Harper's New Monthly Magazine, Volume 1, No. 2, July, 1850.. Various
wild tossings of his arms, the spasmodic resistance of every muscle, the loud shouts of protesting agony; and, when conquered, he lay like the overpowered Hatteraick in the cave, sullen, still in despair, breathing hard, but perfectly powerless. Its effects on him, too, were of a peculiar kind. They were not brutifying or blackguardizing. He was never intoxicated with the drug in his life; nay, he denies its power to intoxicate. Nor did it at all weaken his intellectual faculties any more than it strengthened them. We have heard poor creatures consoling themselves for their inferiority by saying, "Coleridge would not have written so well but for opium." "No thanks to De Quincey for his subtlety – he owes it to opium." Let such persons swallow the drug, and try to write the "Suspiria," or the "Aids to Reflection."
Coleridge and De Quincey were great in spite of their habits. Nay, we believe that on truly great intellects stimulus produces little inspiration at all. Can opium think? can beer imagine? It is De Quincey in opium – not opium in De Quincey – that ponders and that writes. The stimulus is only the occasional cause which brings the internal power into play; it may sometimes dwarf the giant, but it can never really elevate the dwarf.
The evil influences of opium on De Quincey were of a different, but a very pernicious sort: they weakened his will; they made him a colossal slave to a tiny tyrant; they shut him up (like the Genii in the "Arabian Tales") in a phial filled with dusky fire; they spread a torpor over the energies of his body; they closed up or poisoned the natural sources of enjoyment; the air, the light, the sunshine, the breeze, the influences of spring, lost all charm and power over him. Instead of these, snow was welcomed with an unnatural joy; storm embraced as a brother; and the stern scenery of night arose like a desolate temple round his ruined spirit. If his heart was not utterly hardened, it was owing to its peculiar breadth and warmth. At last his studies were interrupted, his peace broken, his health impaired, and then came the noon of his night; a form of gigantic gloom, swaying an "ebon sceptre," stood over him in triumph, and it seemed as if nothing less than a miraculous intervention could rescue the victim from his power.
But the victim was not an ordinary one. Feeling that hell had come, and that death was at hand, he determined, by a mighty effort, to arise from his degradation. For a season his struggles were great and impotent, as those of the giants cast down by Jove under Etna. The mountain shook, the burden tottered, but the light did not at first appear. Nor has he ever, we suspect, completely emancipated himself from his bondage; but he has struggled manfully against it, and has cast off such a large portion of the burden that it were injustice not to say of him that he is now free.
It were ungracious to have dwelt, even so long, upon the errors of De Quincey, were it not that, first, his own frankness of disclosures frees us from all delicacy; and that, secondly, the errors of such a man, like the cloud of the pillar, have two sides – his darkness may become our light – his sin our salvation. It may somewhat counteract that craving cry for excitement, that everlasting Give, give, so much the mistake of the age, to point strongly to this conspicuous and transcendent victim, and say to his admirers, "Go ye and do otherwise."
We pass gladly to the subject of his genius. That is certainly one of the most singular in its power, variety, culture, and eccentricity, our age has witnessed. His intellect is at once solid and subtle, reminding you of veined and figured marble, so beautiful and evasive in aspect, that you must touch ere you are certain of its firmness. The motion of his mind is like that of dancing, but it is the dance of an elephant, or of a Polyphemus, with his heavy steps, thundering down the music to which he moves. Hence his humor often seems forced in motion, while always fine in spirit. The contrast between the slow march of his sentences, the frequent gravity of his spirit, the recondite masses of his lore, the logical severity of his diction, and his determination, at times, to be desperately witty, produces a ludicrous effect, but somewhat different from what he had intended. It is "Laughter" lame, and only able to hold one of his sides, so that you laugh at, as well as with him. But few, we think, would have been hypercritical in judging of Columbus' first attitudes as he stepped down upon his new world. And thus, let a great intellectual explorer be permitted to occupy his own region, in whatever way, and with whatever ceremonies, may seem best to himself. Should he even, like Cæsar, stumble upon the shore, no matter if he stumble forward, and by accepting, make the omen change its nature and meaning.
