Autobiographic Sketches. Томас Де Квинси
gathered so thickly over the one solitary road 5 traversing that part of history. Glimpses of moral truth, or suggestions of what may lead to it; indications of neglected difficulties, and occasionally conjectural solutions of such difficulties,—these are what this essay offers. It was meant as a specimen of fruits, gathered hastily and without effort, by a vagrant but thoughtful mind: through the coercion of its theme, sometimes it became ambitious; but I did not give to it an ambitious title. Still I felt that the meanest of these suggestions merited a valuation: derelicts they were, not in the sense of things willfully abandoned by my predecessors on that road, but in the sense of things blindly overlooked. And, summing up in one word the pretensions of this particular essay, I will venture to claim for it so much, at least, of originality as ought not to have been left open to any body in the nineteenth century.
3. CICERO.—This is not, as might be imagined, any literary valuation of Cicero; it is a new reading of Roman history in the most dreadful and comprehensive of her convulsions, in that final stage of her transmutations to which Cicero was himself a party—and, as I maintain, a most selfish and unpatriotic party. He was governed in one half by his own private interest as a novus homo dependent upon a wicked oligarchy, and in the other half by his blind hatred of Caesar; the grandeur of whose nature he could not comprehend, and the real patriotism of whose policy could never be appreciated by one bribed to a selfish course. The great mob of historians have but one way of constructing the great events of this era—they succeed to it as to an inheritance, and chiefly under the misleading of that prestige which is attached to the name of Cicero; on which account it was that I gave this title to my essay. Seven years after it was published, this essay, slight and imperfectly developed as is the exposition of its parts, began to receive some public countenance.
I was going on to abstract the principle involved in some other essays. But I forbear. These specimens are sufficient for the purpose of informing the reader that I do not write without a thoughtful consideration of my subject; and also, that to think reasonably upon any question has never been allowed by me as a sufficient ground for writing upon it, unless I believed myself able to offer some considerable novelty. Generally I claim (not arrogantly, but with firmness) the merit of rectification applied to absolute errors or to injurious limitations of the truth.
Finally, as a third class, and, in virtue of their aim, as a far higher class of compositions included in the American collection, I rank The Confessions of an Opium Eater, and also (but more emphatically) the Suspiria de Profundis. On these, as modes of impassioned prose ranging under no precedents that I am aware of in any literature, it is much more difficult to speak justly, whether in a hostile or a friendly character. As yet, neither of these two works has ever received the least degree of that correction and pruning which both require so extensively; and of the Suspiria, not more than perhaps one third has yet been printed. When both have been fully revised, I shall feel myself entitled to ask for a more determinate adjudication on their claims as works of art. At present, I feel authorized to make haughtier pretensions in right of their conception than I shall venture to do, under the peril of being supposed to characterize their execution. Two remarks only I shall address to the equity of my reader. First, I desire to remind him of the perilous difficulty besieging all attempts to clothe in words the visionary scenes derived from the world of dreams, where a single false note, a single word in a wrong key, ruins the whole music; and, secondly, I desire him to consider the utter sterility of universal literature in this one department of impassioned prose; which certainly argues some singular difficulty suggesting a singular duty of indulgence in criticizing any attempt that even imperfectly succeeds. The sole Confessions, belonging to past times, that have at all succeeded in engaging the attention of men, are those of St. Augustine and of Rousseau. The very idea of breathing a record of human passion, not into the ear of the random crowd, but of the saintly confessional, argues an impassioned theme. Impassioned, therefore, should be the tenor of the composition. Now, in St. Augustine's Confessions is found one most impassioned passage, viz., the lamentation for the death of his youthful friend in the fourth book; one, and no more. Further there is nothing. In Rousseau there is not even so much. In the whole work there is nothing grandly affecting but the character and the inexplicable misery of the writer.
