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Charles Lamb: Essays

By charles lamb, charles lamb: essays summary and analysis of "a dissertation upon roast pig".

The narrator opens the essay by asserting that for a long period of early human history, people did not cook their meat but ate it raw. He claims that this was hinted at in the writings of Confucius, who mentioned an era known as the "cook's holiday," implying that the Chinese did not cook animals prior to his writings. According to the narrator, Confucius' essay goes on to describe how roasting was discovered by Bo-bo , the son of swineherd Ho-ti.

Bo-bo was one day playing with fire, as he was wont to do, and accidentally burned down his family's cottage along with the nine pigs that were trapped in the blaze. While trying to devise an explanation for what happened, Bo-bo was tempted by the smell of the burnt pigs and went to taste them. He found these burnt pigs delicious and could not stop eating them. Ho-ti was not just upset with Bo-bo for burning down the cottage, but for being enough of a fool to eat the pigs. Bo-bo eventually convinced his father to try the pig, and the father loved it too, but they agreed to keep the burnt pigs a secret. Yet, more and more frequently, a cottage fire could be seen at Ho-ti's property, at all hours of the day and night.

When their secret was found out, Ho-ti and Bo-bo were placed on trial in their town. During this trial, the jurors asked to try the burnt pig in question, and finding it delicious, they decided to let the father and son off. The judge was outraged, but a few days later there was one of those mysterious fires at his house too. Soon enough, these fires were occurring all around town, and the burnt pig became a cherished food.

Done with this history, the narrator begins singing the praises of roast pig, speaking of the crackling skin and succulent fat. He draws a humorous link between the swine—so often considered a gluttonous, base animal—and the type of man who enjoys eating that swine.

The narrator admits to enjoying all of the fine meats available, from strange foul to oysters, and sharing them with friends. He then recalls how, as a child, having nothing to offer a beggar on the street, he brought that beggar a plum cake his auntie had baked. He blames the hypocrisy of his giving spirit on the indiscretion. The essay concludes with an anecdote about how ancient people used to sacrifice pigs by whipping them, raising a moral conundrum about enjoying the meat of that animal. But the narrator seems indifferent to the conundrum, and suggests a tasty sauce made of shallots to eat the pig with.

Among the most light-hearted of Lamb's essays is this freewheeling comic dissertation on the pleasure of eating roasted pig. It features a copious use of the literary device of hyperbole, with Lamb going to all sorts of eccentric ends to extol the flavor of roasted pork. The logic of hyperbole is also evident in Lamb's use of a heightened tone to tell the absurd story of how roast pork was discovered after a house fire in China. Once again, Lamb construes literary devices and narrative forms in such a way that he manages to sneak some fiction into his essay work. The fable he constructs speaks to how odd it is that humans eat cooked animals at all.

We can see the tropes of Romanticism on full display in this essay, even though the subject of that Romantic meditation is a curious one. Lamb uses florid language and a subjective voice to give a vivid account of his experience with his subject. But whereas, for instance, fellow Romanticist Henry David Thoreau uses these techniques to describe Walden Pond and meditate on how his experience there reflects on man's participation in society, Lamb makes a culinary delight the subject of his Romantic inquiry, indulging his epicurean side and reflecting on the way good food makes friends out of those who may otherwise be suspicious of one another.

The culinary essay in and of itself is a storied subgenre. The most famous one may be Jonathan Swift's "A Modest Proposal," which satirically advocates cooking and eating England's children. A more recent popular example is David Foster Wallace's "Consider the Lobster," which like Lamb's essay explores the delights of eating lobster but, unlike Lamb's, lingers on the inherent cruelty of cooking and eating the animal. In the case of Swift's, Wallace's, and Lamb's essays, there is an essential social component to their discussion of a specific food, and they seek to extract some wisdom about the human condition from practices of cooking and eating.

Charles Lamb: Essays Questions and Answers

The Question and Answer section for Charles Lamb: Essays is a great resource to ask questions, find answers, and discuss the novel.

Which quality Charles Lamb a romantic writer?

