It must often strike the reader that very little criticism worthy of being called so has been written in English of prose — our great critics have given the best of their minds to poetry. And the reason perhaps why prose so seldom calls out the higher faculties of the critic, but invites him to argue a case or to discuss the personality of the writer — to take a theme from the book and make his criticism an air played in variation on it — is to be sought in the prose-writer’s attitude to his own work. Even if he writes as an artist, without a practical end in view, still he treats prose as a humble beast of burden which must accommodate all sorts of odds and ends; as an impure substance in which dust and twigs and flies find lodgment. But more often than not the prose-writer has a practical aim in view, a theory to argue, or a cause to plead, and with it adopts the moralist’s view that the remote, the difficult, and the complex are to be abjured. His duty is to the present and the living. He is proud to call himself a journalist. He must use the simplest words and express himself as clearly as possible in order to reach the greatest number in the plainest way. Therefore he cannot complain of the critics if his writing, like the irritation in the oyster, serves only to breed other art; nor be surprised if his pages, once they have delivered their message, are thrown on the rubbish heap like other objects that have served their turn.
But sometimes we meet even in prose with writing that seems inspired by other aims. It does not wish to argue or to convert or even to tell a story. We can draw all our pleasure from the words themselves; we have not to enhance it by reading between the lines or by making a voyage of discovery into the psychology of the writer. De Quincey, of course, is one of these rare beings. When we bring his work to mind we recall it by some passage of stillness and completeness, like the following:
“Life is Finished!” was the secret misgiving of my heart; for the heart of infancy is as apprehensive as that of maturest wisdom in relation to any capital wound inflicted on the happiness. “Life is Finished! Finished it is!” was the hidden meaning that, half-unconsciously to myself, lurked within my sighs; and, as bells heard from a distance on a summer evening seem charged at times with an articulate form of words, some monitory message, that rolls round unceasingly, even so for me some noiseless and subterraneous voice seemed to chant continually a secret word, made audible only to my own heart — that “now is the blossoming of life withered for ever”.
Such passages occur naturally, for they consist of visions and dreams, not of actions or of dramatic scenes, in his autobiographic sketches. And yet we are not made to think of him, De Quincey, as we read. If we try to analyse our sensations we shall find that we are worked upon as if by music — the senses are stirred rather than the brain. The rise and fall of the sentence immediately soothes us to a mood and removes us to a distance in which the near fades and detail is extinguished. Our minds, thus widened and lulled to a width of apprehension, stand open to receive one by one in slow and stately procession the ideas which De Quincey wishes us to receive; the golden fullness of life; the pomps of the heaven above; the glory of the flowers below, as he stands “between an open window and a dead body on a summer’s day”. The theme is supported and amplified and varied. The idea of hurry and trepidation, of reaching towards something that for ever flies, intensifies the impression of stillness and eternity. Bells heard on summer evenings, palm-trees waving, sad winds that blow for ever, keep us by successive waves of emotion in the same mood. The emotion is never stated; it is suggested and brought slowly by repeated images before us until it stays, in all its complexity, complete.
The effect is one that is very rarely attempted in prose and is rarely appropriate to it because of this very quality of finality. It does not lead anywhere. We do not add to our sense of high summer and death and immortality any consciousness of who is hearing, seeing, and feeling. De Quincey wished to shut out from us everything save the picture “of a solitary infant, and its solitary combat with grief — a mighty darkness, and a sorrow without a voice”, to make us fathom and explore the depths of that single emotion. It is a state which is general and not particular. Therefore De Quincey was at odds with the aims of the prose-writer and his morality. His reader was to be put in possession of a meaning of that complex kind which is largely a sensation. He had to become fully aware not merely of the fact that a child was standing by a bed, but of stillness, sunlight, flowers, the passage of time and the presence of death. None of this could be conveyed by simple words in their logical order; clarity and simplicity would merely travesty and deform such a meaning. De Quincey, of course, was fully aware of the gulf that lay between him as a writer who wished to convey such ideas and his contemporaries. He turned from the neat, precise speech of his time to Milton and Jeremy Taylor and Sir Thomas Browne; from them he learnt the roll of the long sentence that sweeps its coils in and out, that piles its summit higher and higher. Then followed a discipline exacted, most drastically, by the fineness of his own ear — the weighing of cadences, the consideration of pauses; the effect of repetitions and consonances and assonances — all this was part of the duty of a writer who wishes to put a complex meaning fully and completely before his reader.
