LITMIR.BIZ

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has been pointed out already; the masterly use of the principles of suspense and stimulated interest will hardly pass unnoticed. A negative excellence is the absence of that discursiveness in composition, that tendency to digress into superfluous comment, which is this author's one prevailing fault. De Quincey was gifted with a fine appreciation of harmonious sound, and in those passages where his spirit soars highest not the least of their beauties is found in the melodiousness of their tone and the rhythmic sweetness of their motion.

      It is as a master of rhetoric that De Quincey is distinguished among writers. Some hints of his ability are seen in the opening and closing passages of this essay, but to find him at his best one must turn to the Confessions and to the other papers which describe his life, particularly those which recount his marvellous dreams. In these papers we find the passages where De Quincey's passion rises to the heights which few other writers have ever reached in prose, a loftiness and grandeur which is technically denominated as "sublime." In his Essay on Style, published in Blackwood's, 1840, he deprecates the usual indifference to form, on the part of English writers, "the tendency of the national mind to value the matter of a book not only as paramount to the manner, but even as distinct from it and as capable of a separate insulation." As one of the great masters of prose style in this century, De Quincey has so served the interests of art in this regard, that in his own case the charge is sometimes reversed: his own works are read rather to observe his manner than to absorb his thought. Yet when this is said, it is not to imply that the material is unworthy or the ideas unsound; on the contrary, his sentiment is true and his ideas are wholesome; but many of the topics treated lie outside the deeper interests of ordinary life, and fail to appeal to us so practically as do the writings of some lesser men. Of the "one hundred and fifty magazine articles" which comprise his works, there are many that will not claim the general interest, yet his writings as a whole will always be recognized by students of rhetoric as containing excellences which place their author among the English classics. Nor can De Quincey be accused of subordinating matter to manner; in spite of his taste for the theatrical and a tendency to extravagance, his expression is in keeping with his thought, and the material of those passages which contain his most splendid flights is appropriate to the treatment it receives. One effective reason, certainly, why we take pleasure in the mere style of De Quincey's work is because that work is so thoroughly inspired with the Opium-Eater's own genial personality, because it so unmistakably suggests that inevitable "smack of individuality" which gives to the productions of all great authors their truest distinction if not their greatest worth.

      Thomas De Quincey was born in Manchester, August 15, 1785. His father was a well-to-do merchant of literary taste, but of him the children of the household scarcely knew; he was an invalid, a prey to consumption, and during their childhood made his residence mostly in the milder climate of Lisbon or the West Indies. Thomas was seven years old when his father was brought home to die, and the lad, though sensitively impressed by the event, felt little of the significance of relationship between them. Mrs. De Quincey was a somewhat stately lady, rather strict in discipline and rigid in her views. There does not seem to have been the most complete sympathy between mother and son, yet De Quincey was always reverent in his attitude, and certainly entertained a genuine respect for her intelligence and character. There were eight children in the home, four sons and four daughters; Thomas was the fifth in age, and his relations to the other members of this little community are set forth most interestingly in the opening chapters of his Autobiographic Sketches.

De Quincey's child life was spent in the country; first at a pretty rustic dwelling known as "The Farm," and after 1792 at a larger country house near Manchester, built by his father, and given by his mother the pleasantly suggestive name of "Greenhay," hay meaning hedge, or hedgerow. The early boyhood of Thomas De Quincey is of more than ordinary interest, because of the clear light it throws upon the peculiar temperament and endowments of the man. Moreover, we have the best of authority in our study of this period, namely, the author himself, who in the Sketches already mentioned, and in his most noted work, The Confessions of an English Opium-Eater, has told the story of these early years in considerable detail and with apparent sincerity. De Quincey was not a sturdy boy. Shy and dreamy, exquisitely sensitive to impressions of melancholy and mystery, he was endowed with an imagination abnormally active even for a child. It is customary to give prominence to De Quincey's pernicious habit of opium-eating, in attempting to explain the grotesque fancies and weird flights of his marvellous mind in later years; yet it is only fair to emphasize the fact that the later achievements of that strange creative faculty were clearly foreshadowed in youth. For example, the earliest incident in his life that he could afterwards recall, he describes as "a remarkable dream of terrific grandeur about a favorite nurse, which is interesting to myself for this reason—that it demonstrates my dreaming tendencies to have been constitutional, and not dependent upon laudanum." [1] Again he tells us how, when six years old, upon the death of a favorite sister three years older, he stole unobserved upstairs to the death chamber; unlocking the door and entering silently, he stood for a moment gazing through the open window toward the bright sunlight of a cloudless day, then turned to behold the angel face upon the pillow. Awed in the presence of death, the meaning of which he began vaguely to understand, he stood listening to a "solemn wind" that began to blow—"the saddest that ear ever heard." What followed should appear in De Quincey's own words: "A vault seemed to open in the zenith of the far blue sky, a shaft which ran up forever. I, in spirit, rose as if on billows that also ran up the shaft forever; and the billows seemed to pursue the throne of God; but that also ran on before us and fled away continually. The flight and the pursuit seemed to go on forever and ever. Frost gathering frost, some sarsar wind of death, seemed to repel me; some mighty relation between God and death dimly struggled to evolve itself from the dreadful antagonism between them; shadowy meanings even yet continued to exercise and torment, in dreams, the deciphering oracle within me. I slept—for how long I cannot say: slowly I recovered my self-possession; and, when I woke, found myself standing as before, close to my sister's bed." [2] Somewhat similar in effect were the fancies that came to this dreamy boy on Sunday mornings during service in the fine old English church. Through the wide central field of uncolored glass, set in a rich framework of gorgeous color—for the side panes of the great windows were pictured with the stories of saints and martyrs—the lad saw "white fleecy clouds sailing over the azure depths of the sky." Straightway the picture changed in his imagination, and visions of young children, lying on white beds of sickness and of death, rose before his eyes, ascending slowly and softly into heaven, God's arms descending from the heavens that He might the sooner take them to Himself and grant release. Such are not infrequently the dreams of children. De Quincey's experience is not unique; but with him imagination, the imagination of childhood, remained unimpaired through life. It was not wholly opium that made him the great dreamer of our literature, any more than it was the effect of a drug that brought from his dying lips the cry of "Sister, sister, sister!"—an echo from this sacred chamber of death, where he had stood awed and entranced nearly seventy years before.

      Not all of De Quincey's boyhood, however, was passed under influences so serious and mystical as these. He was early compelled to undergo what he is pleased to call his "introduction to the world of strife." His brother William, five years the senior of Thomas, appears to have been endowed with an imagination as remarkable as his own. "His genius for mischief," says Thomas, "amounted to inspiration." Very amusing are the chronicles of the little autocracy thus despotized by William. The assumption of the young tyrant was magnificent. Along with the prerogatives and privileges of seniority, he took upon himself as well certain responsibilities more galling to his half-dozen uneasy subordinates, doubtless, than the undisputed hereditary rights of age. William constituted himself the educational guide of the nursery, proclaiming theories, delivering lectures, performing experiments, asserting opinions upon subjects diverse and erudite. Indeed, a vigorous spirit was housed in William's body, and but for his early death, this lad also might have brought lustre to the family name.

      A real introduction to the world of strife came with the development of a lively feud between the two brothers on the one side, and on the other a crowd of young belligerents employed in a cotton factory on the road between Greenhay and Manchester, where the boys now attended

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