The next essay--the only one in "The Essays of Elia" volume which had not appeared in the "London Magazine"--is a pretty bit about "Valentine's Day." This is followed by an inquiry into the existence of "Imperfect Sympathies," the writer declaring that he had been trying all his life--without success--to like Scotsmen, and that he had the same imperfect sympathy with Jews. The Scotsmen are too precise, too matter of fact at once in their own statements and those to which alone they will attend. This would of itself be sufficient to establish the "imperfect sympathy," for in another connection Lamb had declared his preference for "a matter of lie man." "Witches and Other Night Fears" is an examination, in which whimsicality is blent with deep seriousness, of the night terrors of imaginative childhood; Elia showed how a picture in an old time Bible history had shaped his fears and made his nights hideous for several years of his early childhood, though he holds that "It is not book, or picture, or the stories of foolish servants, which create these terrors in children. They can at most but give them direction." He suggests that the kind of fear is purely spiritual, and incidentally gives a characteristically quaint turn in "My night-fancies have long ceased to be afflictive. I confess an occasional nightmare; but I do not, as in early youth, keep a stud of them." In "My Relations" we have an excellent instance of Lamb's veiled autobiography; he begins by saying that he has no brother or sister and at once proceeds to a close and analytical portrait of his "cousin," James Elia, that supposed personage being Charles Lamb's own brother John, who died in November, 1821, a few months after the original appearance of this essay. "Mackery End in Hertfordshire," continues the theme of relations with another striking piece of portraiture in another supposed cousin of Elia's, Bridget (really Mary Lamb). In limning his sister he was of course hampered somewhat by her terrible affliction, but wonderfully has he surmounted it, and delightful indeed it is to follow the narrative of the "cousins'" visit to unknown cousins at the old place in "the green plains of pleasant Hertfordshire." Dealing with the subject of "Modern Gallantry" Elia shows how it is wanting in the true spirit of gallantry which should consist not in compliments to youth and beauty but in reverence to sex. "The Old Benchers of the Inner Temple" is one of the essays richest at once in personal recollections, in wonderful portraiture, and in those subtle literary touches which impart their peculiar flavour to the whole. A sketch of the author's father as Lovel was quoted from this essay in the opening chapter. Elia's observation, his felicity of expression, his originality of thought, a hint of his playfulness, may all be recognized in the very commencement of this delicious essay: