Cogit amareminus,necbene vellemagis.
Cogit amareminus,necbene vellemagis.
How and to what extent this is the case, it must be the business of this paper to attempt toshow. But first it is desirable to give, as usual, a brief sketch of De Quincey's life. It need only be a brief one, for the external events of that life were few and meagre; nor can they be said to be, even after the researches of Mr. Page and Professor Masson, very accurately or exhaustively known. Before those researches "all was mist and myth" about De Quincey. I remember as a boy, a year or two after his death, hearing a piece of scandal about his domestic relations, which seems to have had no foundation whatever, but which pretty evidently was an echo of the "libel" (published in a short-lived newspaper of the kind which after many years has again risen to infest London) whereof he complains with perhaps more acrimony than dignity in a paper for the first time exhumed and reprinted in Professor Masson's edition. Many of the details of theConfessionsand theAutobiographyhave a singular unbelievableness as one reads them; and though the tendency of recent biographers has been to accept them as on the whole genuine, I own that I am rather sceptical about many of them still. Was the ever-famous Malay a real Malay, or a thing of shreds and patches? Did De Quincey actually call upon the awful Dean Cyril Jackson and affably discuss with him the propriety of entering himself at Christ-church? Did he really journey pennilessly down to Eton on the chance of finding a casual peer of the realm of tender years whowould back a bill for him? These are but a few out of a large number of questions which in idle moods (for the answer to hardly one of them is of the least importance) suggest themselves; and which have been very partially answered hitherto even of late years, though they have been much discussed. The plain and tolerably certain facts which are important in connection with his work may be pretty rapidly summed up.
Thomas de Quincey, or Quincey, was born in Manchester—but apparently not, as he himself thought, at the country house of Greenhay which his parents afterwards inhabited—on 15th August 1785. His father was a merchant, well to do but of weak health, who died when Thomas was seven years old. Of his childhood he has left very copious reminiscences, and there is no doubt that reminiscences of childhood do linger long after later memories have disappeared. But to what extent De Quincey gave "cocked hats and canes" to his childish thoughts and to his relations with his brothers and sisters, individual judgment must decide. I should say, for my part, that the extent was considerable. It seems, however, pretty clear that he was as a child, very much what he was all his life—emphatically "old-fashioned," retiring without being exactly shy, full of far-brought fancies and yet intensely concentrated upon himself. In 1796 his mother moved to Bath, and Thomas was educated first at theGrammar School there and then at a private school in Wiltshire. It was at Bath, his headquarters being there, that he met various persons of distinction—Lord Westport, Lord and Lady Carbery, and others—who figure largely in theAutobiography, but are never heard of afterwards. It was with Lord Westport, a boy somewhat younger than himself, that he took a trip to Ireland, the only country beyond Great Britain that he visited. In 1800 he was sent by his guardians to the Manchester Grammar School in order to obtain, by three years' boarding there, one of the Somerset Exhibitions to Brasenose. As a separate income of £150 had been left by De Quincey's father to each of his sons, as this income, or part of it, must have been accumulating, and as the mother was very well off, this roundabout way of securing for him a miserable forty or fifty pounds a year seems strange enough. But it has to be remembered that for all these details we have little security but De Quincey himself. However, that he did go to Manchester, and did, after rather more than two of his three years' probation, run away is indisputable. His mother was living at Chester, and the calf was not killed for this prodigal son; but he had liberty given him to wander about Wales on an allowance of a guinea a week. That there is some mystery, or mystification, about all this is nearly certain. If things really went as he represents them, his mother ought to have been ashamedof herself, and his guardians ought to have had, to say the least, an experience of the roughest side of Lord Eldon's tongue. The wanderings in Wales were followed by the famous sojourn in Soho, with its waitings at money-lenders' doors, and its perambulations of Oxford Street. Then, by another sudden revolution, we find De Quincey with two-thirds of his allowance handed over to him and permission to go to Oxford as he wished, but abandoned to his own devices by his mother and his guardians, as surely no mother and no guardians ever abandoned an exceptionally unworldly boy of eighteen before. They seem to have put fifty guineas in his pocket and sent him up to Oxford, without even recommending him a college, and with an income which made it practically certain that he would once more seek the Jews. When he had spent so much of his fifty guineas that there was not enough left to pay caution-money at most colleges, he went to Worcester, where it happened to be low. He seems to have stayed there, on and off, for nearly six years. But he took no degree, his eternal caprices making him shunvivâ voce(then a much more important part of the examination than it is now) after sending in unusually good written papers. Instead of taking a degree, he began to take opium, and to make acquaintance with the "Lakers" in both their haunts of Somerset and Westmoreland. He entered himself at the MiddleTemple, he may have eaten some dinners, and somehow or other he "came into his property," though there are dire surmises that it was by the Hebrew door. At any rate in November 1809 he gave up both Oxford and London (which he had frequented a good deal, chiefly, he says, for the sake of the opera of which he was very fond), and established himself at Grasmere. One of the most singular things about his singular life—an oddity due, no doubt, in part to the fact that he outlived his more literary associates instead of being outlived by them—is that though we hear much from De Quincey of other people we hear extremely little from other people about De Quincey. Indeed what we do so hear dates almost entirely from the last days of his life.
