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Home , August Wilhelm Schlegel, Thomas Campbell (poet), Thomas De Quincey

Notes

Introduction

1. Robert Maniquis, Lonely Empires: Personal and Public Visions of (Madison: University of Wisconsin Press, 1976); Josephine McDonagh, De Quincey’s Disciplines (Oxford: Clarendon Press, 1994), pp. 42–65.

1 Knowledge and Power

1. Sigmund K. Proctor, Thomas De Quincey’s Theory of Literature (Ann Arbor: University of Michigan Press, 1943), pp. 107–22; John E. Jordan, Thomas De Quincey, Literary Critic: His Method and Achievement (Berkeley and Los Angeles: University of California Press, 1952), pp. 38–42. 2. , “The Indian Jugglers” (Table-Talk, 1821; originally in The Examiner, Feb. 7, 1819), equates the distinction between “power” and “knowledge” with that which exists between “intellectual” and “mechan- ical excellence”; The Complete Works of William Hazlitt, 21 vols., ed. P. P. Howe (London: J. W. Dent & Sons, 1930–4), VIII: 77–89, esp. 83–6. 3. De Quincey did not write a “theory of theory itself.” He did, however, raise the question “What is Theory” (manuscript, Royal Institution of Cornwall MS ENYS 396). This fragment, written 1823 or early 1824, was a response to Kant’s essay, “Über den Gemeinspruch: das mag in der Theorie richtig sein, taugt aber nicht für die Praxis” (1793; On the Common Expression: that may be true in Theory, but it is useless in Practice); it anticipates De Quincey’s examination of Ricardo’s “theory of value” in the “Dialogues of Three Templars on Political Economy” (London Magazine IX, March, April, May, 1824). As in the opening to “ de Profundis,” De Quincey attempts to redress the overwhelm- ing social preoccupation with material and practical concerns by defend- ing the necessity of subjective deliberations. On political economy and power, see Charles J. Rzepka, “The Literature of Power and the Imperial Will: De Quincey’s Opium War ,” South Central Review, 8 (1991): 37–45; on the subjective dimensions of political economy, see Josephine McDonagh, ch. 2: “Debt and Desire,” in De Quincey’s Disciplines (Oxford: Clarendon Press, 1994), pp. 42–65. 4. One of De Quincey’s projected plans for the completion of the “Suspiria de Profundis” was published, with commentary, by Japp, PW I:4–5. 5. The extent to which De Quincey anticipates Freud has been persuasively documented: Charles L. Proudfit, “Thomas De Quincey and Sigmund Freud: Sons, Fathers, Dreamers – Precursors of Psychoanalytic Developmental

