Essays in English Literature, 1780-1860

As for the autobiographic details in his Confessions and elsewhere, anybody who chooses may put those Sibylline leaves together for himself. It would only appear certain that for ten years he led the life of a recluse student and a hard laudanum-drinker, varied by a little society now and then; that in 1816 he married Margaret Simpson, a dalesman's daughter, of whom we have hardly any personal notices save to the effect that she was very beautiful, and who seems to have been almost the most exemplary of wives to almost the most eccentric of husbands; that for most of the time he was in more or less ease and affluence (ease and affluence still, it would seem, of a treacherous Hebraic origin); and that about 1819 he found himself in great pecuniary difficulties. Then at length he turned to literature, started as editor of a little Tory paper at Kendal, went to London, and took rank, never to be cancelled, as a man of letters by the first part of The Confessions of an Opium-Eater, published in the London Magazine for 1821. He began as a magazine-writer, and he continued as such till the end of his life; his publications in book-form being, till he was induced to collect his articles, quite insignificant. Between 1821 and 1825 he seems to have been chiefly in London, though sometimes at Grasmere; between 1825 and 1830 chiefly at Grasmere, but much in Edinburgh, where Wilson (whose friendship he had secured, not at Oxford, though they were contemporaries, but at the Lakes) was now residing, and where he was introduced to Blackwood. In 1830 he moved his household to the Scotch capital, and lived there, and (after his wife's death in 1837) at Lasswade, or rather Polton, for the rest of his life. His affairs had come to their worst before he lost his wife, and it is now known that for some considerable time he lived, like Mr. Chrystal Croftangry, in the sanctuary of Holyrood. But De Quincey's way of "living" at any place was as mysterious as most of his other ways; and, though he seems to have been very fond of his family and not at all put out by them, it was his constant habit to establish himself in separate lodgings. These he as constantly shifted (sometimes as far as Glasgow) for no intelligible reason that has ever been discovered or surmised, his pecuniary troubles having long ceased. It was in the latest and most permanent of these lodgings, 42 Lothian Street, Edinburgh, not at Lasswade, that he died on the 8th of December 1859. He had latterly written mainly, though not solely, for Tait's Magazine and Hogg's Instructor. But his chief literary employment for at least seven years before this, had been the arrangement of the authorised edition of his works, the last or fourteenth volume of which was in the press at the time of his death.

So meagre are the known facts in a life of seventy-four years, during nearly forty of which De Quincey, though never popular, was still recognised as a great name in English letters, while during the same period he knew, and was known to, not a few distinguished men. But little as is recorded of the facts of his life, even less is recorded of his character, and for once it is almost impossible to discover that character from his works. The few persons who met him all agree as to his impenetrability, – an impenetrability not in the least due to posing, but apparently natural and fated. De Quincey was at once egotistic and impersonal, at once delighted to talk and resolutely shunning society. To him, one is tempted to say, reading and writing did come by nature, and nothing else was natural at all. With books he is always at home. A De Quincey in a world where there was neither reading nor writing of books, would certainly either have committed suicide or gone mad. Pope's theory of the master-passion, so often abused, justified itself here.

The quantity of work produced during this singular existence, from the time when De Quincey first began, unusually late, to write for publication, was very large. As collected by the author, it filled fourteen volumes; the collection was subsequently enlarged to sixteen, and though the new edition promises to restrict itself to the older and lesser number, the contents of each volume have been very considerably increased. But this printed and reprinted total, so far as can be judged from De Quincey's own assertions and from the observations of those who were acquainted with him during his later years, must have been but the smaller part of what he actually wrote. He was always writing, and always leaving deposits of his manuscripts in the various lodgings where it was his habit to bestow himself. The greater part of De Quincey's writing was of a kind almost as easily written by so full a reader and so logical a thinker as an ordinary newspaper article by an ordinary man; and except when he was sleeping, wandering about, or reading, he was always writing. It is, of course, true that he spent a great deal of time, especially in his last years of all, in re-writing and re-fashioning previously executed work; and also that illness and opium made considerable inroads on his leisure. But I should imagine that if we had all that he actually wrote during these nearly forty years, forty or sixty printed volumes would more nearly express its amount than fourteen or sixteen.