As for the autobiographic details in hisConfessionsand 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, ofa 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 ofThe Confessions of an Opium-Eater, published in theLondon Magazinefor 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 constanthabit 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, forTait's MagazineandHogg'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 elsewas 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-writingand 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 itadduced 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 theNoctes 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 theConfessions. The first is the more teasing, because with a quite elvish superfluity of naughtiness he has here indulged in a kind of double rigmaroleabout 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 ofOxford 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 hisown 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 hisLetters 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 theEssay on Murdermay 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 therewas 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. TheTale of a Tubis 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 extraordinaryattraction 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 criticof 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 theConfessions, told some home truths against thatmagnificent 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, thatis 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 maltreatedWilhelm Meisteris quite excusable. There are fervent admirers of Goethe at his best who acknowledge most fully the presence inWilhelmof 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 theEncyclopædia Britannicaon the author ofFaust, ofEgmont, and above all of the shorter poems. Here he deliberately assents to the opinion thatWertheris "superior to everything that came after it, and for mere power, Goethe's paramount work,"dismissesFaustas something that "no two people have ever agreed about," sentencesEgmontas "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 ofjocularity 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 hispunctilio. 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 theBlackwoodset, together with not a few writers in theLondon Magazine—the two literary coteries in connexion with whom De Quincey started asa 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" inThe 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. Swiftdid not putmollis abutiin theFour last years of Queen Anne, nor Thackeray hisPunchjokes in the death-scene of Colonel Newcome. I can quite conceive De Quincey doing both.
And now I have done enough in the fault-finding way, and nothing shall induce me to say another word of De Quincey in this article save in praise. For praise he himself gives the amplest occasion; he might almost remain unblamed altogether if his praisers had not been frequently unwise, and if hisexemplarwere not speciallyvitiis imitabile. Few English writers have touched so large a number of subjects with such competence both in information and in power of handling. Still fewer have exhibited such remarkable logical faculty. One main reason why one is sometimes tempted to quarrel with him is that his play of fence is so excellent that one longs to cross swords. For this and for other reasons no writer has a more stimulating effect, or is more likely to lead his readers on to explore and to think for themselves. In none is that incurable curiosity, that infinite variety of desire for knowledge and for argument which age cannot quench, more observable. Few if any have the indefinable quality of freshness in so large a measure. You never quite know, though you may have a shrewd suspicion, what De Quincey will say on any subject; his gift of sighting and approaching new facets of it is so immense.Whether he was in truth as accomplished a classical scholar as he claimed to be I do not know; he has left few positive documents to tell us. But I should think that he was, for he has all the characteristics of a scholar of the best and rarest kind—the scholar who is exact as to language without failing to comprehend literature, and competent in literature without being slipshod as to language. His historical insight, of which the famousCæsarsis the best example, was, though sometimes coloured by his fancy, and at other times distorted by a slight tendency tosupercherieas inThe TartarsandThe Spanish Nun, wonderfully