field. She is portrayed as a pious, respected woman who was the caretaker, not the owner, of the house, yet treated it with a dignity and love as if it were her own. Her presence filled the house, even in its solitude.
Literary Devices:
Imagery: Vivid descriptions like “black oaken-panelling” and “pointed tapestry” create a strong visual sense of the old, grand, and slightly spooky house.
Paragraph 3
हिंभूतों की कहानी! 👻
लेखक बताते हैं कि घर में दो छोटे बच्चों के भूत दिखते थे, लेकिन परदादी बहुत बहादुर थीं और उनसे नहीं डरती थीं। वो अकेली सोती थीं। लेकिन लेखक, जो तब एक बच्चा था, बहुत डरता था। 😨
Then I told how she was handsome and graceful (though a little bent) in her youth, till a cruel disease, called a cancer, came, and bowed her down with pain; but it could never bend her good spirits, or make them stoop, though she was changed to the children, who had been used to see her up and down the house, whom she was forced to leave, and be confined to a chamber next the garden, where she could sometimes see the nectarines and peaches ripening upon the wall. Then I went on to describe her behaviour to her grand-children, when they came to see her in the holidays, how I in particular used to spend many hours by myself, gazing upon the old busts of the Twelve Cæsars, that had been Emperors of Rome, till the old marble heads would seem to live again, or I to be turned into marble with them; how I never could be tired with roaming about that huge mansion, with its vast empty rooms, with their worn-out hangings, fluttering tapestry, and carved oaken pannels, with the gilding almost rubbed out—sometimes in the spacious old-fashioned gardens, which I had almost to myself, unless when now and then a solitary gardening man would cross me—and how the nectarines and peaches hung upon the walls, without my ever offering to pluck them, because they were forbidden fruit, unless now and then,—and because I had more pleasure in strolling about among the old melancholy-looking yew trees, or the firs, and picking up the red berries, and the fir apples, which were good for nothing but to look at—or in lying about upon the fresh grass, with all the fine garden smells around me—or basking in the orangery, till I could almost fancy myself ripening too along with the oranges and the limes in that grateful warmth—or in watching the dace that darted to and fro in the fish-pond, at the bottom of the garden, with here and there a great sulky pike hanging midway down the water in silent state, as if it mocked at their impertinent friskings,—I had more pleasure in these busy-idle diversions than in all the sweet flavours of peaches, nectarines, oranges, and such like common baits of children.
Analysis
Difficult Words:
- Stoop: To bend forward and down (झुकना).
- Confined: Restricted to a place (एक जगह तक सीमित).
- Busts: Sculptures of a person’s head and shoulders (प्रतिमाएं).
- Roaming: Walking or traveling without a clear purpose (घूमना).
- Melancholy-looking: Appearing sad (उदास दिखने वाले).
- Impertinent friskings: Playful movements that seem rude or disrespectful (अशिष्ट उछल-कूद).
Main Theme:
The narrator’s childhood memories of the great house. He describes his grandmother’s illness and his own solitary wanderings through the mansion and its gardens. He emphasizes his preference for imaginative, “busy-idle” pleasures over simple ones like eating fruit, highlighting his sensitive and imaginative nature as a child.
Literary Devices:
Sensory Imagery: The passage is rich with sensory details: the “fine garden smells,” the “grateful warmth” of the orangery, the visual of the “sulky pike.” This immerses the reader in the narrator’s childhood world.
Personification: The pike is described as “sulky” and “mocking,” giving it human-like emotions and attitudes.