As a Romantic, Lamb brought a key innovation to the somewhat new form, inserting his own personally to give the essays a conversational tone. His essays showcase his passions and anxieties, imbuing the non-fiction form with a personal and literary...

What is the major theme of "Poor Relation" by Charles Lamb?

The major theme is that of the "poor relation"... their irrelevance and unpleasant place in one's life.

Explain the theme of the essay ''A Dissertation upon Roast Pig''.

The essay describes the discovery of the exquisite flavour of roast pig in China in a time when all food was eaten raw. This is really a light hearted theme speaking to how odd it is that humans eat cooked animals at all.

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Charles Lamb

A dissertation upon roast pig

Mankind, says a Chinese manuscript, which my friend M. was obliging enough to read and explain to me, for the first seventy thousand ages ate their meat raw, clawing or biting it from the living animal, just as they do in Abyssinia to this day. This period is not obscurely hinted at by their great Confucius in the second chapter of his Mundane Mutations, where he designates a kind of golden age by the term Cho-fang, literally the Cooks’ holiday. The manuscript goes on to say, that the art of roasting, or rather broiling (which I take to be the elder brother) was accidentally discovered in the manner following. The swine-herd, Ho-ti, having gone out into the woods one morning, as his manner was, to collect mast for his hogs, left his cottage in the care of his eldest son Bo-bo, a great lubberly boy, who being fond of playing with fire, as younkers of his age commonly are, let some sparks escape into a bundle of straw, which kindling quickly, spread the conflagration over every part of their poor mansion, till it was reduced to ashes. Together with the cottage (a sorry antediluvian make-shift of a building, you may think it), what was of much more importance, a fine litter of new-farrowed pigs, no less than nine in number, perished. China pigs have been esteemed a luxury all over the East from the remotest periods that we read of. Bo-bo was in the utmost consternation, as you may think, not so much for the sake of the tenement, which his father and he could easily build up again with a few dry branches, and the labour of an hour or two, at any time, as for the loss of the pigs. While he was thinking what he should say to his father, and wringing his hands over the smoking remnants of one of those untimely sufferers, an odour assailed his nostrils, unlike any scent which he had before experienced. What could it proceed from?—not from the burnt cottage—he had smelt that smell before—indeed this was by no means the first accident of the kind which had occurred through the negligence of this unlucky young fire-brand. Much less did it resemble that of any known herb, weed, or flower. A premonitory moistening at the same time overflowed his nether lip. He knew not what to think. He next stooped down to feel the pig, if there were any signs of life in it. He burnt his fingers, and to cool them he applied them in his booby fashion to his mouth. Some of the crums of the scorched skin had come away with his fingers, and for the first time in his life (in the world’s life indeed, for before him no man had known it) he tasted— crackling ! Again he felt and fumbled at the pig. It did not burn him so much now, still he licked his fingers from a sort of habit. The truth at length broke into his slow understanding, that it was the pig that smelt so, and the pig that tasted so delicious; and, surrendering himself up to the newborn pleasure, he fell to tearing up whole handfuls of the scorched skin with the flesh next it, and was cramming it down his throat in his beastly fashion, when his sire entered amid the smoking rafters, armed with retributory cudgel, and finding how affairs stood, began to rain blows upon the young rogue’s shoulders, as thick as hail-stones, which Bo-bo heeded not any more than if they had been flies. The tickling pleasure, which he experienced in his lower regions, had rendered him quite callous to any inconveniences he might feel in those remote quarters. His father might lay on, but he could not beat him from his pig, till he had fairly made an end of it, when, becoming a little more sensible of his situation, something like the following dialogue ensued.

“You graceless whelp, what have you got there devouring? Is it not enough that you have burnt me down three houses with your dog’s tricks, and be hanged to you, but you must be eating fire, and I know not what—what have you got there, I say?”

“O father, the pig, the pig, do come and taste how nice the burnt pig eats.”

The ears of Ho-ti tingled with horror. He cursed his son, and he cursed himself that ever he should beget a son that should eat burnt pig.