Meantime, by what accident, so foreign to my nature, do I find myself laying foundations towards a higher valuation of my own workmanship? O reader, I have been talking idly. I care not for any valuation that depends upon comparison with others. Place me where you will on the scale of comparison: only suffer me, though standing lowest in your catalogue, to rejoice in the recollection of letters expressing the most fervid interest in particular passages or scenes of the Confessions, and, by rebound from them, an interest in their author: suffer me also to anticipate that, on the publication of some parts yet in arrear of the Suspiria, you yourself may possibly write a letter to me, protesting that your disapprobation is just where it was, but nevertheless that you are disposed to shake hands with me—by way of proof that you like me better than I deserve.
AUTOBIOGRAPHIC SKETCHES
CHAPTER I.
THE AFFLICTION OF CHILDHOOD
About the close of my sixth year, suddenly the first chapter of my life came to a violent termination; that chapter which, even within the gates of recovered paradise, might merit a remembrance. "Life is finished!" was the secret misgiving of my heart; for the heart of infancy is as apprehensive as that of maturest wisdom in relation to any capital wound inflicted on the happiness. "Life is finished! Finished it is!" was the hidden meaning that, half unconsciously to myself, lurked within my sighs; and, as bells heard from a distance on a summer evening seem charged at times with an articulate form of words, some monitory message, that rolls round unceasingly, even so for me some noiseless and subterraneous voice seemed to chant continually a secret word, made audible only to my own heart—that "now is the blossoming of life withered forever." Not that such words formed themselves vocally within my ear, or issued audibly from my lips; but such a whisper stole silently to my heart. Yet in what sense could that be true? For an infant not more than six years old, was it possible that the promises of life had been really blighted, or its golden pleasures exhausted? Had I seen Rome? Had I read Milton? Had I heard Mozart? No. St. Peter's, the "Paradise Lost," the divine melodies of "Don Giovanni," all alike were as yet unrevealed to me, and not more through the accidents of my position than through the necessity of my yet imperfect sensibilities. Raptures there might be in arrear; but raptures are modes of troubled pleasure. The peace, the rest, the central security which belong to love that is past all understanding,—these could return no more. Such a love, so unfathomable,—such a peace, so unvexed by storms, or the fear of storms,—had brooded over those four latter years of my infancy, which brought me into special relations to my elder sister; she being at this period three years older than myself. The circumstances which attended the sudden dissolution of this most tender connection I will here rehearse. And, that I may do so more intelligibly, I will first describe that serene and sequestered position which we occupied in life. 6
Any expression of personal vanity, intruding upon impassioned records, is fatal to their effect—as being incompatible with that absorption of spirit and that self-oblivion in which only deep passion originates or can find a genial home. It would, therefore, to myself be exceedingly painful that even a shadow, or so much as a seeming expression of that tendency, should creep into these reminiscences. And yet, on the other hand, it is so impossible, without laying an injurious restraint upon the natural movement of such a narrative, to prevent oblique gleams reaching the reader from such circumstances of luxury or aristocratic elegance as surrounded my childhood, that on all accounts I think it better to tell him, from the first, with the simplicity of truth, in what order of society my family moved at the time from which this preliminary narrative is dated. Otherwise it might happen that, merely by reporting faithfully the facts of this early experience, I could hardly prevent the reader from receiving an impression as of some higher rank than did really belong to my family. And this impression might seem to have been designedly insinuated by myself.
My father was a merchant; not in the sense of Scotland, where it means a retail dealer, one, for instance, who sells groceries in a cellar, but in the English
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As occasions arise in these Sketches, when, merely for the purposes of intelligibility, it becomes requisite to call into notice such personal distinctions in my family as otherwise might be unimportant, I here record the entire list of my brothers and sisters, according to their order of succession; and Miltonically I include myself; having surely as much logical right to count myself in the series of my own brothers as Milton could have to pronounce Adam the goodliest of his own sons. First and last, we counted as eight children, viz., four brothers and four sisters, though never counting more than six living at once, viz., 1.