Paragraph 4
हिंडांस और अकेलापन! 🕺💔
परदादी बहुत अच्छी डांसर थीं, लेकिन जब वो बूढ़ी और बीमार हो गईं तो चल-फिर नहीं पाती थीं। लेखक अपने बड़े भाई जॉन के बारे में बताते हैं, जो बहुत एक्टिव था और लेखक को हर जगह अपने साथ ले जाता था। लेकिन अब जॉन इस दुनिया में नहीं है। 😔
Here John smiled, as much as to say, “that would be foolish indeed.” Then I told how, when she came to die, her funeral was attended by a concourse of all the poor, and some of the gentry too, of the neighbourhood for many miles round, to show their respect for her memory, because she had been such a good and religious woman; so good indeed that she knew all the Psaltery by heart, ay, and a great part of the Testament besides. Here little Alice spread her hands. Then I told what a tall, upright, graceful person their great-grandmother Field once was; and how in her youth she was notated to be the best dancer—here Alice’s little right foot played an involuntary movement, till, upon my looking grave, it desisted—the best dancer, I was saying, in the county, till a cruel disease, called a cancer, came, and bowed her down with pain; but it could never bend her good spirits, or make them stoop… Here John expanded all his eyebrows and tried to look courageous.
Analysis
Difficult Words:
- Concourse: A large crowd of people (भीड़).
- Gentry: People of good social position (कुलीन लोग).
- Psaltery: The Book of Psalms from the Bible (बाइबल का एक खंड).
- Testament: A division of the Bible (बाइबल का एक हिस्सा).
- Involuntary: Done without conscious control (अनजाने में).
- Desisted: Stopped or ceased (रुक गया).
Main Theme:
The contrast between Grandmother Field’s vibrant youth and her painful decline. The narrator highlights her reputation as the “best dancer” and her piety, which earned her the respect of the entire community at her funeral. The children’s physical reactions (Alice’s foot moving, John’s brave face) show their deep engagement with the story.
Literary Devices:
Juxtaposition: The image of the graceful, dancing young woman is placed in sharp contrast with the old woman “bowed down with pain” by cancer. This creates a powerful sense of pathos and the tragic passage of time.
Paragraph 5
हिंएलिस और उसकी माँ! 👩👧
लेखक अपनी कहानी में एलिस का ज़िक्र करते हैं, जो उनकी प्रेमिका थी। वो बताते हैं कि कैसे वो सात साल तक उसका इंतज़ार करते रहे। कहानी सुनाते-सुनाते, उन्हें अपनी बेटी एलिस में अपनी प्रेमिका की झलक दिखने लगती है। ✨
Then I told how for seven long years, in hope sometimes, sometimes in despair, yet persisting ever, I courted the fair Alice W—n; and, as much as children could understand, I explained to them what coyness, and difficulty, and denial meant in maidens—when suddenly, turning to Alice, the soul of the first Alice looked out at her eyes with such a reality of re-presentment, that I became in doubt which of them stood there before me, or whose that bright hair was; and while I stood gazing, both the children gradually grew fainter to my view, receding, and still receding till nothing at last but two mournful features were seen in the uttermost distance, which, without speech, strangely impressed upon my senses, as if they had said, “We are not of Alice, nor of thee, nor are we children at all. The children of Alice call Bartrum father. We are nothing; less than nothing, and dreams. We are only what might have been, and must wait upon the tedious shores of Lethe for millions of ages before we have existence, and a name”— and immediately awaking, I found myself quietly seated in my bachelor arm-chair, where I had fallen asleep, with the faithful Bridget unchanged by my side—but John L. (or James Elia) was gone for ever.
Analysis
Difficult Words:
- Persisting: Continuing firmly despite difficulty (दृढ़ रहना).
- Courted: Tried to win the love of someone (प्रेम निवेदन किया).
- Coyness: Pretended shyness or modesty (बनावटी शर्म).
- Re-presentment: The act of presenting again; a vivid image (पुनः प्रस्तुति).
- Receding: Moving further away (दूर जाते हुए).
- Lethe: (In Greek mythology) a river in the underworld whose water caused forgetfulness (विस्मृति की नदी).