161 162 Notes

Psychology,” in Thomas De Quincey Bicentenary Studies, ed. Robert Lance Snyder (Norman: University of Oklahoma Press, 1985), pp. 88–108. Augmenting Freud’s study of the unconscious with Lacan’s analysis of the internal conflict with mirrored selves, Robert Maniquis explains De Quincey’s evocation of fear and violence, “The Dark Interpreter and the Palimpsest of Violence: De Quincey and the Unconscious,” in Thomas De Quincey Bicentenary Studies, pp. 109–39. For the relevant Freudian texts see especially: “Die Methode der Traumdeutung: Die Analyse eines Traummusters” and “Zur Psychologie der Traumvorgänge,” in Sigmund Freud, Die Traumdeutung (1900), Sigmund Freud Studienausgabe, 10 vols., eds. Alexander Mitscherlich, Angela Richards, James Strachey (Frankfurt/aM: S. Fischer Verlag, 1972), II:117–40, 488–588. See also Lancelot Whyte, The Unconscious before Freud (New York: Basic Books, 1960), esp. pp. 83–8. 6. On paradoxes as propositions “seeming to be true and turning out false” and “wearing an air of falsehood and turning out true,” M 1:199. In the essay on “Secret Societies” (Tait’s, August and September 1847), De Quincey writes: “Now paradox is a very charming thing; and, since leaving off opium, I take a great deal too much of it for my health. [ … ] Here follows a rigorous definition of paradox in a Greek sense, Not that only is paradoxical which, being really false, puts on a semblance of truth; but, secondly, that, also, which being really true, puts on the semblance of falsehood. For, liter- ally speaking, everything is paradoxical which contradicts the public doxa ( ), that is, contradicts the popular opinion or the public expectation, which may be done by a truth as easily as a falsehood” M 5:205–6. 7. Ferrier, Lectures on Greek Philosophy and other Philosophical Remains, eds. Sir Alexander Grant and Edmund Law Lushington, 2 vols. (, 1866), I:481–5. 8. Because it opens with reference to “the inadequate impression produced at the moment by Mr. Ferrier’s paper,” and because it also goes on to make specific references to “The Philosophy of Consciousness,” De Quincey’s review could not have been written long after the publication of the seven installments in Blackwood’s (February, April, June, August, October, 1839; February, March, 1839). De Quincey’s review was apparently unpublished; a fragmentary manuscript is in the Pierpont Morgan Library: Knight Collection MA 903. De Quincey’s review may have been written in 1842, at the time of Ferrier’s application for the chair in Civil History at the University of Edinburgh. In 1852, John Wilson resigned his chair as Professor of Moral Philosophy at the University of Edinburgh. James Frederick Ferrier, who had been Professor of Moral Philosophy and Political Economics at St. Andrews since 1845, became a candidate, but failed to secure the appointment. De Quincey’s testimonial for Ferrier appeared in the Advocate’s Library, 1852 (reprinted in the Quarterly, 1898). 9. Horace, Carmina, 2.2.23: “quisquis ingentis oculo irretorto spectat aceru- ous,” literally “eye not turned back”; The Complete Works of Horace, trans. Charles E. Passage (New York: Frederick Ungar, 1983), p. 183: “solely for not squinting / Sideways for treasure.” Notes 163

10. Thomas Clarkson (1760–1846) wrote numerous antislavery books and pamphlets and was active as an agitator. In 1806, Wordsworth wrote to Mrs. Cookson of Kendal, to inform her that he is “getting up a Petition for the Abolition of the Slave Trade.” Writing on in the series of articles, “Lake Reminiscences, from 1807 to 1840,” Tait’s (January, February, April, July, August, 1839), De Quincey refers to “Mr. Slave-Trade Clarkson” (M 2:236). He may also have intended an allusion to Thomas Clarkson in the character of Mr. Tempest, defender of Henri Christophe, in the tale “The King of Hayti.” 11. De Quincey, “Suspiria de Profundis” (Lindop 104): “Often I have been struck with the important 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.” 12. Ferrier, “The Philosophy of Consciousness,” Blackwood’s Feb., 1838, pp. 187–9, retells from the Arabian Nights the story of the young man who inherited a magic lamp with twelve branches, which when lighted summoned twelve dervishes, “each of whom, after performing sundry circumvolutions, threw him a small piece of money and vanished.” The tale goes on to relate how the young man consulted a magician to learn how to draw greater wealth from his lamp. Ferrier intends the magic lamp of the tale to represent consciousness, and the magician to repre- sent the philosopher. 13. John Livingston Lowes, The Road to Xanadu: a Study on the Ways of the Imagination ( and New York: Houghton Mifflan, 1927), p. 23. 14. In discussing the theses plagiarized from Schelling, I have pointed out two significant differences in Coleridge’s presentation: (1) he has logically restructured Schelling’s argument; (2) he has developed it with visual metaphors not found in Schelling at all. Burwick, “Perception and ‘the heaven-descended KNOW-THYSELF,’” Coleridge’s “Biographia Literaria”: Text and Meaning (Columbus: Ohio State University Press, 1989), pp. 127–37. 15. Freud, “Das Unbewußte” (1915), in Psychologie des Unbewußten, vol. II of the Sigmund Freud Studienausgabe, 10 vols., eds. Alexander Mitscherlich, Angela Richards, James Strachey (Frankfurt/aM: S. Fischer Verlag, 1972). 16. John Barrell, The Infection of Thomas De Quincey: a Psychopathology of Imperialism (New Haven: Yale University Press, 1991), pp. 25–47, argues that De Quincey’s intrusion into the bedroom of his dead sister is a “grotesque version of the primal scene,” in which De Quincey’s subcon- scious asserts a fantasy of sexual desire which his conscious mind cannot repress, even with his redemptive overtures to Palm Sunday. 17. Friedrich Schelling, Zeitschrift für spekulative Physik, 2 vols. (: Christian Ernst Gabler, 1800–1; rpt. Hildesheim: Georg Olms, 1969), I:100–36; II:3–87; Gotthelf Heinrich Schubert, Ansichten von der Nachtseite der Naturwissenschaft (Dresden: Arnoldische Buchhandlung, 1808; rev. edn., 1818); see also G. H. Schubert, Die Symbolik des Traumes (rev. edn. Bamberg: Carl Friedrich Kunz, 1821). 164 Notes

