Narrative and Miscellaneous Papers

by Thomas De Quincey

As to French, Coleridge read it with too little freedom to find pleasure in French literature. Accordingly, we never recollect his referring for any purpose, either of argument or illustration, to a French classic. Latin, from his regular scholastic training, naturally he read with a scholar's fluency; and indeed, he read constantly in authors, such as Petrarch, Erasmus, Calvin, &c., whom he could not then have found in translations. But Coleridge had not cultivated an acquaintance with the delicacies of classic Latinity. And it is remarkable that Wordsworth, educated most negligently at Hawkshead school, subsequently by reading the lyric poetry of Horace, simply for his own delight as a student of composition, made himself a master of Latinity in its most difficult form; whilst Coleridge, trained regularly in a great Southern school, never carried his Latin to any classical polish.

There is another accomplishment of Coleridge's, less broadly open to the judgment of this generation, and not at all of the next—viz., his splendid art of conversation, on which it will be interesting to say a word. Ten years ago, when the music of this rare performance had not yet ceased to vibrate in men's ears, what a sensation was gathering amongst the educated classes on this particular subject! What a tumult of anxiety prevailed to 'hear Mr. Coleridge'—or even to talk with a man who had heard him! Had he lived till this day, not Paganini would have been so much sought after. That sensation is now decaying; because a new generation has emerged during the ten years since his death. But many still remain whose sympathy (whether of curiosity in those who did not know him, or of admiration in those who did) still reflects as in a mirror the great stir upon this subject which then was moving in the world. To these, if they should inquire for the great distinguishing principle of Coleridge's conversation, we might say that it was the power of vast combination 'in linked sweetness long drawn out.' He gathered into focal concentration the largest body of objects, apparently disconnected, that any man ever yet, by any magic, could assemble, or, having assembled, could manage. His great fault was, that, by not opening sufficient spaces for reply or suggestion, or collateral notice, he not only narrowed his own field, but he grievously injured the final impression. For when men's minds are purely passive, when they are not allowed to re-act, then it is that they collapse most, and that their sense of what is said must ever be feeblest. Doubtless there must have been great conversational masters elsewhere, and at many periods; but in this lay Coleridge's characteristic advantage, that he was a great natural power, and also a great artist. He was a power in the art, and he carried a new art into the power.

But now, finally—having left ourselves little room for more—one or two words on Coleridge as an opium-eater.

We have not often read a sentence falling from a wise man with astonishment so profound, as that particular one in a letter of Coleridge's to Mr. Gillman, which speaks of the effort to wean one's-self from opium as a trivial task. There are, we believe, several such passages. But we refer to that one in particular which assumes that a single 'week' will suffice for the whole process of so mighty a revolution. Is indeed leviathan so tamed? In that case the quarantine of the opium-eater might be finished within Coleridge's time, and with Coleridge's romantic ease. But mark the contradictions of this extraordinary man. Not long ago we were domesticated with a venerable rustic, strong-headed, but incurably obstinate in his prejudices, who treated the whole body of medical men as ignorant pretenders, knowing absolutely nothing of the system which they professed to superintend. This, you will remark, is no very singular case. No; nor, as we believe, is the antagonist case of ascribing to such men magical powers. Nor, what is worse still, the co-existence of both cases in the same mind, as in fact happened here. For this same obstinate friend of ours, who treated all medical pretensions as the mere jest of the universe, every 'third day was exacting from his own medical attendants some exquisite tour-de-force, as that they should know or should do something, which, if they had known or done, all men would have suspected them reasonably of magic. He rated the whole medical body as infants; and yet what he exacted from them every third day as a matter of course, virtually presumed them to be the only giants within the whole range of science. Parallel and equal is the contradiction of Coleridge. He speaks of opium excess, his own excess, we mean—the excess of twenty-five years—as a thing to be laid aside easily and for ever within seven days; and yet, on the other hand, he describes it pathetically, sometimes with a frantic pathos, as the scourge, the curse, the one almighty blight which had desolated his life.

This shocking contradiction we need not press. All readers will see that. But some will ask—Was Mr. Coleridge right in either view? Being so atrociously wrong in the first notion, (viz., that the opium of twenty-five years was a thing easily to be forsworn,) where a child could know that he was wrong, was he even altogether right, secondly, in believing that his own life, root and branch, had been withered by opium? For it will not follow, because, with a relation to happiness and tranquillity, a man may have found opium his curse, that therefore, as a creature of energies and great purposes, he must have been the wreck which he seems to suppose. Opium gives and takes away. It defeats the steady habit of exertion, but it creates spasms of irregular exertion; it ruins the natural power of life, but it develops preternatural paroxysms of intermitting power. Let us ask of any man who holds that not Coleridge himself but the world, as interested in Coleridge's usefulness, has suffered by his addiction to opium; whether he is aware of the way in which opium affected Coleridge; and secondly, whether he is aware of the actual contributions to literature—how large they were—which Coleridge made in spite of opium. All who were intimate with Coleridge must remember the fits of genial animation which were created continually in his manner and in his buoyancy of thought by a recent or by an extra dose of the omnipotent drug. A lady, who knew nothing experimentally of opium, once told us, that she 'could tell when Mr. Coleridge had taken too much opium by his shining countenance.' She was right; we know that mark of opium excesses well, and the cause of it; or at least we believe the cause to lie in the quickening of the insensible perspiration which accumulates and glistens on the face. Be that as it may, a criterion it was that could not deceive us as to the condition of Coleridge. And uniformly in that condition he made his most effective intellectual displays. It is true that he might not be happy under this fiery animation, and we fully believe that he was not. Nobody is happy under laudanum except for a very short term of years. But in what way did that operate upon his exertions as a writer? We are of opinion that it killed Coleridge as a poet. 'The harp of Quantock' was silenced for ever by the torment of opium. But proportionably it roused and stung by misery his metaphysical instincts into more spasmodic life. Poetry can flourish only in the atmosphere of happiness. But subtle and perplexed investigations of difficult problems are amongst the commonest resources for beguiling the sense of misery. And for this we have the direct authority of Coleridge himself speculating on his own case. In the beautiful though unequal ode entitled Dejection, stanza six, occurs the following passage:

'For not to think of what I needs must feel,
But to be still and patient all I can;
And haply by abstruse research to steal
From my own nature all the natural man—
This was my sole resource, my only plan;
Till that, which suits a part, infects the whole,
And now is almost grown the habit of my soul.'

Considering the exquisite quality of some poems which Coleridge has composed, nobody can grieve (or has grieved) more than ourselves, at seeing so beautiful a fountain choked up with weeds. But had Coleridge been a happier man, it is our fixed belief that we should have had far less of his philosophy, and perhaps, but not certainly, might have had more of his general literature. In the estimate of the public, doubtless, that will seem a bad exchange. Every man to his taste. Meantime, what we wish to show is, that the loss was not absolute, but merely relative.

It is urged, however, that, even on his philosophic speculations, opium operated unfavorably in one respect, by often causing him to leave them unfinished. This is true. Whenever Coleridge (being highly charged, or saturated, with opium) had written with distempered vigor upon any question, there occurred soon after a recoil of intense disgust, not from his own paper only, but even from the subject. All opium-eaters are tainted with the infirmity of leaving works unfinished, and suffering reactions of disgust. But Coleridge taxed himself with that infirmity in verse before he could at all have commenced opium-eating. Besides, it is too much assumed by Coleridge and by his biographer, that to leave off opium was of course to regain juvenile health. But all opium-eaters make the mistake of supposing every pain or irritation which they suffer to be the product of opium. Whereas a wise man will say, suppose you do leave off opium, that will not deliver you from the load of years (say sixty-three) which you carry on your back. Charles Lamb, another man of true genius, and another head belonging to the Blackwood Gallery, made that mistake in his Confessions of a Drunkard. 'I looked back,' says he, 'to the time when always, on waking in the morning, I had a song rising to my lips.' At present, it seems, being a drunkard, he has no such song. Ay, dear Lamb, but note this, that the drunkard was fifty-six years old, the songster was twenty-three. Take twenty-three from fifty-six, and we have some reason to believe that thirty-three will remain; which period of thirty-three years is a pretty good reason for not singing in the morning, even if brandy has been out of the question.

It is singular, as respects Coleridge, that Mr. Gillman never says one word upon the event of the great Highgate experiment for leaving off laudanum, though Coleridge came to Mr. Gillman's for no other purpose; and in a week, this vast creation of new earth, sea, and all that in them is, was to have been accomplished. We rayther think, as Bayley junior observes, that the explosion must have hung fire. But that is a trifle. We have another pleasing hypothesis on the subject. Mr. Wordsworth, in his exquisite lines written on a fly-leaf of his own Castle of Indolence, having described Coleridge as 'a noticeable man with large grey eyes,' goes on to say, 'He' (viz., Coleridge) 'did that other man entice' to view his imagery. Now we are sadly afraid that 'the noticeable man with large grey eyes' did entice 'that other man,' viz., Gillman, to commence opium-eating. This is droll; and it makes us laugh horribly. Gillman should have reformed him; and lo! he corrupts Gillman. S. T. Coleridge visited Highgate by way of being converted from the heresy of opium; and the issue is—that, in two months' time, various grave men, amongst whom our friend Gillman marches first in great pomp, are found to have faces shining and glorious as that of AEsculapius; a fact of which we have already explained the secret meaning. And scandal says (but then what will not scandal say?) that a hogshead of opium goes up daily through Highgate tunnel. Surely one corroboration of our hypothesis may be found in the fact, that Vol. I. of Gillman's Coleridge is for ever to stand unpropped by Vol. II. For we have already observed, that opium-eaters, though good fellows upon the whole, never finish anything.

What then? A man has a right never to finish anything. Certainly he has; and by Magna Charta. But he has no right, by Magna Charta or by Parva Charta, to slander decent men, like ourselves and our friend the author of the Opium Confessions. Here it is that our complaint arises against Mr. Gillman. If he has taken to opium-eating, can we help that? If his face shines, must our faces be blackened? He has very improperly published some intemperate passages from Coleridge's letters, which ought to have been considered confidential, unless Coleridge had left them for publication, charging upon the author of the Opium Confessions a reckless disregard of the temptations which, in that work, he was scattering abroad amongst men. Now this author is connected with ourselves, and we cannot neglect his defence, unless in the case that he undertakes it himself.