Bo-bo, whose scent was wonderfully sharpened since moming, soon raked out another pig, and fairly rending it asunder, thrust the lesser half by main force into the fists of Ho-ti, still shouting out “Eat, eat, eat the burnt pig, father, only taste—O Lord,”—with such like barbarous ejaculations, cramming all the while as if he would choke.

Ho-ti trembled every joint while he grasped the abominable thing, wavering whether he should not put his son to death for an unnatural young monster, when the crackling scorching his fingers, as it had done his son’s, and applying the same remedy to them, he in his turn tasted some of its flavour, which, make what sour mouths he would for a pretence, proved not altogether displeasing to him. In conclusion (for the manuscript here is a little tedious) both father and son fairly sat down to the mess, and never left off till they had despatched all that remained of the litter.

Bo-bo was strictly enjoined not to let the secret escape, for the neighbours would certainly have stoned them for a couple of abominable wretches, who could think of improving upon the good meat which God had sent them. Nevertheless, strange stories got about. It was observed that Ho-ti’s cottage was burnt down now more frequently than ever. Nothing but fires from this time forward. Some would break out in broad day, others in the night-time. As often as the sow farrowed, so sure was the house of Ho-ti to be in a blaze; and Ho-ti himself, which was the more remarkable, instead of chastising his son, seemed to grow more indulgent to him than ever. At length they were watched, the terrible mystery discovered, and father and son summoned to take their trial at Pekin, then an inconsiderable assize town. Evidence was given, the obnoxious food itself produced in court, and verdict about to be pronounced, when the foreman of the jury begged that some of the burnt pig, of which the culprits stood accused, might be handed into the box. He handled it, and they all handled it, and burning their fingers, as Bo-bo and his father had done before them, and nature prompting to each of them the same remedy, against the face of all the facts, and the clearest charge which judge had ever given,—to the surprise of the whole court, townsfolk, strangers, reporters, and all present—without leaving the box, or any manner of consultation whatever, they brought in a simultaneous verdict of Not Guilty.

The judge, who was a shrewd fellow, winked at the manifest iniquity of the decision: and, when the court was dismissed, went privily, and bought up all the pigs that could be had for love or money. In a few days his Lordship’s town house was observed to be on fire. The thing took wing, and now there was nothing to be seen but fires in every direction. Fuel and pigs grew enormously dear all over the district. The insurance offices one and all shut up shop. People built slighter and slighter every day, until it was feared that the very science of architecture would in no long time be lost to the world. Thus this custom of firing houses continued, till in process of time, says my manuscript, a sage arose, like our Locke, who made a discovery, that the flesh of swine, or indeed of any other animal, might be cooked ( burnt , as they called it) without the necessity of consuming a whole house to dress it. Then first began the rude form of a gridiron. Roasting by the string, or spit, came in a century or two later, I forget in whose dynasty. By such slow degrees, concludes the manuscript, do the most useful, and seemingly the most obvious arts, make their way among mankind.—

Without placing too implicit faith in the account above given, it must be agreed, that if a worthy pretext for so dangerous an experiment as setting houses on fire (especially in these days) could be assigned in favour of any culinary object, that pretext and excuse might be found in ROAST PIG.

Of all the delicacies in the whole mundus edibilis , I will maintain it to be the most delicate— princeps obsoniorum .

I speak not of your grown porkers—things between pig and pork—those hobbydehoys—but a young and tender suckling—under a moon old—guiltless as yet of the sty—with no original speck of the amor immunditiæ , the hereditary failing of the first parent, yet manifest—his voice as yet not broken, but something between a childish treble, and a grumble—the mild forerunner, or præludium , of a grunt.

He must be roasted. I am not ignorant that our ancestors ate them seethed, or boiled—but what a sacrifice of the exterior tegument!