Still what we have is no mean bulk of work for any man to have accomplished, especially when it is considered how extraordinarily good much of it is. To classify it is not particularly easy; and I doubt, myself, whether any classification is necessary. De Quincey himself tried, and made rather a muddle of it. Professor Masson is trying also. But, in truth, except those wonderful purple patches of "numerous" prose, which are stuck all about the work, and perhaps in strictness not excepting them, everything that De Quincey wrote, whether it was dream or reminiscence, literary criticism or historical study, politics or political economy, had one characteristic so strongly impressed on it as to dwarf and obscure the differences of subject. It is not very easy to find a description at once accurate and fair, brief and adequate, of this peculiarity; it is best hinted at in a remark on De Quincey's conversation which I have seen quoted somewhere (whether by Professor Masson or not I hardly know), that it was, with many interesting and delightful qualities, a kind of "rigmarole." So far as I remember, the remark was not applied in any unfriendly spirit, nor is it adduced here in any such. But both in the printed works, in the remembrances of De Quincey's conversation which have been printed, in his letters which are exactly like his articles, and in those astonishing imaginary conversations attributed to him in the Noctes Ambrosianæ, which are said, by good authorities, exactly to represent his way of talk, this quality of rigmarole appears. It is absolutely impossible for him to keep to his subject, or any subject. It is as impossible for him to pull himself up briefly in any digression from that subject. In his finest passages, as in his most trivial, he is at the mercy of the will-o'-the-wisp of divagation. In his later re-handlings of his work, he did to some extent limit his followings of this will-o'-the-wisp to notes, but by no means always; and both in his later and in his earlier work, as it was written for the first time, he indulged them freely in the text.

For pure rigmarole, for stories, as Mr. Chadband has it, "of a cock and of a bull, and of a lady and of a half-crown," few things, even in De Quincey, can exceed, and nothing out of De Quincey can approach, the passages about the woman he met on the "cop" at Chester, and about the Greek letter that he did not send to the Bishop of Bangor, in the preliminary part of the Confessions. The first is the more teasing, because with a quite elvish superfluity of naughtiness he has here indulged in a kind of double rigmarole about the woman and the "bore" in the river, and flits from one to the other, and from the other to the one (his main story standing still the while), for half a dozen pages, till the reader feels as Coleridge's auditors must have felt when he talked about "Ball and Bell, Bell and Ball." But the Greek letter episode, or rather, the episode about the Greek letter which never was written, is, if possible, more flagrantly rigmarolish. The-cop-and-bore-and-woman digression contains some remarkable description as a kind of solace to the Puck-led traveller; the other is bare of any such comfort. The Bishop's old housekeeper, who was De Quincey's landlady, told him, it seems, that the Bishop had cautioned her against taking in lodgers whom she did not know, and De Quincey was very angry. As he thought he could write Greek much better than the Bishop, he meditated expostulation in that language. He did not expostulate, but he proceeds instead to consider the possible effect on the Bishop if he had. There was a contemporary writer whom we can imagine struck by a similar whimsy: but Charles Lamb would have given us the Bishop and himself "quite natural and distinct" in a dozen lines, and then have dropped the subject, leaving our sides aching with laughter, and our appetites longing for more. De Quincey tells us at great length who the Bishop was, and how he was the Head of Brasenose, with some remarks on the relative status of Oxford Colleges. Then he debates the pros and cons on the question whether the Bishop would have answered the letter or not, with some remarks on the difference between strict scholarship and the power of composing in a dead language. He rises to real humour in the remark, that as "Methodists swarmed in Carnarvonshire," he "could in no case have found pleasure in causing mortification" to the Bishop, even if he had vanquished him. By this time we have had some three pages of it, and could well, especially with this lively touch to finish, accept them, though they be something tedious, supposing the incident to be closed. The treacherous author leads us to suppose that it is closed; telling us how he left Bangor, and went to Carnarvon, which change gradually drew his thoughts away from the Bishop. So far is this from being the case, that he goes back to that Reverend Father, and for two mortal pages more, speculates further what would happen if he had written to the Bishop, what the Bishop would have said, whether he would not have asked him (De Quincey) to the Palace, whether, in his capacity of Head of a House, he would not have welcomed him to that seat of learning, and finally smoothed his way to a fellowship. By which time, one is perfectly sick of the Bishop, and of these speculations on the might-have-been, which are indeed by no means unnatural, being exactly what every man indulges in now and then in his own case, which, in conversation, would not be unpleasant, but which, gradually and diffusedly set down in a book, and interrupting a narrative, are most certainly "rigmarole."