18. In “The Romantic Concept of Mimesis: Idem in Alio,” in Questioning , ed. John Beer (Baltimore: The Johns Hopkins University Press, 1995), pp. 207–8, I discuss De Quincey’s revised version of the Brocken episode, entitled “Dream-Echoes Fifty Years Later” (1853), which he introduces as exhibiting the effect of symbols as “dependent upon the great catholic principle of Idem in alio” (M I:51). 19. Sir David Brewster, Letters on Natural Magic, addressed to Sir (London: John Murray, 1832), pp. 127–30. Brewster translates the report of “M. Haue, who saw it on the 23rd of May, 1797,” as recorded in J. F. Gmelin’s Göttingischen Journal der Wissenschaften, vol. 1, part iii (1798). Grevel Lindop states in his note to “The Apparition of the Brocken” that “De Quincey’s account is based closely on Sir David Brewster’s” (Lindop 250); there are, however, two significant departures from the details provided by Brewster: (1) there is no mention in Brewster’s pages of the distance of the Brocken from Elbingerode, which De Quincey mentions as a sta- tion too distant to allow for a convenient ascent to the top by dawn, the only time for viewing the phenomenon; (2) there is nothing in Brewster’s account to justify De Quincey’s claim that “more appearances of the spectre have been witnessed on Whitsunday than on any other day.” 20. While the date might have been invented as a narrative convenience to allow De Quincey again to call forth the symbols of religious ritual, it is accurate – almost. It is inaccurate in De Quincey’s placing Whitsunday 1799 in “bridal June.” Easter, the first Sunday after the full moon follow- ing the vernal equinox, fell relatively early in 1799 – on March 24. Pentecost Sunday, the seventh Sunday after Easter, came on May 12. Coleridge and his friends left Göttingen on Saturday, May 11, and arrived at the top of the Brocken on May 13, a day late. Although these dates are recorded in his notebook and his letter to Sara, Coleridge may well have remembered witnessing the Pentecost festivities in the villages on the way. For Coleridge’s description of his first ascent of the Brocken on Monday, May 13, 1799, see CN 412 and letter to Mrs. S. T. Coleridge, Friday, May 17, 1799, CL I:504. For his second ascent on Sunday, June 24, 1799, see CN 447. Coleridge mentions having climbed the Brocken in the first issue of The Friend (June 1, 1809), composed at a time when Coleridge and De Quincey were frequently together; see The Friend, 2 vols., ed. Barbara Brooke, The Collected Works of 4 (Princeton: Princeton University Press; London: Routledge & Kegan Paul, 1969), I:350 and II:13.21. 21. See Robert Maniquis, “The Dark Interpreter and the Palimpsest of Violence: De Quincey and the Unconscious,” in Thomas De Quincey Bicentenary Studies, pp. 109–39. 22. See De Quincey on “Antagonism” (1823), M 10:436–7; and on “the law of antagonism” (Lindop 75). The whimsical mixture of the maudlin and the sardonic amidst the high drama produced tensions more complex than critics who endeavored to explain De Quincey in terms of an ideal- ized high romanticism were willing to recognize. Robert Maniquis, in Studies in Romanticism, 23(1) (Spring 1984): 140–7, makes this complaint Notes 165

in his review of Vincent De Luca, Thomas De Quincey: the Prose Vision (Toronto: University of Toronto Press, 1980).

