There is one face of Farley, one face of Knight, one (but what a one it is!) of Liston; but Munden has none that you can properly pin down, and call his.  When you think he has exhausted his battery of looks, in unaccountable warfare with your gravity, suddenly he sprouts out an entirely new set of features, like Hydra.  He is not one, but legion.  Not so much a comedian, as a company.  If his name could be multiplied like his countenance, it might fill a play-bill.  He, and he alone, literally makes faces:  applied to any other person, the phrase is a mere figure, denoting certain modifications of the human countenance.  Out of some invisible wardrobe he dips for faces, as his friend Suett used for wigs, and fetches them out as easily.  I should not be surprised to see him some day put out the head of a river horse; or come forth a pewitt, or lapwing, some feathered metamorphosis.

I have seen this gifted actor, in Sir Christopher Curry—­in Old Dornton—­diffuse a glow of sentiment which has made the pulse of a crowded theatre beat like that of one man; when he has come in aid of the pulpit, doing good to the moral heart of a people.  I have seen some faint approaches to this sort of excellence in other players.  But in the grand grotesque of farce, Munden stands out as single and unaccompanied as Hogarth.  Hogarth, strange to tell, had no followers.  The school of Munden began, and must end with himself.

Can any man wonder, like him? can any man see ghosts, like him? or fight with his own shadow—­“SESSA”—­as he does in that strangely-neglected thing, the Cobbler of Preston—­where his alternations from the Cobbler to the Magnifico, and from the Magnifico to the Cobbler, keep the brain of the spectator in as wild a ferment, as if some Arabian Night were being acted before him.  Who like him can throw, or ever attempted to throw, a preternatural interest over the commonest daily-life objects?  A table, or a joint stool, in his conception, rises into a dignity equivalent to Cassiopeia’s chair.  It is invested with constellatory importance.  You could not speak of it with more deference, if it were mounted into the firmament.  A beggar in the hands of Michael Angelo, says Fuseli, rose the Patriarch of Poverty.  So the gusto of Munden antiquates and ennobles what it touches.  His pots and his ladles are as grand and primal as the seething-pots and hooks seen in old prophetic vision.  A tub of butter, contemplated by him, amounts to a Platonic idea.  He understands a leg of mutton in its quiddity.  He stands wondering, amid the common-place materials of life, like primaeval man with the sun and stars about him.

THE LAST ESSAYS OF ELIA

(From the 1st Edition, 1833)

PREFACE

BY A FRIEND OF THE LATE ELIA

This poor gentleman, who for some months past had been in a declining way, hath at length paid his final tribute to nature.