Rigmarole, however, can be a very agreeable thing in its way, and De Quincey has carried it to a point of perfection never reached by any other rigmaroler. Despite his undoubted possession of a kind of humour, it is a very remarkable thing that he rigmaroles, so far as can be made out by the application of the most sensitive tests, quite seriously, and almost, if not quite, unconsciously. These digressions or deviations are studded with quips and jests, good, bad, and indifferent. But the writer never seems to suspect that his own general attitude is at least susceptible of being made fun of. It is said, and we can very well believe it, that he was excessively annoyed at Lamb's delightful parody of his Letters to a Young Man whose Education has been Neglected; and, on the whole, I should say that no great man of letters in this century, except Balzac and Victor Hugo, was so insensible to the ludicrous aspect of his own performances. This in the author of the Essay on Murder may seem surprising, but, in fact, there are few things of which there are so many subdivisions, or in which the subdivisions are marked off from each other by such apparently impermeable lines, as humour. If I may refine a little I should say that there was very frequently, if not generally, a humorous basis for these divagations of De Quincey's; but that he almost invariably lost sight of that basis, and proceeded to reason quite gravely away from it, in what is (not entirely with justice) called the scholastic manner. How much of this was due to the influence of Jean Paul and the other German humorists of the last century, with whom he became acquainted very early, I should not like to say. I confess that my own enjoyment of Richter, which has nevertheless been considerable, has always been lessened by the presence in him, to a still greater degree, of this same habit of quasi-serious divagation. To appreciate the mistake of it, it is only necessary to compare the manner of Swift. The Tale of a Tub is in appearance as daringly discursive as anything can be, but the author in the first place never loses his way, and in the second never fails to keep a watchful eye on himself, lest he should be getting too serious or too tedious. That is what Richter and De Quincey fail to do.

Yet though these drawbacks are grave, and though they are (to judge from my own experience) felt more seriously at each successive reading, most assuredly no man who loves English literature could spare De Quincey from it; most assuredly all who love English literature would sooner spare some much more faultless writers. Even that quality of his which has been already noted, his extraordinary attraction for youth, is a singular and priceless one. The Master of the Court of the Gentiles, or the Instructor of the Sons of the Prophets, he might be called in a fantastic nomenclature, which he would have himself appreciated, if it had been applied to any one but himself. What he somewhere calls his "extraordinary ignorance of daily life" does not revolt youth. His little pedantries, which to the day of his death were like those of a clever schoolboy, appeal directly to it. His best fun is quite intelligible; his worst not wholly uncongenial. His habit (a certain most respected professor in a northern university may recognise the words) of "getting into logical coaches and letting himself be carried on without minding where he is going" is anything but repugnant to brisk minds of seventeen. They are quite able to comprehend the great if mannered beauty of his finest style – the style, to quote his own words once more, as of "an elaborate and pompous sunset." Such a schoolmaster to bring youths of promise, not merely to good literature but to the best, nowhere else exists. But he is much more than a mere schoolmaster, and in order that we may see what he is, it is desirable first of all to despatch two other objections made to him from different quarters, and on different lines of thought. The one objection (I should say that I do not fully espouse either of them) is that he is an untrustworthy critic of books; the other is that he is a very spiteful commentator on men.