2 Casuistry and Eidoloclasm

11. The distinction between the “literature of knowledge” and the “litera- ture of power” is best-known as formulated in De Quincey’s “On Languages” (from “Letters to a Young Man whose Education has been Neglected,” no. III, London Magazine, March, 1823) and in his review of “The Works of Alexander Pope” (North British Review, Aug., 1848); he also discusses the “literature of knowledge” and the “literature of power” in the introductory letter to his translation of Voss’s Luisa (1821), in his review of “The Life and Adventures of ” (North British Review, May, 1848), and in “Cause of the Novel’s Decline” (PW 1:302–5). 12. Because the “Ding-an-sich” is not directly knowable and all knowledge rests upon the phenomenological construction of sensory data, Kant demonstrated the necessity of “als ob” reasoning. Decisions rest not on absolute facts or truths but on conditional assumptions about experi- ence. The reliance on pragmatically justified fictions was elaborated in Hans Vaihinger, Die Philosophie des Als Ob (1911). 13. In the essay “Protestantism” (1847), M 8:255. 14. , Kritik der Urteilskraft, §48, in Werke, 6 vols., ed. Wilhelm Weischedel (Darmstadt: Wissenschaftliche Buchgesellschaft, 1975), 5:410–13. 15. Edmund Leites, ed., Conscience and Casuistry in Early Modern Europe (Cambridge: Cambridge University Press, 1988). 16. William Wordsworth [in Mary Wordsworth’s hand] to Joseph Henry Green [mid-Sept., 1834], The Letters of William and Dorothy Wordsworth, V, The Later Years, Part 2, 1829–34, ed. Ernest de Selincourt, rev. Alan G. Hill (Oxford: Clarendon, 1979), 5:739–40. 17. , Reminiscences, ed. J. A. Froude (London, 1881), 2:315–16. 18. Wordsworth to Joseph Henry Green [mid-Sept., 1834], Letters, 5:739–40. 19. Memoir and Letters of Sara Coleridge, ed. Edith Coleridge (London, 1873), 1:115–16. 10. John E. Jordan, De Quincey to Wordsworth: a Biography of a Relationship (Berkeley: University of California Press, 1963), pp. 336–45. 11. Margaret Russett, De Quincey’s Romanticism (Cambridge: Cambridge University Press, 1997), pp. 178–222. 12. On “There was a Boy,” in De Quincey’s Collected Works, M 1:219,316; Russett, De Quincey’s Romanticism, p. 242. 13. Tait’s for January, 1839, carried an essay entitled “Lake Reminiscences: No. I. William Wordsworth.” Wordsworth was also the subject of nos. II and III in Feb. and April; no. IV, in July, was “William Wordsworth and ”; and no. V, in August, “Southey, Wordsworth, and Coleridge.” Articles on the lesser celebrities of the Lakes – Lloyd, Wilson, 166 Notes

