On the whole, if Walking Stewart were at all crazy, he was so in a way which did not affect his natural genius and eloquence—but rather exalted them. The old maxim, indeed, that "Great wits to madness sure are near allied," the maxim of Dryden and the popular maxim, I have heard disputed by Mr. Coleridge and Mr. Wordsworth, who maintain that mad people are the dullest and most wearisome of all people. As a body, I believe they are so. But I must dissent from the authority of Messrs. Coleridge and Wordsworth so far as to distinguish. Where madness is connected, as it often is, with some miserable derangement of the stomach, liver, &c. and attacks the principle of pleasurable life, which is manifestly seated in the central organs of the body (i.e. in the stomach and the apparatus connected with it), there it cannot but lead to perpetual suffering and distraction of thought; and there the patient will be often tedious and incoherent. People who have not suffered from any great disturbance in those organs are little aware how indispensable to the process of thinking are the momentary influxes of pleasurable feeling from the regular goings on of life in its primary functions; in fact, until the pleasure is withdrawn or obscured, most people are not aware that they have any pleasure from the due action of the great central machinery of the system; proceeding in uninterrupted continuance, the pleasure as much escapes the consciousness as the act of respiration; a child, in the happiest state of its existence, does not know that it is happy. And generally whatsoever is the level state of the hourly feeling is never put down by the unthinking (i.e. by 99 out of 100) to the account of happiness; it is never put down with the positive sign, as equal to + x; but simply as = 0. And men first become aware that it was a positive quantity, when they have lost it (i.e. fallen into - x). Meantime the genial pleasure from the vital processes, though not represented to the consciousness, is immanent in every act—impulse—motion—word—and thought; and a philosopher sees that the idiots are in a state of pleasure, though they cannot see it themselves. Now I say that, where this principle of pleasure is not attached, madness is often little more than an enthusiasm highly exalted; the animal spirits are exuberant and in excess; and the madman becomes, if he be otherwise a man of ability and information, all the better as a companion. I have met with several such madmen; and I appeal to my brilliant friend, Professor W——, who is not a man to tolerate dulness in any quarter, and is himself the ideal of a delightful companion, whether he ever met a more amusing person than that madman who took a post-chaise with us from —— to Carlisle, long years ago, when he and I were hastening with the speed of fugitive felons to catch the Edinburgh mail. His fancy and his extravagance, and his furious attacks on Sir Isaac Newton, like Plato's suppers, refreshed us not only for that day but whenever they recurred to us; and we were both grieved when we heard some time afterwards from a Cambridge man that he had met our clever friend in a stage coach under the care of a brutal keeper.—Such a madness, if any, was the madness of Walking Stewart; his health was perfect; his spirits as light and ebullient as the spirits of a bird in springtime; and his mind unagitated by painful thoughts, and at peace with itself. Hence, if he was not an amusing companion, it was because the philosophic direction of his thoughts made him something more. Of anecdotes and matters of fact he was not communicative; of all that he had seen in the vast compass of his travels he never availed himself in conversation. I do not remember at this moment that he ever once alluded to his own travels in his intercourse with me except for the purpose of weighing down by a statement grounded on his own great personal experience an opposite statement of many hasty and misjudging travellers which he thought injurious to human nature; the statement was this, that in all his countless rencontres with uncivilized tribes he had never met with any so ferocious and brutal as to attack an unarmed and defenceless man who was able to make them understand that he threw himself upon their hospitality and forbearance.