powerful and acute. He was not exactly as Southey was, "omnilegent"; but in his own departments, and they were numerous, he went farther below the surface and connected his readings together better than Southey did. Of the two classes of severer study to which he specially addicted himself, his political economy suffered perhaps a little, acute as his views in it often are, from the fact that in his time it was practically a new study, and that he had neither sufficient facts nor sufficient literature to go upon. In metaphysics, to which he gave himself up for years, and in which he seems really to have known whatever there was to know, I fear that the opium fiend cheated the world of something like masterpieces. Only three men during De Quincey's lifetime had anything like his powers in thisdepartment. Of these three men, Sir William Hamilton either could not or would not write English. Ferrier could and did write English; but he could not, as De Quincey could, throw upon philosophy the play of literary and miscellaneous illustration which of all the sciences it most requires, and which all its really supreme exponents have been able to give it. Mansel could do both these things; but he was somewhat indolent, and had many avocations. De Quincey could write perfect English, he had every resource of illustration and relief at command, he was in his way as "brazen-bowelled" at work as he was "golden-mouthed" at expression, and he had ample leisure. But the inability to undertake sustained labour, which he himself recognises as the one unquestionable curse of opium, deprived us of an English philosopher who would have stood as far above Kant in exoteric graces, as he would have stood above Bacon in esoteric value. It was not entirely De Quincey's fault. It seems to be generally recognised now that whatever occasional excesses he may have committed, opium was really required in his case, and gave us what we have as much as it took away what we have not. But if any one chose to write in the antique style a debate between Philosophy, Tar-water, and Laudanum, it would be almost enough to put in the mouth of Philosophy, "This gave me Berkeley and that deprived me of De Quincey."
De Quincey is, however, first of all a writer of ornate English, which was never, with him, a mere cover to bare thought. Overpraise and mispraise him as anybody may, he cannot be overpraised for this. Mistake as he chose to do, and as others have chosen to do, the relative value of his gift, the absolute value of it is unmistakable. What other Englishman, from Sir Thomas Browne downwards, has written a sentence surpassing in melody that on Our Lady of Sighs: "And her eyes, if they were ever seen, would be neither sweet nor subtle; no man could read their story; they would be found filled with perishing dreams and with wrecks of forgotten delirium"? Compare that with the masterpieces of some later practitioners. There are no out-of-the-way words; there is no needless expense of adjectives; the sense is quite adequate to the sound; the sound is only what is required as accompaniment to the sense. And though I do not know that in a single instance of equal length—even in the still more famous, and as a whole justly more famous,tour de forceon Our Lady of Darkness—De Quincey ever quite equalled the combined simplicity and majesty of this phrase, he has constantly come close to it. TheSuspiriaare full of such passages—there are even some who preferSavannah la Marto theLadies of Sorrow. Beautiful as it is I do not, because the accursed superfluous adjective appears there. The famous passages of theConfessionsare in every one'smemory; and so I suppose is theVision of Sudden Death. Many passages inThe Cæsars, though somewhat less florid, are hardly less good; and the close ofJoan of Arcis as famous as the most ambitious attempts of theConfessionsand theMail Coach. Moreover, in all the sixteen volumes, specimens of the same kind may be found here and there, alternating with very different matter; so much so, that it has no doubt often occurred to readers that the author's occasional divergence into questionable quips and cranks is a deliberate attempt to set off his rhetoric, as dramatists of the noblest school have often set off their tragedy, with comedy, if not with farce. That such a principle would imply confusion of the study and the stage is arguable enough, but it does not follow that it was not present. At any rate the contrast, deliberate or not, is very strong indeed in De Quincey—stronger than in any other prose author except his friend, and pupil rather than master, Wilson.