When, therefore, we come to consider critically one of the passages that has made so deep an impression we find that it has been produced much as a poet like Tennyson would produce it. There is the same care in the use of sound; the same variety of measure; the length of the sentence is varied and its weight shifted. But all these measures are diluted to a lower degree of strength and their force is spread over a much greater space, so that the transition from the lowest compass to the highest is by a gradation of shallow steps and we reach the utmost heights without violence. Hence the difficulty of stressing the particular quality of any single line as in a poem and the futility of taking one passage apart from the context, since its effect is compound of suggestions that have been received sometimes several pages earlier. Moreover, De Quincey, unlike some of his masters, was not at his best in sudden majesty of phrase; his power lay in suggesting large and generalised visions; landscapes in which nothing is seen in detail; faces without features; the stillness of midnight or summer; the tumult and trepidation of flying multitudes; anguish that for ever falls and rises and casts its arms upwards in despair.
But De Quincey was not merely the master of separate passages of beautiful prose; if that had been so his achievement would have been far less than it is. He was also a writer of narrative, an autobiographer, and one, if we consider that he wrote in the year 1833, with very peculiar views of the art of autobiography. In the first place he was convinced of the enormous value of candour.
If he were really able to pierce the haze which so often envelops, even to himself, his own secret springs of action and reserve, there cannot be a life moving at all under intellectual impulses that would not, through that single force of absolute frankness, fall within the reach of a deep, solemn, and sometimes even of a thrilling interest.
He understood by autobiography the history not only of the external life but of the deeper and more hidden emotions. And he realised the difficulty of making such a confession: “ . . . vast numbers of people, though liberated from all reasonable motives of self-restraint, CANNOT be confidential — have it not in their power to lay aside reserve”. Aerial chains, invisible spells, bind and freeze the free spirit of communication. “It is because a man cannot see and measure these mystical forces which palsy him that he cannot deal with them effectually.” With such perceptions and intentions it is strange that De Quincey failed to be among the great autobiographers of our literature. Certainly he was not tongue-tied or spellbound. Perhaps one of the reasons that led him to fail in his task of self-delineation was not the lack of expressive power, but the superfluity. He was profusely and indiscriminately loquacious. Discursiveness — the disease that attacked so many of the nineteenth-century English writers — had him in her coils. But while it is easy to see why the works of Ruskin or Carlyle are huge and formless — every kind of heterogeneous object had to be found room for somehow, somewhere — De Quincey had not their excuse. The burden of the prophet was not laid upon him. He was, moreover, the most careful of artists. Nobody tunes the sound and modulates the cadence of a sentence more carefully and more exquisitely. But strangely enough, the sensibility which was on the alert to warn him instantly if a sound clashed or a rhythm flagged failed him completely when it came to the architecture of the whole. Then he could tolerate a disproportion and profusion that make his book as dropsical and shapeless as each sentence is symmetrical and smooth. He is indeed, to use the expressive word coined by his brother to describe De Quincey’s tendency as a small boy “to plead some distinction or verbal demur”, the prince of Pettifogulisers. Not only did he find “in everybody’s words an unintentional opening left for double interpretations”; he could not tell the simplest story without qualifying and illustrating and introducing additional information until the point that was to be cleared up has long since become extinct in the dim mists of the distance.