On the whole, Walking Stewart was a sublime visionary; he had seen and suffered much amongst men; yet not too much, or so as to dull the genial tone of his sympathy with the sufferings of others. His mind was a mirror of the sentient universe.—The whole mighty vision that had fleeted before his eyes in this world,—the armies of Hyder-Ali and his son with oriental and barbaric pageantry,—the civic grandeur of England, the great deserts of Asia and America,—the vast capitals of Europe,—London with its eternal agitations, the ceaseless ebb and flow of its "mighty heart,"—Paris shaken by the fierce torments of revolutionary convulsions, the silence of Lapland, and the solitary forests of Canada, with the swarming life of the torrid zone, together with innumerable recollections of individual joy and sorrow, that he had participated by sympathy—lay like a map beneath him, as if eternally co-present to his view; so that, in the contemplation of the prodigious whole, he had no leisure to separate the parts, or occupy his mind with details. Hence came the monotony which the frivolous and the desultory would have found in his conversation. I however, who am perhaps the person best qualified to speak of him, must pronounce him to have been a man of great genius; and, with reference to his conversation, of great eloquence. That these were not better known and acknowledged was owing to two disadvantages; one grounded in his imperfect education, the other in the peculiar structure of his mind. The first was this: like the late Mr. Shelley he had a fine vague enthusiasm and lofty aspirations in connexion with human nature generally and its hopes; and like him he strove to give steadiness, a uniform direction, and an intelligible purpose to these feelings, by fitting to them a scheme of philosophical opinions. But unfortunately the philosophic system of both was so far from supporting their own views and the cravings of their own enthusiasm, that, as in some points it was baseless, incoherent, or unintelligible, so in others it tended to moral results, from which, if they had foreseen them, they would have been themselves the first to shrink as contradictory to the very purposes in which their system had originated. Hence, in maintaining their own system they both found themselves painfully entangled at times with tenets pernicious and degrading to human nature. These were the inevitable consequences of the [Greek: proton pseudos] in their speculations; but were naturally charged upon them by those who looked carelessly into their books as opinions which not only for the sake of consistency they thought themselves bound to endure, but to which they gave the full weight of their sanction and patronage as to so many moving principles in their system. The other disadvantage under which Walking Stewart laboured was this: he was a man of genius, but not a man of talents; at least his genius was out of all proportion to his talents, and wanted an organ as it were for manifesting itself; so that his most original thoughts were delivered in a crude state—imperfect, obscure, half developed, and not producible to a popular audience. He was aware of this himself; and, though he claims everywhere the faculty of profound intuition into human nature, yet with equal candour he accuses himself of asinine stupidity, dulness, and want of talent. He was a disproportioned intellect, and so far a monster; and he must be added to the long list of original-minded men who have been looked down upon with pity and contempt by common-place men of talent, whose powers of mind—though a thousand times inferior—were yet more manageable, and ran in channels more suited to common uses and common understandings.
N.B. About the year 1812 I remember seeing in many of the print-shops a whole-length sketch in water-colours of Walking Stewart in his customary dress and attitude. This, as the only memorial (I presume) in that shape of a man whose memory I love, I should be very glad to possess; and therefore I take the liberty of publicly requesting as a particular favour from any reader of this article, who may chance to remember such a sketch in any collection of prints offered for sale, that he would cause it to be sent to the Editor of the LONDON MAGAZINE, who will pay for it.
De Quincey.