There is no flavour comparable, I will contend, to that of the crisp, tawny, well-watched, not over-roasted, crackling , as it is well called—the very teeth are invited to their share of the pleasure at this banquet in overcoming the coy, brittle resistance—with the adhesive oleaginous—O call it not fat—but an indefinable sweetness growing up to it—the tender blossoming of fat—fat cropped in the bud—taken in the shoot—in the first innocence—the cream and quintessence of the child-pig’s yet pure food—the lean, no lean, but a kind of animal manna—or, rather, fat and lean (if it must be so) so blended and running into each other, that both together make but one ambrosian result, or common substance.

Behold him, while he is doing—it seemeth rather a refreshing warmth, than a scorching heat, that he is so passive to. How equably he twirleth round the string!—Now he is just done. To see the extreme sensibility of that tender age, he hath wept out his pretty eyes—radiant jellies—shooting stars—

See him in the dish, his second cradle, how meek he lieth!—wouldst thou have had this innocent grow up to the grossness and indocility which too often accompany maturer swinehood? Ten to one he would have proved a glutton, a sloven, an obstinate, disagreeable animal—wallowing in all manner of filthy conversation—from these sins he is happily snatched away—

Ere sin could blight, or sorrow fade, Death came with timely care—

his memory is odoriferous—no clown curseth, while his stomach half rejecteth, the rank bacon—no coalheaver bolteth him in reeking sausages—he hath a fair sepulchre in the grateful stomach of the judicious epicure—and for such a tomb might be content to die.

He is the best of Sapors. Pine-apple is great. She is indeed almost too transcendent—a delight, if not sinful, yet so like to sinning, that really a tender-conscienced person would do well to pause—too ravishing for mortal taste, she woundeth and excoriateth the lips that approach her—like lovers’ kisses, she biteth—she is a pleasure bordering on pain from the fierceness and insanity of her relish—but she stoppeth at the palate—she meddleth not with the appetite—and the coarsest hunger might barter her consistently for a mutton chop.

Pig—let me speak his praise—is no less provocative of the appetite, than he is satisfactory to the criticalness of the censorious palate. The strong man may batten on him, and the weakling refuseth not his mild juices.

Unlike to mankind’s mixed characters, a bundle of virtues and vices, inexplicably intertwisted, and not to be unravelled without hazard, he is—good throughout. No part of him is better or worse than another. He helpeth, as far as his little means extend, all around. He is the least envious of banquets. He is all neighbours’ fare.

I am one of those, who freely and ungrudgingly impart a share of the good things of this life which fall to their lot (few as mine are in this kind) to a friend. I protest I take as great an interest in my friend’s pleasures, his relishes, and proper satisfactions, as in mine own. “Presents,” I often say, “endear Absents.” Hares, pheasants, partridges, snipes, barn-door chicken (those “tame villatic fowl”), capons, plovers, brawn, barrels of oysters, I dispense as freely as I receive them. I love to taste them, as it were, upon the tongue of my friend. But a stop must be put somewhere. One would not, like Lear, “give every thing.” I make my stand upon pig. Methinks it is an ingratitude to the Giver of all good flavours, to extra-domiciliate, or send out of the house, slightingly, (under pretext of friendship, or I know not what) a blessing so particularly adapted, predestined, I may say, to my individual palate—It argues an insensibility.

I remember a touch of conscience in this kind at school. My good old aunt, who never parted from me at the end of a holiday without stuffing a sweet-meat, or some nice thing, into my pocket, had dismissed me one evening with a smoking plum-cake, fresh from the oven. In my way to school (it was over London bridge) a grey-headed old beggar saluted me (I have no doubt at this time of day that he was a counterfeit). I had no pence to console him with, and in the vanity of self-denial, and the very coxcombry of charity, school-boy-like, I made him a present of—the whole cake! I walked on a little, buoyed up, as one is on such occasions, with a sweet soothing of self-satisfaction; but before I had got to the end of the bridge, my better feelings returned, and I burst into tears, thinking how ungrateful I had been to my good aunt, to go and give her good gift away to a stranger, that I had never seen before, and who might be a bad man for aught I knew; and then I thought of the pleasure my aunt would be taking in thinking that I—I myself, and not another—would eat her nice cake—and what should I say to her the next time I saw her—how naughty I was to part with her pretty present—and the odour of that spicy cake came back upon my recollection, and the pleasure and the curiosity I had taken in seeing her make it, and her joy when she sent it to the oven, and how disappointed she would feel that I had never had a bit of it in my mouth at last—and I blamed my impertinent spirit of alms-giving, and out-of-place hypocrisy of goodness, and above all I wished never to see the face again of that insidious, good-for-nothing, old grey impostor.