This latter charge has found wide acceptance and has been practically corroborated and endorsed by persons as different as Southey and Carlyle. It would not in any case concern us much, for when a man is once dead it matters uncommonly little whether he was personally unamiable or not. But I think that De Quincey has in this respect been hardly treated. He led such a wholly unnatural life, he was at all times and in all places so thoroughly excluded from the natural contact and friction of society, that his utterances hardly partake of the ordinary character of men's speech. In the "vacant interlunar caves" where he hid himself, he could hardly feel the restraints that press on those who move within ear-shot and jostle of their fellows on this actual earth. This is not a triumphant defence, no doubt; but I think it is a defence. And further, it has yet to be proved that De Quincey set down anything in malice. He called his literary idol, Wordsworth, "inhumanly arrogant." Does anybody – not being a Wordsworthian and therefore out of reach of reason – doubt that Wordsworth's arrogance was inhuman? He, not unprovoked by scant gratitude on Coleridge's part for very solid services, and by a doubtless sincere but rather unctuous protest of his brother in opium-eating against the Confessions, told some home truths against that magnificent genius but most unsatisfactory man. A sort of foolish folk has recently arisen which tells us that because Coleridge wrote "The Ancient Mariner" and "Kubla Khan," he was quite entitled to leave his wife and children to be looked after by anybody who chose, to take stipends from casual benefactors, and to scold, by himself or by his next friend Mr. Wordsworth, other benefactors, like Thomas Poole, who were not prepared at a moment's notice to give him a hundred pounds for a trip to the Azores. The rest of us, though we may feel no call to denounce Coleridge for these proceedings, may surely hold that "The Ancient Mariner" and "Kubla Khan" are no defence to the particular charges. I do not see that De Quincey said anything worse of Coleridge than any man who knew the then little, but now well-known facts of Coleridge's life, was entitled to say if he chose. And so in other cases. That he was what is called a thoughtful person – that is to say that he ever said to himself, "Will what I am writing give pain, and ought I to give that pain?" – I do not allege. In fact, the very excuse which has been made for him above is inconsistent with it. He always wrote far too much as one in another planet for anything of the kind to occur to him, and he was perhaps for a very similar reason rather too fond of the "personal talk" which Wordsworth wisely disdained. But that he was in any proper sense spiteful, that is to say that he ever wrote either with a deliberate intention to wound or with a deliberate indifference whether he wounded or not, I do not believe.

The other charge, that he was a bad or rather a very untrustworthy critic of books, cannot be met quite so directly. He is indeed responsible for a singularly large number of singularly grave critical blunders – by which I mean of course not critical opinions disagreeing with my own, but critical opinions which the general consent of competent critics, on the whole, negatives. The minor classical writers are not much read now, but there must be a sufficient jury to whom I can appeal to know what is to be done with a professed critic of style – at least asserting himself to be no mean classical scholar – who declares that "Paganism had no more brilliant master of composition to show than" – Velleius Paterculus! Suppose this to be a mere fling or freak, what is to be thought of a man who evidently sets Cicero, as a writer, if not as a thinker, above Plato? It would be not only possible but easy to follow this up with a long list of critical enormities on De Quincey's part, enormities due not to accidental and casual crotchet or prejudice, as in Hazlitt's case, but apparently to some perverse idiosyncrasy. I doubt very much, though the doubt may seem horribly heretical to some people, whether De Quincey really cared much for poetry as poetry. He liked philosophical poets: – Milton, Wordsworth, Shakespeare (inasmuch as he perceived Shakespeare to be the greatest of philosophical poets), Pope even in a certain way. But read the interesting paper which late in life he devoted to Shelley. He treats Shelley as a man admirably, with freedom alike from the maudlin sentiment of our modern chatterers and from Puritanical preciseness. He is not too hard on him in any way, he thinks him a pleasing personality and a thinker distorted but interesting. Of Shelley's strictly poetical quality he says nothing, if he knew or felt anything. In fact, of lyrical poetry generally, that is to say of poetry in its most purely poetical condition, he speaks very little in all his extensive critical dissertations. His want of appreciation of it may supply explanation of his unpardonable treatment of Goethe. That he should have maltreated Wilhelm Meister is quite excusable. There are fervent admirers of Goethe at his best who acknowledge most fully the presence in Wilhelm of the two worst characteristics of German life and literature, bad taste and tediousness. But it is not excusable that much later, and indeed at the very height of his literary powers and practice, he should have written the article in the Encyclopædia Britannica on the author of Faust, of Egmont, and above all of the shorter poems. Here he deliberately assents to the opinion that Werther is "superior to everything that came after it, and for mere power, Goethe's paramount work," dismisses Faust as something that "no two people have ever agreed about," sentences Egmont as "violating the historic truth of character," and mentions not a single one of those lyrics, unmatched, or rather only matched by Heine, in the language, by which Goethe first gave German rank with the great poetic tongues. His severity on Swift is connected with his special "will-worship" of ornate style, of which more presently, and in general it may be said that De Quincey's extremely logical disposition of mind was rather a snare to him in his criticism. He was constantly constructing general principles and then arguing downwards from them; in which case woe to any individual fact or person that happened to get in the way. Where Wilson, the "only intimate male friend I have had" (as he somewhere says with a half-pathetic touch of self-illumination more instructive than reams of imaginative autobiography), went wrong from not having enough of general principle, where Hazlitt went wrong from letting prejudices unconnected with the literary side of the matter blind his otherwise piercing literary sight, De Quincey fell through an unswervingness of deduction more French than English. Your ornate writer must be better than your plain one, ergo, let us say, Cicero must be better than Swift.

