Part 31

There are few facts in De Quincey's long career that bear directly on the criticism of his works. Like Ruskin, he was the son of a well-to-do and cultivated merchant, but the elder De Quincey unfortunately died too early to be of any help in life to his impulsive and unpractical boy, who quarreled with his guardians, ran away from school, and neglected his routine duties at Oxford. His admiration for Wordsworth and Coleridge led him to the Lake country, where he married and settled down. The necessity of providing for his family at last aroused him from his life of meditation and indulgence in opium, and brought him into connection with the periodicals of the day. After the death of his wife in 1840 he moved with his children to the vicinity of Edinburgh, where in somewhat eccentric solitude he spent the last twenty years of his uneventful life.

[Illustration: Signature]

CHARLES LAMB

From 'Biographical Essays'

It sounds paradoxical, but is not so in a bad sense, to say that in every literature of large compass some authors will be found to rest much of the interest which surrounds them on their essential _non_-popularity. They are good for the very reason that they are not in conformity to the current taste. They interest because to the world they are _not_ interesting. They attract by means of their repulsion. Not as though it could separately furnish a reason for loving a book, that the majority of men had found it repulsive. _Prima facie_, it must suggest some presumption _against_ a book that it has failed to gain public attention. To have roused hostility indeed, to have kindled a feud against its own principles or its temper, may happen to be a good sign. _That_ argues power. Hatred may be promising. The deepest revolutions of mind sometimes begin in hatred. But simply to have left a reader unimpressed is in itself a neutral result, from which the inference is doubtful. Yet even _that_, even simple failure to impress, may happen at times to be a result from positive powers in a writer, from special originalities such as rarely reflect themselves in the mirror of the ordinary understanding. It seems little to be perceived, how much the great Scriptural idea of the _worldly_ and the _unworldly_ is found to emerge in literature as well as in life. In reality, the very same combinations of moral qualities, infinitely varied, which compose the harsh physiognomy of what we call worldliness in the living groups of life, must unavoidably present themselves in books. A library divides into sections of worldly and unworldly, even as a crowd of men divides into that same majority and minority. The world has an instinct for recognizing its own, and recoils from certain qualities when exemplified in books, with the same disgust or defective sympathy as would have governed it in real life. From qualities for instance of childlike simplicity, of shy profundity, or of inspired self-communion, the world does and must turn away its face towards grosser, bolder, more determined, or more intelligible expressions of character and intellect; and not otherwise in literature, nor at all less in literature, than it does, in the realities of life.

Charles Lamb, if any ever was, is amongst the class here contemplated; he, if any ever has, ranks amongst writers whose works are destined to be forever unpopular, and yet forever interesting; interesting moreover by means of those very qualities which guarantee their non-popularity. The same qualities which will be found forbidding to the worldly and the thoughtless, which will be found insipid to many even amongst robust and powerful minds, are exactly those which will continue to command a select audience in every generation. The prose essays, under the signature of "Elia," form the most delightful section amongst Lamb's works. They traverse a peculiar field of observation, sequestered from general interest: and they are composed in a spirit too delicate and unobtrusive to catch the ear of the noisy crowd, clamoring for strong sensations. But this retiring delicacy itself, the pensiveness checkered by gleams of the fanciful, and the humor that is touched with cross lights of pathos, together with the picturesque quaintness of the objects casually described, whether men, or things, or usages; and in the rear of all this, the constant recurrence to ancient recollections and to decaying forms of household life, as things retiring before the tumult of new and revolutionary generations;--these traits in combination communicate to the papers a grace and strength of originality which nothing in any literature approaches, whether for degree or kind of excellence, except the most felicitous papers of Addison, such as those on Sir Roger de Coverley, and some others in the same vein of composition. They resemble Addison's papers also in the diction, which is natural and idiomatic even to carelessness. They are equally faithful to the truth of nature; and in this only they differ remarkably--that the sketches of Elia reflect the stamp and impress of the writer's own character, whereas in all those of Addison the personal peculiarities of the delineator (though known to the reader from the beginning through the account of the club) are nearly quiescent. Now and then they are recalled into a momentary notice, but they do not act, or at all modify his pictures of Sir Roger or Will Wimble. _They_ are slightly and amiably eccentric; but the Spectator himself, in describing them, takes the station of an ordinary observer.

