I understand that several readers of my Sketch from Childhood have lodged complaints against me for not having pursued it to what they can regard as a satisfactory close. Some may have done this in a gentle tone, as against an irreclaimable procrastinator, amiably inclined, perhaps, to penitence, though constitutionally incapable of amendment; but others more clamorously, as against one faithless to his engagements, and deliberately a defaulter. Themselves they regard in the light of creditors, and me as a slippery debtor, who, having been permitted to pay his debts by instalments—three, suppose, or four:—has paid two, and then absconded in order to evade the rest. Certainly to this extent I go along with them myself, that, in all cases of a tale or story moving through the regular stages of a plot, the writer, by the act of publishing the introductory parts, pledges himself to unweave the whole tissue to the last. The knot that he has tied, though it should prove a very Gordian knot, he is bound to untie. And, if he fails to do so, I doubt whether a reader has not a right of action against him for having wantonly irritated a curiosity that was never meant to be gratified—for having trifled with his feelings—and, possibly, for having distressed and perplexed his moral sense; as, for instance, by entangling the hero and heroine (two young people that can be thoroughly recommended for virtue) in an Irish bog of misfortunes, and there leaving them to their fate—the gentleman up to his shoulders, and the poor lady, therefore, in all probability up to her lips. But, in a case like the present, where the whole is offered as a sketch, an action would not lie. A sketch, by its very name, is understood to be a fragmentary thing: it is a torso, which may want the head, or the feet, or the arms, and still remain a marketable piece of sculpture. In buying a horse, you may look into his mouth, but not in buying a torso: for, if all his teeth have been gone for ten centuries, which would certainly operate in the way of discount upon the price of a horse, very possibly the loss would be urged as a good ground for an extra premium upon the torso. Besides, it is hard to see how any proper end could be devised for a paper of this nature, reciting a few incidents, sad and gay, from the records of a half-forgotten childhood, unless by putting the child to death; for which dénouement, unhappily, there was no solid historical foundation.
Right or wrong, however, my accusers are entitled to my gratitude; since in the very fact of their anger is involved a compliment. By proclaiming their indignation against the procrastinating or absconding sketcher, they proclaim their interest in the sketch; and, therefore, if any fierce Peter Peebles should hang upon my skirts, haling me back to work, and denouncing me to the world as a fugitive from my public duties, I shall not feel myself called upon to contradict him. As often as he nails me with the charge of being a skulker from work in meditatione fugæ, I shall turn round and nail him with the charge of harbouring an intense admiration for me, and putting a most hyperbolical value upon my services; or else why should he give himself so much trouble, after so many months are gone by, in pursuing and recapturing me? On this principle, I shall proceed with others who may have joined the cry of the accusers, obediently submitting to their pleasure, doing my best, therefore, to supply a conclusion which in my own eyes had not seemed absolutely required, and content to bear the utmost severity of their censure as applied to myself, the workman, in consideration of the approbation which that censure carries with it by implication to the work itself.
END OF VOLUME I.
FOOTNOTES:
[1] De Quincey, Leigh Hunt, and Macaulay all died in that year.
[2] This incident was a complicated contention, concerning the copyright of The Confessions, in which De Quincey had long allowed his rights to lie dormant. It was at last happily settled in an amicable manner.
[3] Objectively and subjectively are terms somewhat too metaphysical; but they are so indispensable to accurate thinking that we are inclined to show them some indulgence; and, the more so, in cases where the mere position and connection of the words are half sufficient to explain their application.
[4] In general usage, 'The antique' is a phrase limited to the expression of art; but improperly so. It is quite as legitimately used to denote the literature of ancient times, in contradistinction to the modern. As to the term classical, though generally employed as equivalent to Greek and Roman, the reader must not forget this is quite a false limitation, contradicting the very reason for applying the word in any sense to literature. For the application arose thus: The social body of Rome being divided into six classes, of which the lowest was the sixth, it followed that the highest was the first. Thence, by a natural process common to most languages, those who belonged to this highest had no number at all assigned to them. The very absence of a number, the calling them classici, implied that they belonged to the class emphatically, or par excellence. The classics meant, therefore, the grandees in social consideration; and thence by analogy in literature. But if this analogy be transferred from Rome to Greece, where it had no corresponding root in civic arrangement—then, by parity of reason, to all nations.
[5] The beauty of this famous epigram lies in the form of the conception. The first had A; the second had B; and when nature, to furnish out a third, should have given him C, she found that A and B had already exhausted her cycle; and that she could distinguish her third great favourite only by giving him both A and B in combination. But the filling up of this outline is imperfect: for the A (loftiness) and the B (majesty) are one and the same quality, under different names.
[6] Because the Latin word sublimis is applied to objects soaring upwards, or floating aloft, or at an aerial altitude, and because the word does sometimes correspond to our idea of the sublime (in which the notion of height is united with the notion of moral grandeur), and because, in the excessive vagueness and lawless latitudinarianism of our common Greek Lexicons, the word ὑψος is translated, inter alia, by το sublime, sublimitas, &c. Hence it has happened that the title of the little essay ascribed to Longinus, Περι ὑψους, is usually rendered into English, Concerning the sublime. But the idea of the Sublime, as defined, circumscribed, and circumstantiated, in English literature—an idea altogether of English growth—the sublime byway of polar antithesis to the Beautiful, had no existence amongst ancient critics; consequently it could have no expression. It is a great thought, a true thought, a demonstrable thought, that the Sublime, as thus ascertained, and in contraposition to the Beautiful, grew up on the basis of sexual distinctions, the Sublime corresponding to the male, the Beautiful, its anti-pole, corresponding to the female. Behold! we show you a mystery.