Autobiographical Sketches by Thomas De Quincey
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happens) express themselves, more or less, in varying relations to the
great accidents and powers of summer. The cloudless sunlights of Syria-- those seemed to argue everlasting summer; the disciples plucking the ears of corn--that _must_ be summer; but, above all, the very name of Palm Sunday (a festival in the English church) troubled me like an anthem. "Sunday!" what was _that_? That was the day of peace which masked another peace deeper than the heart of man can comprehend. "Palms!" what were they? _That_ was an equivocal word; palms, in the sense of trophies, expressed the pomps of life; palms, as a product of nature, expressed the pomps of summer. Yet still even this explanation does not suffice; it was not merely by the peace and by the summer, by the deep sound of rest below all rest and of ascending glory, that I had been haunted. It was also because Jerusalem stood near to those deep images both in time and in place. The great event of Jerusalem was at hand when Palm Sunday came; and the scene of that Sunday was near in place to Jerusalem. What then was Jerusalem? Did I fancy it to be the _omphalos_ (navel) or physical centre of the earth? Why should _that_ affect me? Such a pretension had once been made for Jerusalem, and once for a Grecian city; and both pretensions had become ridiculous, as the figure of the planet became known. Yes; but if not of the earth, yet of mortality; for earth's tenant, Jerusalem, had now become the _omphalos_ and absolute centre. Yet how? There, on the contrary, it was, as we infants understood, that mortality had been trampled under foot. True; but, for that very reason, there it was that mortality had opened its very gloomiest crater. There it was, indeed, that the human had risen on wings from the grave; but, for that reason, there also it was that the divine had been swallowed up by the abyss; the lesser star could not rise before the greater should submit to eclipse. Summer, therefore, had connected itself with death, not merely as a mode of antagonism, but also as a phenomenon brought into intricate relations with death |
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