Everywhere, indeed, in the writings of Lamb, and not merely in his 'Elia,' the character of the writer co-operates in an undercurrent to make the effect of the thing written. To understand in the fullest sense either the gayety or the tenderness of a particular passage, you must have some insight into the peculiar bias of the writer's mind, whether native and original, or impressed gradually by the accidents of situation; whether simply developed out of predispositions by the action of life, or violently scorched into the constitution by some fierce fever of calamity. There is in modern literature a whole class of writers, though not a large one, standing within the same category; some marked originality of character in the writer becomes a coefficient with what he says to a common result; you must sympathize with this _personality_ in the author before you can appreciate the most significant parts of his views. In most books the writer figures as a mere abstraction, without sex or age or local station, whom the reader banishes from his thoughts. What is written seems to proceed from a blank intellect, not from a man clothed with fleshly peculiarities and differences. These peculiarities and differences neither do, nor (generally speaking) _could_ intermingle with the texture of the thoughts so as to modify their force or their direction. In such books--and they form the vast majority--there is nothing to be found or to be looked for beyond the direct objective. (_Sit venia verbo!_) But in a small section of books, the objective in the thought becomes confluent with the subjective in the thinker--the two forces unite for a joint product; and fully to enjoy the product, or fully to apprehend either element, both must be known. It is singular and worth inquiring into, for the reason that the Greek and Roman literature had no such books. Timon of Athens, or Diogenes, one may conceive qualified for this mode of authorship, had journalism existed to rouse them in those days; their "articles" would no doubt have been fearfully caustic. But as they failed to produce anything, and Lucian in an after age is scarcely characteristic enough for the purpose, perhaps we may pronounce Rabelais and Montaigne the earliest of writers in the class described. In the century following theirs came Sir Thomas Browne, and immediately after him La Fontaine. Then came Swift, Sterne, with others less distinguished; in Germany, Hippel the friend of Kant, Harmann the obscure, and the greatest of the whole body--John Paul Friedrich Richter. In him, from the strength and determinateness of his nature as well as from the great extent of his writing, the philosophy of this interaction between the author as a human agency and his theme as an intellectual reagency might best be studied. From him might be derived the largest number of cases, illustrating boldly this absorption of the universal into the concrete--of the pure intellect into the human nature of the author. But nowhere could illustrations be found more interesting--shy, delicate, evanescent--shy as lightning, delicate and evanescent as the colored pencilings on a frosty night from the Northern Lights, than in the better parts of Lamb.

To appreciate Lamb, therefore, it is requisite that his character and temperament should be understood in their coyest and most wayward features. A capital defect it would be if these could not be gathered silently from Lamb's works themselves. It would be a fatal mode of dependency upon an alien and separable accident if they needed an external commentary. But they do _not_. The syllables lurk up and down the writings of Lamb, which decipher his eccentric nature. His character lies there dispersed in anagram; and to any attentive reader the re-gathering and restoration of the total word from its scattered parts is inevitable without an effort. Still it is always a satisfaction in knowing a result, to know also its _why_ and _how_; and in so far as every character is likely to be modified by the particular experience, sad or joyous, through which the life has traveled, it is a good contribution towards the knowledge of that resulting character as a whole to have a sketch of that particular experience. What trials did it impose? What energies did it task? What temptations did it unfold? These calls upon the moral powers, which in music so stormy many a life is doomed to hear,--how were they faced? The character in a capital degree molds oftentimes the life, but the life _always_ in a subordinate degree molds the character. And the character being in this case of Lamb so much of a key to the writings, it becomes important that the life should be traced, however briefly, as a key to the character.

DESPAIR

From 'Confessions of an English Opium-Eater'

Then suddenly would come a dream of far different character--a tumultuous dream--commencing with a music such as now I often heard in sleep, music of preparation and of awakening suspense. The undulations of fast gathering tumults were like the opening of the Coronation Anthem; and like that, gave the feeling of a multitudinous movement, of infinite cavalcades filing off, and the tread of innumerable armies. The morning was come of a mighty day--a day of crisis and of ultimate hope for human nature, then suffering mysterious eclipse, and laboring in some dread extremity. Somewhere, but I knew not where,--somehow, but I knew not how,--by some beings, but I knew not by whom,--a battle, a strife, an agony, was traveling through all its stages,--was evolving itself, like the catastrophe of some mighty drama; with which my sympathy was the more insupportable from deepening confusion as to its local scene, its cause, its nature, and its undecipherable issue. I (as is usual in dreams, where of necessity we make ourselves central to every movement) had the power, and yet had not the power, to decide it. I had the power, if I could raise myself to will it; and yet again had not the power, for the weight of twenty Atlantics was upon me, or the oppression of inexpiable guilt. "Deeper than ever plummet sounded," I lay inactive. Then like a chorus the passion deepened. Some greater interest was at stake, some mightier cause than ever yet the sword had pleaded or trumpet had proclaimed. Then came sudden alarms; hurryings to and fro; trepidations of innumerable fugitives, I knew not whether from the good cause or the bad; darkness and lights; tempest and human faces; and at last, with the sense that all was lost, female forms, and the features that were worth all the world to me; and but a moment allowed--and clasped hands, with heart-breaking partings, and then--everlasting farewells! and with a sigh such as the caves of hell sighed when the incestuous mother uttered the abhorred name of Death, the sound was reverberated--everlasting farewells! and again, and yet again reverberated--everlasting farewells!