The great advantage that De Quincey has, not only over this friend of his but over all practitioners of the ornate style in this century, lies in his sureness of hand in the first place, and secondly in the comparative frugality of means which perhaps is an inseparable accompaniment of sureness of hand. To mention living persons would be invidious; but Wilson and Landor are within the most scrupulous critic's right of comparison. Allthree were contemporaries; all three were Oxford men—Landor about ten years senior to the other two—and all three in their different ways set themselves deliberately to reverse the practice of English prose for nearly a century and a half. They did great things, but De Quincey did, I think, the greatest and certainly the most classical in the proper sense, for all Landor's superior air of Hellenism. Voluble as De Quincey often is, he seems always to have felt that when you are in your altitudes it is well not to stay there too long. And his flights, while they are far more uniformly high than Wilson's, which alternately soar and drag, are much more merciful in regard of length than Landor's, as well as for the most part much more closely connected with the sense of his subjects. There is scarcely one of theImaginary Conversationswhich would not be the better for very considerable thinning, while, with the exception perhaps ofThe English Mail Coach, De Quincey's surplusage, obvious enough in many cases, is scarcely ever found in his most elaborate and ornate passages. The total amount of such passages in theConfessionsis by no means large, and the more ambitious parts of theSuspiriado not much exceed a dozen pages. De Quincey was certainly justified by his own practice in adopting and urging as he did the distinction, due, he says, to Wordsworth, between the common and erroneous idea of style as thedressof thought,and the true definition of it as theincarnationof thought. The most wizened of coxcombs may spend days and years in dressing up his meagre and ugly carcass; but few are the sons of men who have sufficient thought to provide the soul of any considerable series of avatars. De Quincey had; and therefore, though the manner (with certain exceptions heretofore taken) in him is always worth attention, it never need or should divert attention from the matter. And thus he was not driven to make a little thought do tyrannous duty as lay-figure for an infinite amount of dress, or to hang out frippery on a clothes-line with not so much as a lay-figure inside it. Even when he is most conspicuously "fighting a prize," there is always solid stuff in him.
Few indeed are the writers of whom so much can be said, and fewer still the miscellaneous writers, among whom De Quincey must be classed. On almost any subject that interested him—and the number of such subjects was astonishing, curious as are the gaps between the different groups of them—what he has to say is pretty sure, even if it be the wildest paradox in appearance, to be worth attending to. And in regard to most things that he has to say, the reader may be pretty sure also that he will not find them better said elsewhere. It has sometimes been complained by students, both of De Quincey the man and of De Quincey the writer, that there is something notexactly human in him. There is certainly much in him of the dæmonic, to use a word which was a very good word and really required in the language, and which ought not to be exiled because it has been foolishly abused. Sometimes, as has also been complained, the demon is a mere familiar with the tricksiness of Puck rather than the lightness of Ariel. But far oftener he is a more potent spirit than any Robin Goodfellow, and as powerful as Ariel and Ariel's master. Trust him wholly you may not; a characteristic often noted in intelligences that are neither exactly human, nor exactly diabolic, nor exactly divine. But he will do great things for you, and a little wit and courage on your part will prevent his doing anything serious against you. To him, with much greater justice than to Hogg, might Wilson have applied the nickname of Brownie, which he was so fond of bestowing upon the author of "Kilmeny." He will do solid work, conjure up a concert of aerial music, play a shrewd trick now and then, and all this with a curious air of irresponsibility and of remoteness of nature. In ancient days when kings played experiments to ascertain the universal or original language, some monarch might have been tempted to take a very clever child, interest him so far as possible in nothing but books and opium, and see whether he would turn out anything like De Quincey. But it is in the highest degreeimprobable that he would. Therefore let us rejoice, though according to the precepts of wisdom and not too indiscriminately, in our De Quincey as we once, and probably once for all, received him.
