Autobiographical Sketches by Thomas De Quincey
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page 13 of 373 (03%)
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class of compositions included in the American collection, I rank _The
Confessions of an Opium Eater_, and also (but more emphatically) the _Suspiria de Profundis_. On these, as modes of impassioned prose ranging under no precedents that I am aware of in any literature, it is much more difficult to speak justly, whether in a hostile or a friendly character. As yet, neither of these two works has ever received the least degree of that correction and pruning which both require so extensively; and of the _Suspiria_, not more than perhaps one third has yet been printed. When both have been fully revised, I shall feel myself entitled to ask for a more determinate adjudication on their claims as works of art. At present, I feel authorized to make haughtier pretensions in right of their _conception_ than I shall venture to do, under the peril of being supposed to characterize their _execution_. Two remarks only I shall address to the equity of my reader. First, I desire to remind him of the perilous difficulty besieging all attempts to clothe in words the visionary scenes derived from the world of dreams, where a single false note, a single word in a wrong key, ruins the whole music; and, secondly, I desire him to consider the utter sterility of universal literature in this one department of impassioned prose; which certainly argues some singular difficulty suggesting a singular duty of indulgence in criticizing any attempt that even imperfectly succeeds. The sole Confessions, belonging to past times, that have at all succeeded in engaging the attention of men, are those of St. Augustine and of Rousseau. The very idea of breathing a record of human passion, not into the ear of the random crowd, but of the saintly confessional, argues an impassioned theme. Impassioned, therefore, should be the tenor of the composition. Now, in St. Augustine's Confessions is found one most impassioned passage, viz., the lamentation for the death of his youthful friend in the fourth book; one, and no more. Further there is nothing. In Rousseau there |
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