Main Theme:
The climax and the painful return to reality. The narrator’s reverie breaks as he mentions his lost love, Alice W-n. The dream children fade away, revealing they are merely “what might have been.” The narrator awakens to his lonely reality as a bachelor, with his sister Bridget (Mary) beside him and his brother John long dead.
Literary Devices:
Pathos: The emotional peak of the essay. The children’s final, silent message, “We are nothing; less than nothing, and dreams,” is heartbreaking and evokes deep sympathy for the narrator’s loneliness and loss.
Classical Allusion: The reference to “the tedious shores of Lethe” adds a layer of classical gravitas and profound sorrow, suggesting these dream children are spirits waiting for a life they will never have.
Critical Analysis
Charles Lamb’s “Dream Children: A Reverie” is a masterclass in the personal essay, a delicate and poignant exploration of memory, loss, and the consoling power of imagination. Published in *Essays of Elia*, the work transcends simple narrative to become a profound meditation on the human heart’s capacity to conjure joy from sorrow. Its enduring power lies in its seamless fusion of autobiography and fiction, creating a narrative space where what “is” and what “might have been” coexist until the final, heart-wrenching paragraph.
The essay’s primary theme is nostalgia, but Lamb’s treatment of it is complex. It is not merely a sweet longing for the past but a deep, melancholic immersion in it. The detailed descriptions of the great house in Norfolk, the grandmother’s character, and the narrator’s childhood wanderings are filtered through a haze of idealization. This is the past as the mind chooses to remember it—a sanctuary from the harsh realities of the present. The narrator’s present is one of solitude, defined by the absence of a wife, children, and his beloved brother, John. The reverie is a psychological defense mechanism, a way to populate this lonely present with the ghosts of the past and the phantoms of an imagined future.
Lamb’s prose style is central to the essay’s effect. It is intentionally archaic, gentle, and meandering, mimicking the natural flow of thought and memory. The long, winding sentences with multiple clauses create a conversational and intimate tone, as if the reader is sitting with Lamb by the fireside, listening to his quiet confessions. This style lulls the reader into the same dream-like state as the narrator, making the eventual awakening all the more jarring and effective. The use of pathos is masterful and controlled; Lamb never descends into overt sentimentality. The emotion arises naturally from the situation—the fading of the children, their final silent words, and the stark image of the “bachelor arm-chair.”
The twist at the end is what elevates the essay from a charming piece of nostalgia to a work of profound literary art. The revelation that the entire narrative was a daydream shatters the illusion for both the narrator and the reader. It forces a re-evaluation of everything that came before, recasting the sweet stories as expressions of deep-seated longing and regret. The children, Alice and John, are not just characters; they are symbols of every unfulfilled dream. Their fading away represents the inevitable victory of reality over fantasy. The final line, confirming the death of his brother John Lamb (“James Elia”), grounds the essay in an unshakeable reality of loss, making the preceding dream all the more precious and painful. Ultimately, “Dream Children” is a timeless exploration of how we use stories to make sense of our lives, to heal our wounds, and to live, however briefly, in the world of our deepest desires.
Review Quiz
Multiple Choice Questions
a) Elia b) Boz c) Anon d) Saki
a) Yorkshire b) Kent c) Norfolk d) London
a) The Twelve Cæsars b) The Children in the Wood c) David and Goliath d) The Garden of Eden
a) Tuberculosis b) A fever c) A cancer d) Old age
a) Singer b) Cook c) Dancer d) Storyteller
a) Greek Gods b) English Kings c) The Twelve Cæsars d) Famous Poets
a) John b) James c) Charles d) Bartrum
a) Mary and John b) Alice and James c) Ann and John d) Alice and John
a) Memory b) Confession c) Reverie d) Fable
a) A painting b) A mirror c) A marble one d) A brick one
a) Elia b) John c) Bartrum d) The narrator
a) Styx b) Lethe c) Acheron d) Phlegethon
a) Alice W–n b) His mother c) Bridget d) No one