Our ancestors were nice in their method of sacrificing these tender victims. We read of pigs whipt to death with something of a shock, as we hear of any other obsolete custom. The age of discipline is gone by, or it would be curious to inquire (in a philosophical light merely) what effect this process might have towards intenerating and dulcifying a substance, naturally so mild and dulcet as the flesh of young, pigs. It looks like refining a violet. Yet we should be cautious, while we condemn the inhumanity, how we censure the wisdom of the practice. It might impart a gusto—

I remember an hypothesis, argued upon by the young students, when I was at St. Omer’s, and maintained with much learning and pleasantry on both sides, “Whether, supposing that the flavour of a pig who obtained his death by whipping ( per flagellationem extremam ) superadded a pleasure upon the palate of a man more intense than any possible suffering we can conceive in the animal, is man justified in using that method of putting the animal to death?” I forget the decision.

His sauce should be considered. Decidedly, a few bread crums, done up with his liver and brains, and a dash of mild sage. But, banish, dear Mrs. Cook, I beseech you, the whole onion tribe. Barbecue your whole hogs to your palate, steep them in shalots, stuff them out with plantations of the rank and guilty garlic; you cannot poison them, or make them stronger than they are—but consider, he is a weakling—a flower.

MLA Citation

Lamb, Charles. “A dissertation upon roast pig.” 1823. Quotidiana. Ed. Patrick Madden. 2 Dec 2007. 11 Sep 2024 <http://essays.quotidiana.org/lamb/dissertation_upon_roast_pig/>.

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• > Romanticism and Animal Rights
• > The slaughterhouse and the kitchen: Charles Lamb's “Dissertation upon Roast Pig”

Book contents

• Frontmatter
• Acknowledgments
• 1 In the beginning of animal rights
• 2 Grounds of argument
• 3 Keeping pets: William Cowper and his hares
• 4 Barbarian pleasures: against hunting
• 5 Savage amusements of the poor: John Clare's badger sonnets
• 6 Work animals, slaves, servants: Coleridge's young ass
• 7 The slaughterhouse and the kitchen: Charles Lamb's “Dissertation upon Roast Pig”
• 8 Caged birds and wild
• Bibliographical essay
• CAMBRIDGE STUDIES IN ROMANTICISM

7 - The slaughterhouse and the kitchen: Charles Lamb's “Dissertation upon Roast Pig”

Published online by Cambridge University Press:  22 September 2009

To eat an animal can be seen as an ultimate exploitation. It was and is a cause of bad conscience in many persons. But few animal sympathizers were vegetarians, though we shall hear from them, and enormous economic interests were involved. Most pleaders on behalf of animals neither hoped nor wished to abolish the eating of meat, but sought to reform processes by which animals were reared, brought to market, fattened, and slaughtered. There was much they could deplore. Sheep, cattle, turkeys, and geese were driven from far to feed the city of London. Cattle came from Scotland, 500 miles away, and even from the Hebrides; sheep from Lincoln, Norfolk, Somerset, and Devon; turkey and geese walked as much as eighty miles, their feet in little cloth shoes. Perhaps a million animals were driven to London each year. The same thing happened on a smaller scale with provincial cities. For the animals, these were journeys of woe. They arrived emaciated. Once they were fattened outside London, they were driven to sale in Smithfield market and then to the slaughterhouses. Hogarth's “Stages of Cruelty” shows sheep being beaten through the city streets, an ordinary sight. John Lawrence describes all this. He also tells how in London calves on their way to slaughter were piled on wagons in living pyramids of confused bodies. Once arrived at Smithfield, they were thrown from the wagons to the cobblestones. A crowd commonly gathered to watch, for bones might be broken in the fall.