And I awoke in struggles, and cried aloud, "I will sleep no more!"

THE DEAD SISTER

From 'Confessions of an English Opium-Eater'

On the day after my sister's death, whilst the sweet temple of her brain was yet unviolated by human scrutiny, I formed my own scheme for seeing her once more. Not for the world would I have made this known, nor have suffered a witness to accompany me. I had never heard of feelings that take the name of "sentimental," nor dreamed of such a possibility. But grief even in a child hates the light, and shrinks from human eyes. The house was large, there were two staircases; and by one of these I knew that about noon, when all would be quiet, I could steal up into her chamber. I imagine that it was exactly high noon when I reached the chamber door; it was locked, but the key was not taken away. Entering, I closed the door so softly that although it opened upon a hall which ascended through all the stories, no echo ran along the silent walls. Then turning around, I sought my sister's face. But the bed had been moved, and the back was now turned. Nothing met my eyes but one large window wide open, through which the sun of midsummer at noonday was showering down torrents of splendor. The weather was dry, the sky was cloudless, the blue depths seemed the express types of infinity; and it was not possible for eye to behold or for heart to conceive any symbols more pathetic of life and the glory of life.

Let me pause for one instant in approaching a remembrance so affecting and revolutionary for my own mind, and one which (if any earthly remembrance) will survive for me in the hour of death,--to remind some readers, and to inform others, that in the original 'Opium Confessions' I endeavored to explain the reason why death, _caeteris paribus_, is more profoundly affecting in summer than in other parts of the year; so far at least as it is liable to any modification at all from accidents of scenery or season. The reason, as I there suggested, lies in the antagonism between the tropical redundancy of life in summer and the dark sterilities of the grave. The summer we see, the grave we haunt with our thoughts; the glory is around us, the darkness is within us. And the two coming into collision, each exalts the other into stronger relief. But in my case there was even a subtler reason why the summer had this intense power of vivifying the spectacle or the thoughts of death. And recollecting it, often I have been struck with the important truth, that far more of our deepest thoughts and feelings pass to us through perplexed combinations of _concrete_ objects, pass to us as _involutes_ (if I may coin that word) in compound experiences incapable of being disentangled, than ever reach us _directly_ and in their own abstract shapes. It had happened that amongst our nursery collection of books was the Bible, illustrated with many pictures. And in long dark evenings, as my three sisters with myself sate by the firelight round the guard of our nursery, no book was so much in request amongst us. It ruled us and swayed us as mysteriously as music. One young nurse, whom we all loved, before any candle was lighted would often strain her eye to read it for us; and sometimes, according to her simple powers, would endeavor to explain what we found obscure. We, the children, were all constitutionally touched with pensiveness; the fitful gloom and sudden lambencies of the room by firelight suited our evening state of feelings; and they suited also the divine revelations of power and mysterious beauty which awed us. Above all, the story of a just man--man and yet _not_ man, real above all things and yet shadowy above all things, who had suffered the passion of death in Palestine--slept upon our minds like early dawn upon the waters.

The nurse knew and explained to us the chief differences in Oriental climates; and all these differences (as it happens) express themselves in the great varieties of summer. The cloudless sun-lights of Syria--those seemed to argue everlasting summer; the disciples plucking the ears of corn--that _must_ be summer; but above all, the very name of Palm Sunday (a festival in the English Church) troubled me like an anthem. "Sunday!" what was _that_? That was the day of peace which masked another peace, deeper than the heart of man can comprehend. "Palms!" what were they? _That_ was an equivocal word; palms in the sense of trophies expressed the pomps of life; palms as a product of nature expressed the pomps of summer. Yet still, even this explanation does not suffice; it was not merely by the peace and by the summer, by the deep sound of rest below all rest, and of ascending glory, that I had been haunted. It was also because Jerusalem stood near to those deep images both in time and in place. The great event of Jerusalem was at hand when Palm Sunday came; and the scene of that Sunday was near in place to Jerusalem. Yet what then was Jerusalem? Did I fancy it to be the _omphalos_ (navel) of the earth? That pretension had once been made for Jerusalem, and once for Delphi; and both pretensions had become ridiculous as the figure of the planet became known. Yes, but if not of the earth, for earth's tenant Jerusalem was the _omphalos_ of mortality. Yet how? There on the contrary it was, as we infants understood, that mortality had been trampled under foot. True; but for that very reason, there it was that mortality had opened its very gloomiest crater. There it was indeed that the human had risen on wings from the grave; but for that reason, there also it was that the Divine had been swallowed up by the abyss; the lesser star could not rise before the greater would submit to eclipse. Summer therefore had connected itself with death, not merely as a mode of antagonism, but also through intricate relations to Scriptural scenery and events.