One other curious weakness of his (which has been glanced at already) remains to be noticed. This is the altogether deplorable notion of jocularity which he only too often exhibits. Mr. Masson, trying to propitiate the enemy, admits that "to address the historian Josephus as 'Joe,' through a whole article, and give him a black eye into the bargain, is positively profane." I am not sure as to the profanity, knowing nothing particularly sacred about Josephus. But if Mr. Masson had called it excessively silly, I should have agreed heartily; and if any one else denounced it as a breach of good literary manners, I do not know that I should protest. The habit is the more curious in that all authorities agree as to the exceptional combination of scholarliness and courtliness which marked De Quincey's colloquial style and expression. Wilson's daughter, Mrs. Gordon, says that he used to address her father's cook "as if she had been a duchess"; and that the cook, though much flattered, was somewhat aghast at his punctilio. That a man of this kind should think it both allowable and funny to talk of Josephus as "Joe," and of Magliabecchi as "Mag," may be only a new example of that odd law of human nature which constantly prompts people in various relations of life, and not least in literature, to assume most the particular qualities (not always virtues or graces) that they have not. Yet it is fair to remember that Wilson and the Blackwood set, together with not a few writers in the London Magazine– the two literary coteries in connexion with whom De Quincey started as a writer – had deliberately imported this element of horse-play into literature, that it at least did not seem to interfere with their popularity, and that De Quincey himself, after 1830, lived too little in touch with actual life to be aware that the style was becoming as unfashionable as it had always, save on very exceptional subjects, been ungraceful. Even on Wilson, who was to the manner born of riotous spirits, it often sits awkwardly; in De Quincey's case it is, to borrow Sir Walter's admirable simile in another case, like "the forced impudence of a bashful man." Grim humour he can manage admirably, and he also – as in the passage about the fate which waited upon all who possessed anything which might be convenient to Wordsworth, if they died – can manage a certain kind of sly humour not much less admirably. But "Joe" and "Mag," and, to take another example, the stuff about Catalina's "crocodile papa" in The Spanish Nun, are neither grim nor sly, they are only puerile. His stanchest defender asks, "why De Quincey should not have the same license as Swift and Thackeray?" The answer is quick and crushing. Swift and Thackeray justify their license by their use of it; De Quincey does not. After which it is hardly necessary to add, though this is almost final in itself, that neither Swift nor Thackeray interlards perfectly and unaffectedly serious work with mere fooling of the "Joe" and "Mag" kind. Swift did not put mollis abuti in the Four last years of Queen Anne, nor Thackeray his Punch jokes in the death-scene of Colonel Newcome. I can quite conceive De Quincey doing both.