ON THE KNOCKING AT THE GATE IN MACBETH
From my boyish days I had always felt a great perplexity on one point in Macbeth: it was this: the knocking at the gate, which succeeds to the murder of Duncan, produced to my feelings an effect for which I never could account: the effect was—that it reflected back upon the murder a peculiar awfulness and a depth of solemnity: yet, however obstinately I endeavoured with my understanding to comprehend this, for many years I never could see why it should produce such an effect.——
Here I pause for one moment to exhort the reader never to pay any attention to his understanding when it stands in opposition to any other faculty of his mind. The mere understanding, however useful and indispensable, is the meanest faculty in the human mind and the most to be distrusted: and yet the great majority of people trust to nothing else; which may do for ordinary life, but not for philosophic purposes. Of this, out of ten thousand instances that I might produce, I will cite one. Ask of any person whatsoever, who is not previously prepared for the demand by a knowledge of perspective, to draw in the rudest way the commonest appearance which depends upon the laws of that science—as for instance, to represent the effect of two walls standing at right angles to each other, or the appearance of the houses on each side of a street, as seen by a person looking down the street from one extremity. Now in all cases, unless the person has happened to observe in pictures how it is that artists produce these effects, he will be utterly unable to make the smallest approximation to it. Yet why?—For he has actually seen the effect every day of his life. The reason is—that he allows his understanding to overrule his eyes. His understanding, which includes no intuitive knowledge of the laws of vision, can furnish him with no reason why a line which is known and can be proved to be a horizontal line, should not appear a horizontal line: a line, that made any angle with the perpendicular less than a right angle, would seem to him to indicate that his houses were all tumbling down together. Accordingly he makes the line of his houses a horizontal line, and fails of course to produce the effect demanded. Here then is one instance out of many, in which not only the understanding is allowed to overrule the eyes, but where the understanding is positively allowed to obliterate the eyes as it were: for not only does the man believe the evidence of his understanding in opposition to that of his eyes, but (which is monstrous!) the idiot is not aware that his eyes ever gave such evidence. He does not know that he has seen (and therefore quoad his consciousness has not seen) that which he has seen every day of his life. But to return from this digression,—my understanding could furnish no reason why the knocking at the gate in Macbeth should produce any effect direct or reflected: in fact, my understanding said positively that it could not produce any effect. But I knew better: I felt that it did: and I waited and clung to the problem until further knowledge should enable me to solve it.—At length, in 1812, Mr. Williams made his début on the stage of Ratcliffe Highway, and executed those unparalleled murders which have procured for him such a brilliant and undying reputation. On which murders, by the way, I must observe, that in one respect they have had an ill effect, by making the connoisseur in murder very fastidious in his taste, and dissatisfied with any thing that has been since done in that line. All other murders look pale by the deep crimson of his: and, as an amateur once said to me in a querulous tone, "There has been absolutely nothing doing since his time, or nothing that's worth speaking of." But this is wrong: for it is unreasonable to expect all men to be great artists, and born with the genius of Mr. Williams.—Now it will be remembered that in the first of these murders (that of the Marrs) the same incident (of a knocking at the door soon after the work of extermination was complete) did actually occur which the genius of Shakspeare had invented: and all good judges and the most eminent dilettanti acknowledged the felicity of Shakspeare's suggestion as soon as it was actually realized. Here then was a fresh proof that I had been right in relying on my own feeling in opposition to my understanding; and again I set myself to study the problem: at length I solved it to my own satisfaction; and my solution is this. Murder in ordinary cases, where the sympathy is wholly directed to the case of the murdered person, is an incident of coarse and vulgar horror; and for this reason—that it flings the interest exclusively upon the natural but ignoble instinct by which we cleave to life; an instinct which, as being indispensable to the primal law of self-preservation, is the same in kind (though different in degree) amongst all living creatures; this instinct therefore, because it annihilates all distinctions, and degrades the greatest of men to the level of "the poor beetle that we tread on," exhibits human nature in its most abject and humiliating attitude. Such an attitude would little suit the purposes of the poet. What then must he do? He must throw the interest on the murderer: our sympathy must be with him; (of course I mean a sympathy of comprehension, a sympathy by which we enter into his feelings, and are made to understand them,—not a sympathy[47] of pity or approbation:) in the murdered person all strife of thought, all flux and reflux of passion and of purpose, are crushed by one overwhelming panic: the fear of instant death smites him "with its petrific mace." [Footnote 47: It seems almost