and others – appeared in 1840, often with references to the Wordsworths. The account of Simond’s visit to is in: “Sketches of Life and Manners: from the Autobiography of an English-Opium Eater,” Tait’s Magazine (Jan., 1840). 14. Louis Simond (1767–1831), French traveler who married the niece of John Wilkes (1727–97) and settled in the Carolinas; Journal of a Tour and Residence in Great Britain, during the years 1810–1811, by a French Traveller. With remarks on the country, its arts, literature, and politics, and on the man- ners and customs of its inhabitants, 2 vols. (Edinburgh: Archibald Constable and Company; London: Longman, Hust, Rees, Orme, and Brown, 1815). 15. Mark L. Reed, Wordsworth: the Chronology of the Middle Years, 1800–1815 (Cambridge Mass.: Harvard University Press, 1975), p. 462. 16. Masson, Introduction to the second volume of Biographies, M 5:5. 17. See Heinz Härtl’s account of the German, English, and American recep- tion in his edition of , Goethes Briefwechsel mit einem Kinde ( and Weimar: Aufbau-Verlag, 1986), pp. 690–719. 18. The subsequent reception of Goethe continued to explore his relation- ship with women; see for example: Gertud Bäumer, Goethes Freundinnen (3rd ed. Leipzig: B. G. Teubner, 1921); Paul Kühn, Die Frauen um Goethe, 2 vols. (Leipzig: Klinkhardt & Biermann, 1911-12). 19. In editing his original essay of 1834 for the collected edition of his works in 1854, De Quincey added a note responding to Ferrier’s “The Plagiarisms of S. T. Coleridge” (Blackwood’s Magazine, March 1840). He states again that his own revelation of Coleridge’s plagiarism “had been announced by one who, in the same breath, was professing an unshaken faith in Coleridge’s philosophic power.” 20. Stephen Gill, William Wordsworth: a Life (Oxford: Clarendon Press, 1989), pp. 387–8. 21. Henry Crabb Robinson, On Books and their Authors, 3 vols., ed. Edith J. Morley (London: J. M. Dent and Sons, 1938), 1:273.

3 Sir Walter Scott and the Literary Pirates

1. Familiar Letters of Sir Walter Scott, 2 vols. (Edinburgh: David Douglass, 1894), 2:191–2. 2. Introduction, The Betrothed. The Waverley Novels, 48 vols. (London and New York: Harpers, 1900), 37:30–1. 3. This chapter revises my earlier essay, “How to Translate a Waverley Novel: Sir Walter Scott, Willibald Alexis, and Thomas De Quincey, “ The Wordsworth Circle, 25(2) (Spring 1994): 93–100. That Alexis based certain adventures of his character, Edward Nicholas [Walladmor], on Captain Isaac Gulliver became evident to me from information made available during a visit to Mier House in August, 1994, when John Spedding pro- vided me with an unpublished biography and allowed me to photo- graph the portrait of his notorious ancestor. Notes 167

4. Giles Dugdale, “The Life and Times of Isaac Gulliver, “229 page type- script; dedicated to Sir Arthur Bryant of Smedmore, Dorset, and Dr. Philip Gosse, Fellow of Trinity College, Cambridge (private collection of John Spedding, Mier House, ). Cecil N. Collingwood, “Smuggling in the Poole Area,” in A History of Poole (Chichester, Sussex: Phillmore & Co., 1988), pp. 146–59.