Out of this digression, which was almost necessary for the purpose of showing how inextricably my feelings and images of death were entangled with those of summer, I return to the bedchamber of my sister. From the gorgeous sunlight I turned round to the corpse. There lay the sweet childish figure, there the angel face; and as people usually fancy, it was said in the house that no features had suffered any change. Had they not? The forehead indeed,--the serene and noble forehead,--_that_ might be the same; but the frozen eyelids, the darkness that seemed to steal from beneath them, the marble lips, the stiffening hands laid palm to palm as if repeating the supplications of closing anguish,--could these be mistaken for life? Had it been so, wherefore did I not spring to those heavenly lips with tears and never-ending kisses? But so it was _not_. I stood checked for a moment; awe, not fear, fell upon me; and whilst I stood, a solemn wind began to blow,--the most mournful that ear ever heard. Mournful! that is saying nothing. It was a wind that had swept the fields of mortality for a hundred centuries. Many times since, upon a summer day, when the sun is about the hottest, I have remarked the same wind arising and uttering the same hollow, solemn, Memnonian, but saintly swell; it is in this world the one sole _audible_ symbol of eternity. And three times in my life I have happened to hear the same sound in the same circumstances; namely, when standing between an open window and a dead body on a summer day.

Instantly, when my ear caught this vast AEolian intonation, when my eye filled with the golden fullness of life, the pomps and glory of the heavens outside, and, turning, when it settled upon the frost which overspread my sister's face, instantly a trance fell upon me. A vault seemed to open in the zenith of the far blue sky a shaft which ran up forever. I in spirit rose, as if on billows that also ran up the shaft forever, and the billows seemed to pursue the throne of God; but _that_ also ran before us and fled away continually. The flight and the pursuit seemed to go on for ever and ever. Frost, gathering frost, some Sarsar wind of death, seemed to repel me; I slept--for how long I cannot say; slowly I recovered my self-possession, and found myself standing as before, close to my sister's bed.

O flight of the solitary child to the solitary God--flight from the ruined corpse to the throne that could not be ruined!--how rich wert thou in truth for after years! Rapture of grief that, being too mighty for a child to sustain, foundest a happy oblivion in a heaven-born dream, and within that sleep didst conceal a dream; whose meaning, in after years, when slowly I deciphered, suddenly there flashed upon me new light; and even by the grief of a child, as I will show you, reader, hereafter, were confounded the falsehoods of philosophers.

In the 'Opium Confessions' I touched a little upon the extraordinary power connected with opium (after long use) of amplifying the dimensions of time. Space also it amplifies, by degrees that are sometimes terrific. But time it is upon which the exalting and multiplying power of opium chiefly spends its operation. Time becomes infinitely elastic, stretching out to such immeasurable and vanishing termini that it seems ridiculous to compute the sense of it, on waking, by expressions commensurate to human life. As in starry fields one computes by diameters of the earth's orbit, or of Jupiter's, so in valuing the _virtual_ time lived during some dreams, the measurement by generations is ridiculous--by millennia is ridiculous; by aeons, I should say, if aeons were more determinate, would be also ridiculous. On this single occasion, however, in my life, the very inverse phenomenon occurred. But why speak of it in connection with opium? Could a child of six years old have been under that influence? No, but simply because it so exactly reversed the operation of opium. Instead of a short interval expanding into a vast one, upon this occasion a long one had contracted into a minute. I have reason to believe that a _very_ long one had elapsed during this wandering or suspension of my perfect mind. When I returned to myself, there was a foot (or I fancied so) on the stairs. I was alarmed; for I believed that if anybody should detect me, means would be taken to prevent my coming again. Hastily, therefore, I kissed the lips that I should kiss no more, and slunk like a guilty thing with stealthy steps from the room. Thus perished the vision, loveliest amongst all the shows which earth has revealed to me; thus mutilated was the parting which should have lasted forever; thus tainted with fear was the farewell sacred to love and grief, to perfect love and perfect grief.