ludicrous to guard and explain my use of a word in a situation where it should naturally explain itself. But it has become necessary to do so, in consequence of the unscholarlike use of the word sympathy, at present so general, by which, instead of taking it in its proper use, as the act of reproducing in our minds the feelings of another, whether for hatred, indignation, love, pity, or approbation, it is made a mere synonyme of the word pity; and hence, instead of saying, "sympathy with another," many writers adopt the monstrous barbarism of "sympathy for another.">[ But in the murderer, such a murderer as a poet will condescend to, there must be raging some great storm of passion,—jealousy, ambition, vengeance, hatred,—which will create a hell within him; and into this hell we are to look. In Macbeth, for the sake of gratifying his own enormous and teeming faculty of creation, Shakspeare has introduced two murderers: and, as usual in his hands, they are remarkably discriminated: but though in Macbeth the strife of mind is greater than in his wife, the tiger spirit not so awake, and his feelings caught chiefly by contagion from her,—yet, as both were finally involved in the guilt of murder, the murderous mind of necessity is finally to be presumed in both. This was to be expressed; and on its own account, as well as to make it a more proportionable antagonist to the unoffending nature of their victim, "the gracious Duncan," and adequately to expound "the deep damnation of his taking off," this was to be expressed with peculiar energy. We were to be made to feel that the human nature, i.e. the divine nature of love and mercy, spread through the hearts of all creatures, and seldom utterly withdrawn from man,—was gone, vanished, extinct; and that the fiendish nature had taken its place. And, as this effect is marvellously accomplished in the dialogues and soliloquies themselves, so it is finally consummated by the expedient under consideration; and it is to this that I now solicit the reader's attention. If the reader has ever witnessed a wife, daughter, or sister, in a fainting fit, he may chance to have observed that the most affecting moment in such a spectacle, is that in which a sigh and a stirring announce the recommencement of suspended life. Or, if the reader has ever been present in a vast metropolis on the day when some great national idol was carried in funeral pomp to his grave, and chancing to walk near to the course through which it passed, has felt powerfully in the silence and desertion of the streets and in the stagnation of ordinary business, the deep interest which at that moment was possessing the heart of man,—if all at once he should hear the death-like stillness broken up by the sound of wheels rattling away from the scene, and making known that the transitory vision was dissolved, he will be aware that at no moment was his sense of the complete suspension and pause in ordinary human concerns so full and affecting as at that moment when the suspension ceases, and the goings-on of human life are suddenly resumed. All action in any direction is best expounded, measured, and made apprehensible, by reaction. Now apply this to the case in Macbeth. Here, as I have said, the retiring of the human heart and the entrance of the fiendish heart was to be expressed and made sensible. Another world has stepped in; and the murderers are taken out of the region of human things, human purposes, human desires. They are transfigured: Lady Macbeth is "unsexed;" Macbeth has forgot that he was born of woman; both are conformed to the image of devils; and the world of devils is suddenly revealed. But how shall this be conveyed and made palpable? In order that a new world may step in, this world must for a time disappear. The murderers, and the murder, must be insulated—cut off by an immeasurable gulph from the ordinary tide and succession of human affairs—locked up and sequestered in some deep recess: we must be made sensible that the world of ordinary life is suddenly arrested—laid asleep—tranced—racked into a dread armistice: time must be annihilated; relation to things without abolished; and all must pass self-withdrawn into a deep syncope and suspension of earthly passion. Hence it is that when the deed is done—when the work of darkness is perfect, then the world of darkness passes away like a pageantry in the clouds: the knocking at the gate is heard; and it makes known audibly that the reaction has commenced: the human has made its reflux upon the fiendish: the pulses of life are beginning to beat again: and the re-establishment of the goings-on of the world in which we live, first makes us profoundly sensible of the awful parenthesis that had suspended them.
Oh! mighty poet!—Thy works are not as those of other men, simply and merely great works of art; but are also like the phenomena of nature, like the sun and the sea, the stars and the flowers,—like frost and snow, rain and dew, hail-storm and thunder, which are to be studied with entire submission of our own faculties, and in the perfect faith that in them there can be no too much or too little, nothing useless or inert—but that, the further we press in our discoveries, the more we shall see proofs of design and self-supporting arrangement where the careless eye had seen nothing but accident!
N.B. In the above specimen of psychological criticism, I have purposely omitted to notice another use of the knocking at the gate, viz. the opposition and contrast which it produces in the porter's comments to the scenes immediately preceding; because this use is tolerably obvious to all who are accustomed to reflect on what they read.
De Quincey.