Together with this fatal verbosity and weakness of architectural power, De Quincey suffered too as an autobiographer from a tendency to meditative abstraction. “It was my disease”, he said, “to meditate too much and to observe too little.” A curious formality diffuses his vision to a general vagueness, lapsing into a colourless monotony. He shed over everything the lustre and the amenity of his own dreaming, pondering absent-mindedness. He approached even the two disgusting idiots with their red eyes with the elaboration of a great gentleman who has by mistake wandered into a slum. So too he slipped mellifluously across all the fissures of the social scale — talking on equal terms with the young aristocrats at Eton or with the working-class family as they chose a joint of meat for their Sunday dinner. De Quincey indeed prided himself upon the ease with which he passed from one sphere to another: “ . . . from my very earliest youth”, he observed, “it has been my pride to converse familiarly, more Socratico, with all human beings, man, woman, and child, that chance might fling in my way”. But as we read his descriptions of these men, women, and children we are led to think that he talked to them so easily because to him they differed so little. The same manner served equally for them all. His relations even with those with whom he was most intimate, whether it was Lord Altamont, his schoolboy friend, or Ann the prostitute, were equally ceremonial and gracious. His portraits have the flowing contours, the statuesque poses, the undifferentiated features of Scott’s heroes and heroines. Nor is his own face exempted from the general ambiguity. When it came to telling the truth about himself he shrank from the task with all the horror of a well-bred English gentleman. The candour which fascinates us in the confessions of Rousseau — the determination to reveal the ridiculous, the mean, the sordid in himself — was abhorrent to him. “Nothing indeed is more revolting to English feelings”, he wrote, “than the spectacle of a human being obtruding on our notice his moral ulcers and scars.”
Clearly, therefore, De Quincey as an autobiographer labours under great defects. He is diffuse and redundant; he is aloof and dreamy and in bondage to the old pruderies and conventions. At the same time he was capable of being transfixed by the mysterious solemnity of certain emotions; of realising how one moment may transcend in value fifty years. He was able to devote to their analysis a skill which the professed analysts of the human heart — the Scotts, the Jane Austens, the Byrons — did not then possess. We find him writing passages which, in their self-consciousness, are scarcely to be matched in the fiction of the nineteenth century:
And, recollecting it, I am struck with the truth, that far more of our deepest thoughts and feelings pass to us through perplexed combinations of CONCRETE objects, pass to us as INVOLUTES (if I may coin that word) in compound experiences incapable of being disentangled, than ever reach us DIRECTLY and in their own abstract shapes. . . . Man is doubtless ONE by some subtle NEXUS, some system of links, that we cannot perceive, extending from the new-born infant to the superannuated dotard: but, as regards many affections and passions incident to his nature at different stages, he is NOT one, but an intermitting creature, ending and beginning anew; the unity of man, in this respect, is co-extensive only with the particular stage to which the passion belongs. Some passions, as that of sexual love, are celestial by one-half of their origin, animal and earthly by the other half. These will not survive their own appropriate stage. But love which is ALTOGETHER holy, like that between two children, is privileged to revisit by glimpses the silence and the darkness of declining years. . . .
When we read such passages of analysis, when such states of mind seem in retrospect to be an important element in life and so to deserve scrutiny and record, the art of autobiography as the eighteenth century knew it is changing its character. The art of biography also is being transformed. Nobody after that could maintain that the whole truth of life can be told without “piercing the haze”; without revealing “his own secret springs of action and reserve”. Yet external events also have their importance. To tell the whole story of a life the autobiographer must devise some means by which the two levels of existence can be recorded — the rapid passage of events and actions; the slow opening up of single and solemn moments of concentrated emotion. It is the fascination of De Quincey’s pages that the two levels are beautifully, if unequally, combined. For page after page we are in company with a cultivated gentleman who describes with charm and eloquence what he has seen and known — the stage coaches, the Irish rebellion, the appearance and conversation of George the Third. Then suddenly the smooth narrative parts asunder, arch opens beyond arch, the vision of something for ever flying, for ever escaping, is revealed, and time stands still.
Last updated Monday, December 22, 2014 at 10:56