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• The slaughterhouse and the kitchen: Charles Lamb's “Dissertation upon Roast Pig”
• David Perkins , Harvard University, Massachusetts
• Book: Romanticism and Animal Rights
• Online publication: 22 September 2009
• Chapter DOI: https://doi.org/10.1017/CBO9780511484421.008

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A Dissertation Upon Roast Pig

The English author Charles Lamb wrote many essays under the pseudonym Elia and first published his collected Essays of Elia in 1823. One essay describes the discovery of pork roast in China, with a somewhat politically incorrect text. Over the years, Lamb’s essay has been reprinted and illustrated by many celebrated artists, including Frederick Stuart Church and Will Bradley. This 1932 edition is illustrated by Wilfred Jones (born 1888), with pochoir color. Note the red-haired figure at the top left with the monogram G.B.S., representing George Bernard Shaw.

The piece begins:

Mankind, says a Chinese manuscript, which my friend M. was obliging enough to read and explain to me, for the first seventy thousand ages ate their meat raw, clawing or biting it from the living animal, just as they do in Abyssinia to this day. This period is not obscurely hinted at by their great Confucius in the second chapter of his Mundane Mutations, where he designates a kind of golden age by the term Cho-fang, literally the Cooks’ holiday.

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Satiric models for Charles Lamb's "a dissertation upon roast pig"

Research output : Contribution to journal › Article › peer-review

Though hitherto overlooked in social histories of cookery, Charles Lamb's essay approaches its subject through the new literary-culinary writing that appeared with European romanticism. Although Lamb's persona, Elia, never hesitates to express everywhere his idiosyncratic likes and dislikes, in "Roast Pig" he passes beyond eccentricity to become a morally transgressive figure. Lamb's implicit swipe at the vegetarians and his borrowings from modern and classical sources, such as Swift's "Modest Proposal" and the recipes or scenes in Apicius and Petronius, suggest that he undoubtedly expected his readers to recognize the false notes of excess, vanity, and even infant cannibalism revealed by Elia's appetite. The Latin satura-ae denotes a mélange, either literally a dish of various ingredients or, etymologically, the Roman invention of the satiric genre itself, that loose mixing of a variety of literary types. Fittingly, the pig-platters of Trimalchio and Elia thus turn back upon both the festival of the Saturnalia and, under the aegis of Saturn's misrule, upon the zeugmatic nature of satire itself. Elia's final reference to his schooldays at St. Omer's actually ties his gluttony to Guy Fawkes' scheme of exploding king, lords, and commons. By bursting pretensions and snobbery, Lamb's essay thus self-reflexively presents itself as a figurative equivalent to the "superhuman plot" of Fawkes.

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• A Dissertation Upon Roast Pig, by Charles Lamb
• Title page and first page of dissertation showing ornamental border and typography, Frederic W. Goody.

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• -  Illus. in: A Disseratation Upon Roast Pig, by Charles Lamb.
• -  Ref. copy may be in: The Quarterly Journal of the Library of Congress, Fall 1982, p. 224.
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Online Format

Lccn permalink.

• https://lccn.loc.gov/2002710311

Additional Metadata Formats

• MARCXML Record
• MODS Record
• Dublin Core Record
• Miscellaneous Items in High Demand (118,484)
• Prints & Photographs Online Catalog (Library of Congress) (953,663)
• Prints and Photographs Division (1,077,818)
• Library of Congress Online Catalog (1,581,659)
• Photo, Print, Drawing

Rights & Access

More about Copyright and other Restrictions

For guidance about compiling full citations consult Citing Primary Sources .

• Rights Advisory : Rights status not evaluated. For general information see "Copyright and Other Restrictions..." ( http://lcweb.loc.gov/rr/print/195_copr.html )
• Reproduction Number : LC-USZ62-82901 (b&w film copy neg.)
• Call Number : No call number recorded on caption card [item] [Rare Book RR]
• Access Advisory : ---

Obtaining Copies

If an image is displaying, you can download it yourself. (Some images display only as thumbnails outside the Library of Congress because of rights considerations, but you have access to larger size images on site.)