Genius and logical perception are De Quincey's principal powers. There are some writers whose power, like the locusts in the Revelation, is "in their tails" – they have stings, and there lies their scorpion power. De Quincey's vigor is evenly and equally diffused through his whole being. It is not a partial palpitation, but a deep, steady glow. His insight hangs over us and the world like a nebulous star, seeing us, but, in part, remaining unseen. In fact, his deepest thoughts have never been disclosed. Like Burke, he has not "hung his heart upon his sleeve for daws to peck at." He has profound reticence as well as power, and he has modesty as well as reticence. On subjects with which he is acquainted, such as logic, literature, or political economy, no man can speak with more positive and perfect assurance. But on all topics where the conscience – the inner most moral nature – must be the umpire, "the English Opium Eater" is silent. His "silence" indeed, "answers very loud," his dumbness has a tongue, but it requires a "fine ear" to hear its accents; and to interpret them what but his own exquisitely subtle and musical style, like written sculpture, could suffice?
Indeed, De Quincey's style is one of the most wondrous of his gifts. As Professor Wilson once said to us about him, "the best word always comes up." It comes up easily, as a bubble on the wave; and is yet fixed, solid, and permanent as marble. It is at once warm as genius, and cool as logic. Frost and fire fulfill the paradox of "embracing each other." His faculties never disturb or distract each other's movements – they are inseparable, as substance and shadow. Each thought is twin-born with poetry. His sentences are generally very long, and as full of life and of joints as a serpent. It is told of Coleridge, that no shorthand-writer could do justice to his lectures; because, although he spoke deliberately, yet it was impossible, from the first part of his sentences, to have the slightest notion how they were to end – each clause was a new surprise, and the close often unexpected as a thunderbolt. In this, as in many other respects. De Quincey resembles the "noticeable man with large gray eyes." Each of his periods, begin where it may, accomplishes a cometary sweep ere it closes. To use an expression of his own, applied to Bishop Berkeley, "he passes, with the utmost ease and speed, from tar-water to the Trinity, from a mole-heap to the thrones of the Godhead." His sentences are microcosms – real, though imperfect wholes. It is as if he dreaded that earth would end, and chaos come again, ere each prodigious period were done. This practice, so far from being ashamed of, he often and elaborately defends – contrasting it with the "short-winded and asthmatic" style of writing which abounds in modern times, and particularly among French authors. We humbly think that the truth on this question lies in the middle. If an author is anxious for fullness, let him use long sentences; if he aims at clearness, let them be short. If he is beating about for truth, his sentences will be long; if he deems he has found, and wishes to communicate it to others, they will be short. In long sentences you see processes; in short, results. Eloquence delights in long sentences, wit in short. Long sentences impress more at the time; short sentences, if nervous, cling more to the memory. From long sentences you must, in general, deduct a considerable quantum of verbiage; short have often a meagre and skeleton air. The reading of long sentences is more painful at first, less so afterward; a volume composed entirely of short sentences becomes soon as wearisome as a jest-book. The mind which employs long sentences has often a broad, but dim vision – that which delights in short, sees a great number of small points clearly, but seldom a rounded whole. De Quincey is a good specimen of the first class. The late Dr. Hamilton, of Leeds, was the most egregious instance of the second. With all his learning, and talent, and fancy, the writings of that distinguished divine are rendered exceedingly tedious by the broken and gasping character of their style – reading which has been compared to walking on stepping-stones instead of a firm road. Every thing is so clear, sharp, and short, that you get irritated and provoked, and cry out for an intricate or lengthy sentence, both as a trial to your wind, and as a relief to your weariness.
The best style of writing, in point of effect, is that which combines both forms of sentence in proper proportions. Just as a well-armed warrior of old, while he held the broadsword in his right hand, had the dagger of mercy suspended by his side, the effective writer, who