In every age there are certain writers who seem to miss their due meed of fame, and this is most naturally and unavoidably the case in ages which see a great deal of what may be called occasional literature. There is, as it seems to me, a special example of this general proposition in the present century, and that example is the writer whose name stands at the head of this chapter. No one, perhaps, who speaks with any competence either of knowledge or judgment, would say that Lockhart made an inconsiderable figure in English literature. He wrote what some men consider the best biography on a large scale, and what almost every one considers the second best biography on a large scale, in English. HisSpanish Balladsare admitted, by those who know the originals, to have done them almost more than justice; and by those who do not know those originals, to be charming in themselves. His novels, if not masterpieces, have kept the fieldbetter than most: I saw a very badly printed and flaringly-covered copy ofReginald Daltonfor sale at the bookstall at Victoria Station the day before writing these words. He was a pillar of theQuarterly, ofBlackwood, ofFraser, at a time when quarterly and monthly magazines played a greater part in literature than they have played since or are likely to play again. He edited one of these periodicals for thirty years. "Nobody," as Mr. Browning has it, "calls him a dunce." Yet there is no collected edition of his works; his sober, sound, scholarly, admirably witty, and, with some very few exceptions, admirably catholic literary criticism, is rarely quoted; and to add to this, there is a curious prepossession against him, which, though nearly a generation has passed since his death, has by no means disappeared.[18]Some years ago, in a periodical where I was, for the most part, allowed to say exactly what I liked in matters literary, I found a sentence laudatory of Lockhart, from the purely literary point of view, omitted between proof and publication. It so happened that the editor of this periodical could not even have known Lockhart personally, or have been offended by his management of theQuarterly, much less by his earlyfredainesinBlackwoodandFraser. It was this circumstance that first suggested to me the notion of trying to supply something like a criticism of this remarkable critic, which nobody has yet(1884) done, and which seems worth doing. For while the work of many of Lockhart's contemporaries, famous at the time, distinctly loses by re-reading, his for the most part does not; and it happens to display exactly the characteristics which are most wanting in criticism, biographical and literary, at the present day. If any one at the outset desires a definition, or at least an enumeration of those characteristics, I should say that they are sobriety of style and reserve of feeling, coupled with delicacy of intellectual appreciation and æsthetic sympathy, a strong and firm creed in matters political and literary, not excluding that catholicity of judgment which men of strong belief frequently lack, and, above all, the faculty of writing like a gentleman without writing like a mere gentleman. No one can charge Lockhart with dilettantism: no one certainly can charge him with feebleness of intellect, or insufficient equipment of culture, or lack of humour and wit.
His life was, except for the domestic misfortunes which marked its close, by no means eventful; and the present writer, if he had access to any special sources of information (which he has not), would abstain very carefully from using them. John Gibson Lockhart was born at the Manse of Cambusnethan on 14th July 1794, went to school early, was matriculated at Glasgow at twelve years old, transferred himself by means of a Snell exhibition to Balliol at fifteen, and took a first class in 1813. They said he caricatured theexaminers: this was, perhaps, not the unparalleled audacity which admiring commentators have described it as being. Very many very odd things have been done in the Schools. But if there was nothing extraordinary in his Oxford life except what was, even for those days, the early age at which he began it, his next step was something out of the common; for he went to Germany, was introduced to Goethe, and spent some time there. An odd coincidence in the literary history of the nineteenth century is that both Lockhart and Quinet practically began literature by translating a German book, and that both had the remarkably good luck to find publishers who paid them beforehand. There are few such publishers now. Lockhart's book was Schlegel'sLectures on History, and his publisher was Mr. Blackwood. Then he came back to Scotland and to Edinburgh, and was called to the bar, and "swept the outer house with his gown," after the fashion admirably described inPeter's Letters, and referred to by Scott in not the least delightful though one of the most melancholy of his works, the Introduction to theChronicles of the Canongate. Lockhart, one of whose distinguishing characteristics throughout life was shyness and reserve, was no speaker. Indeed, as he happily enough remarked in reply to the toast of his health at the farewell dinner given to celebrate his removal to London, "I cannot speak; if I could, I should not have left you." But if he could not speak hecould write, and the establishment ofBlackwood's