Alternatively, you can purchase copies of various types through Library of Congress Duplication Services .

• If a digital image is displaying: The qualities of the digital image partially depend on whether it was made from the original or an intermediate such as a copy negative or transparency. If the Reproduction Number field above includes a reproduction number that starts with LC-DIG..., then there is a digital image that was made directly from the original and is of sufficient resolution for most publication purposes.

If only black-and-white ("b&w") sources are listed and you desire a copy showing color or tint (assuming the original has any), you can generally purchase a quality copy of the original in color by citing the Call Number listed above and including the catalog record ("About This Item") with your request.

• If there is no information listed in the Reproduction Number field above: You can generally purchase a quality copy through Duplication Services. Cite the Call Number listed above and include the catalog record ("About This Item") with your request.

Price lists, contact information, and order forms are available on the Duplication Services Web site .

Access to Originals

Please use the following steps to determine whether you need to fill out a call slip in the Prints and Photographs Reading Room to view the original item(s). In some cases, a surrogate (substitute image) is available, often in the form of a digital image, a copy print, or microfilm.

Is the item digitized? (A thumbnail (small) image will be visible on the left.)

• Yes, the item is digitized. Please use the digital image in preference to requesting the original. All images can be viewed at a large size when you are in any reading room at the Library of Congress. In some cases, only thumbnail (small) images are available when you are outside the Library of Congress because the item is rights restricted or has not been evaluated for rights restrictions. As a preservation measure, we generally do not serve an original item when a digital image is available. If you have a compelling reason to see the original, consult with a reference librarian. (Sometimes, the original is simply too fragile to serve. For example, glass and film photographic negatives are particularly subject to damage. They are also easier to see online where they are presented as positive images.)
• No, the item is not digitized. Please go to #2.

Do the Access Advisory or Call Number fields above indicate that a non-digital surrogate exists, such as microfilm or copy prints?

• Yes, another surrogate exists. Reference staff can direct you to this surrogate.
• No, another surrogate does not exist. Please go to #3.
• If you do not see a thumbnail image or a reference to another surrogate, please fill out a call slip in the Prints and Photographs Reading Room. In many cases, the originals can be served in a few minutes. Other materials require appointments for later the same day or in the future. Reference staff can advise you in both how to fill out a call slip and when the item can be served.

To contact Reference staff in the Prints and Photographs Reading Room, please use our Ask A Librarian service or call the reading room between 8:30 and 5:00 at 202-707-6394, and Press 3.

Cite This Item

Citations are generated automatically from bibliographic data as a convenience, and may not be complete or accurate.

Chicago citation style:

A Dissertation Upon Roast Pig, by Charles Lamb . , 1904. Photograph. https://www.loc.gov/item/2002710311/.

APA citation style:

(1904) A Dissertation Upon Roast Pig, by Charles Lamb . , 1904. [Photograph] Retrieved from the Library of Congress, https://www.loc.gov/item/2002710311/.

MLA citation style:

A Dissertation Upon Roast Pig, by Charles Lamb . Photograph. Retrieved from the Library of Congress, <www.loc.gov/item/2002710311/>.

File : A dissertation upon roast pig (IA dissertationupon00lamb).pdf

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Original file ‎ (764 × 1,025 pixels, file size: 1.84 MB, MIME type: application/pdf , 56 pages)

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• File:A dissertation upon roast pig (IA dissertationupon00lamb).pdf

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Structured data

Items portrayed in this file, application/pdf, dfbce06897f518f9c2229884e0f19e346b9152d1, 1,930,409 byte, 1,025 pixel, number of pages.

• Books published in Boston
• Charles Lamb
• Scans from the Internet Archive
• Scans from the Internet Archive/unverified
• Books without Wikidata item
• PD US expired
• PD-US missing SDC copyright status
• Books in the Library of Congress
• Books uploaded by Fæ

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