Magazine, after its first abortive numbers, gave him scope. "The scorpion which delighteth to sting the faces of men," as he or Wilson describes himself in theChaldee Manuscript(for the passage is beyond Hogg's part), certainly justified the description. As to this famousManuscript, the late Professor Ferrier undoubtedly made a blunder (in the same key as those that he made in describing theNoctes, in company with which he reprinted it) as "in its way as good asThe Battle of the Books."The Battle of the Books, full of mistakes as it is, is literature, and theChaldee Manuscriptis only capital journalism. But it is capital journalism; and the exuberance of its wit, if it be only wit of the undergraduate kind (and Lockhart at least was still but an undergraduate in years), is refreshing enough. The dreadful manner in which it fluttered the dovecotes of Edinburgh Whiggism need not be further commented on, till Lockhart's next work (this time an almost though not quite independent one) has been noticed. This wasPeter's Letters to his Kinsfolk, an elaborate book, half lampoon, half mystification, which appeared in 1819. This book, which derived its title from Scott's account of his journey to Paris, and in its plan followed to some extentHumphrey Clinker, is one of the most careful examples of literary hoaxing to be found. It purported to be the work of a certain Dr. Peter Morris, a Welshman, and itis hardly necessary to say that there was no such person. It had a handsome frontispiece depicting this Peter Morris, and displaying not, like the portrait in Southey'sDoctor, the occiput merely, but the full face and features. This portrait was described, and as far as that went it seems truly described, as "an interesting example of a new style of engraving by Lizars." Mr. Bates, who probably knows, says that there was no first edition, but that it was published with "second edition" on the title-page. My copy has the same date, 1819, but is styled thethirdedition, and has a postscript commenting on the to-do the book made. However all this may be, it is a very handsome book, excellently printed and containing capital portraits and vignettes, while the matter is worthy of the get-up. The descriptions of the Outer-House, of Craigcrook and its high jinks, of Abbotsford, of the finding of "Ambrose's," of the manufacture of Glasgow punch, and of many other things, are admirable; and there is a charming sketch of Oxford undergraduate life, less exaggerated than that inReginald Dalton, probably because the subject was fresher in the author's memory.
Lockhart modestly speaks of this book in hisLife of Scottas one that "none but a very young and thoughtless person would have written." It may safely be said that no one but a very clever person, whether young or old, could have written it, though it is too long and has occasional faults of a specially youthful kind. But it made, comingas it did upon the heels of theChaldee Manuscript, a terrible commotion in Edinburgh. The impartial observer of men and things may, indeed, have noticed in the records of the ages, that a libelled Liberal is the man in all the world who utters the loudest cries. The examples of the Reformers, and of the eighteenth-centuryPhilosophes, are notorious and hackneyed; but I can supply (without, I trust, violating the sanctity of private life) a fresh and pleasing example. Once upon a time, a person whom we shall call A. paid a visit to a person whom we shall call B. "How sad," said A., "are those personal attacks of the —— on Mr. Gladstone."—"Personality," said B., "is always disgusting; and I am very sorry to hear that the —— has followed the bad example of the personal attacks on Lord Beaconsfield."—"Oh! but," quoth A., "that wasquitea different thing." Now B. went out to dinner that night, and sitting next to a distinguished Liberal member of Parliament, told him this tale, expecting that he would laugh. "Ah! yes," said he with much gravity, "it isverydifferent, you know."
In the same way the good Whig folk of Edinburgh regarded it as very different that theEdinburgh Reviewshould scoff at Tories, and thatBlackwoodandPetershould scoff at Whigs. The scorpion which delighted to sting the faces of men, probably at this time founded a reputation which has stuck to him for more than seventy years after Dr. Peter Morris drove his shandrydan throughScotland. Sir Walter (then Mr.) Scott held wisely aloof from the extremely exuberant Toryism ofBlackwood, and, indeed, had had some quarrels with its publisher and virtual editor. But he could not fail to be introduced to a man whose tastes and principles were so closely allied to his own. A year after the appearance ofPeter's Letters, Lockhart married, on 29th April 1820 (a perilous approximation to the unlucky month of May), Sophia Scott, the Duke of Buccleuch's "Little Jacobite," the most like her father of all his children. Every reader of theLifeknows the delightful pictures, enough for interest and not enough for vulgar obtrusion, given by Lockhart of life at Chiefswood, the cottage near Abbotsford which he and his wife inhabited for nearly six years.
They were very busy years for Lockhart. He was still active in contributing toBlackwood; he wrote all his four novels, and he published theSpanish Ballads.ValeriusandAdam Blairappeared in 1821,Reginald Daltonand theBalladsin 1823,Matthew Waldin 1824.
The novels, though containing much that is very remarkable, are not his strongest work; indeed, any critic who speaks with knowledge must admit that Lockhart had every faculty for writing novels, except the faculty of novel-writing.Valerius, a classical story of the visit of a Roman-Briton to Rome, and the persecution of the Christians in the days of Trajan, is, like everything of its author's,admirably written, but, like every classical novel without exception, save onlyHypatia(which makes its interests and its personages daringly modern), it somehow rings false and faint, though not, perhaps, so faint or so false as most of its fellows.Adam Blair, the story of the sudden succumbing to natural temptation of a pious minister of the kirk, is unquestionably Lockhart's masterpiece in this kind. It is full of passion, full of force, and the characters of Charlotte Campbell and Adam Blair himself are perfectly conceived. But the story-gift is still wanting. The reader finds himself outside: wondering why the people do these things, and whether in real life they would have done them, instead of following the story with absorption, and asking himself no questions at all. The same, in a different way, is the case with Lockhart's longest book,Reginald Dalton; and this has the additional disadvantage that neither hero nor heroine are much more than lay-figures, while inAdam Blairboth are flesh and blood. The Oxford scenes are amusing but exaggerated—the obvious work of a man who supplies the defects of a ten years' memory by deepening the strokes where he does remember.Matthew Wald, which is a novel of madness, has excellent passages, but is conventional and wooden as a whole. Nothing was more natural than that Lockhart, with the example of Scott immediately before him, should try novel-writing; not many things are moreindicative of his literary ability than that, after a bare three years' practice, he left a field which certainly was not his.
In the early autumn of 1825, just before the great collapse of his affairs, Scott went to Ireland with Lockhart in his company. But very early in the following year, before the collapse was decided, Lockhart and his family moved to London, on his appointment as editor of theQuarterly, in succession to Gifford. Probably there never was a better appointment of the kind. Lockhart was a born critic: he had both the faculty and the will to work up the papers of his contributors to the proper level; he was firm and decided in his literary and political views, without going to the extreme Giffordian acerbity in both; and his intelligence and erudition were very wide. "He could write," says a phrase in some article I have somewhere seen quoted, "on any subject from poetry to dry-rot;" and there is no doubt that an editor, if he cannot exactly write on any subject from poetry to dry-rot, should be able to take an interest in any subject between and, if necessary, beyond those poles. Otherwise he has the choice of two undesirables; either he frowns unduly on the dry-rot articles, which probably interest large sections of the public (itself very subject to dry-rot), or he lets the dry-rot contributor inflict his hobby, without mercy and unedited, on a reluctant audience. But Lockhart, though he is said (for his contributions are not, as far as I know,anywhere exactly indicated) to have contributed fully a hundred articles to theQuarterly, that is to say one to nearly every number during the twenty-eight years of his editorship, by no means confined himself to this work. It was, indeed, during its progress that he composed not merely theLife of Napoleon, which was little more than an abridgment, though a very clever abridgment, of Scott's book, but theLivesof Burns and of Scott himself. Before, however, dealing with these, hisSpanish Balladsand other poetical work may be conveniently disposed of.
Lockhart's verse is in the same scattered condition as his prose; but it is evident that he had very considerable poetical faculty. The charming piece, "When youthful hope is fled," attributed to him on Mrs. Norton's authority; the well-known "Captain Paton's Lament," which has been republished in theTales from Blackwood; and the mono-rhymed epitaph on "Bright broken Maginn," in which some wiseacres have seen ill-nature, but which really is a masterpiece of humorous pathos, are all in very different styles, and are all excellent each in its style. But these things are mere waifs, separated from each other in widely different publications; and until they are put together no general impression of the author's poetical talent, except a vaguely favourable one, can be derived from them. TheSpanish Balladsform something like a substantive work, and one of nearly as great merit as is possible to poetical translations ofpoetry. I believe opinions differ as to their fidelity to the original. Here and there, it is said, the author has exchanged a vivid and characteristic touch for a conventional and feeble one. Thus, my friend Mr. Hannay points out to me that in the original of "The Lord of Butrago" the reason given by Montanez for not accompanying the King's flight is not the somewhatfadeone that