4 Murder and the Aesthetics of Violence

1. Joel Black, The Aesthetics of Murder (Baltimore: Johns Hopkins, 1991), p. 15. 2. National Library of Scotland MS4789 ff 33–6 and ff 56–62; ms 1988.193, parts of which are transcribed by Japp in Posthumous Works, 1:77–8. 3. Thomas De Quincey to James Augustus Hessey (Oct. 12, 1823); MS Vault file, Beinecke Rare Book and Manuscript Library, Yale University. De Quincey to John White (Oct. 26, 1824), Berg Collection, New York Public Library, De Quincey MS (H). De Quincey gives no further hint about the “party of friends” whom he might accompany to Dresden. During his years at Oxford (1803–8), he had engaged a tutor from Dresden to assist him in German. The German bookseller, Johann Heinrich Bohte, at whose premises at No. 4 York Street De Quincey had taken lodgings when he commenced writing for London Magazine, made purchasing trips to Germany and attended the Leipzig Büchermesse. De Quincey may have traveled with him in the Spring of 1824. After Bohte died on September 2, 1824, it is also possible that De Quincey may have made the trip in behalf of Bohte’s widow, Sarah Lloyd Bohte, who had assumed responsibility for her husband’s book trade. An entry in the Dresdener Anzeige, May 29, 1827, announcing the arrival of “Hr. Hofbuchhändler Richter aus London,” indicates that Bohte’s office as “Hofbuchhändler” had now been transferred to another. Six months prior to informing Hessey of his intention to visit the library in Dresden, he had noted, in “Death of a German Great Man” (April, 1823), Herder’s use of that library. A list of travelers arriving in Dresden is printed in each issue of the Dresdener Anzeige; the names of English travelers, apparently copied from the registry, are frequently misspelled (e.g. “Pomeroy” is entered as “Oomerod”; “Harrison” as “Herison”; “Elliotson” as “Eleatson” and “Illuatson”). On August 1, 1828, the Dresdener Anzeige notes that a Mr. “Quinque” arrived in Dresden. Also arriving on this same day was Richard Cleasby (1797–1847), an accomplished scholar of and philosophy, who made several extended visits to Dresden. This Mr. “Quinque” might possibly be De Quincey. 4. MS ACC. 28, Boston Public Library. Thomas De Quincey to Thomas Benson (April 5, 1833). 5. I am grateful to Daniel Fulda, Institut für deutsche Sprache und Literatur, Universität Köln, for identifying the Conversations-Lexicon (Leipzig: Brockhaus, 1824) as the source for De Quincey’s account of Peter Fonk. 168 Notes

16. “Tros, Tyriusque mihi nullo discrimine agetur,” Virgil, Aeneid I:574. Queen Dido’s response to Ilioneus and the Trojan crew: “Trojan and Tyrian shall be treated by me with no difference.” 17. Dove Cottage ms 1988.193. This manuscript, which begins with notes on “the disastrous Affghan War” and the number of soldiers slain (“at Kabul – 4,500”), is dated on the verso: “3 thoughts of this morng Frid. July 5 [1844].” In one of these “thoughts” (from which Japp has tran- scribed only the first two lines), De Quincey continues his speculations on aesthetic categories of murder: “Fielding the Murderer of Murderers (in a double sense rhet[orical] and literal) – This is the most [xte] terrific revel[ation] yet known. If a gang of robbers draws 12 murderers together it not yt [that] men at random – der erste der lezte [the first, the last] are all ready for murder: those who come are the murderers by [e]xception whom to for of a gang has found out. But here men hired as sailors –1–2–3–4–5–6– viz. Jones, Heselton, Johnst[on], Anderson, Carr, Galloway [are all] the 1st 6[7] asked (tho’ so far not at random yt [that] some observ[ation] had concurred) are all ready; more ready to [ask] grant yn [than] F[ielding] to ask.” 18. “Murder as a Fine Art (Some Notes for a New Paper),” Posthumous Works, ed. Alexander Japp, 2 vols. (London: William Heinemann, 1891), 1:77–8. The passage quoted is not in the Dove Cottage mss. 1988:193. Apparently Japp has compiled this entry from one or more additional manuscripts. 19. Black, The Aesthetics of Murder, pp. 12–16. 10. Immanuel Kant, Kritik der Urteilskraft, §48, in Werke, 6 vols., ed. Wilhelm Weischedel (Darmstadt: Wissenschaftliche Buchgesellschaft, 1975), 5:410–13. Subsequent references will be cited parenthetically with the abbreviation KU and section number (§). 11. Martin Priestman, Detective Fiction and Literature: the Figure on the Carpet (London: Macmillan Press, 1990), p. 4.

5 Shakespearean Involutes

1. De Quincey, “On the Knocking at the Gate in Macbeth,” in The Romantics on Shakespeare, ed. Jonathan Bate (1992), pp. 432–5; also in of an English Opium-Eater and Other Writings, ed. Grevel Lindop (1985; 2nd edn. 1996), pp. 81–5; The Collected Writings, ed. David Masson (1889–90), 10:389–94. 2. Timothy Corrigan, “Interpreting the Uncitable Text: the Literary Criticism of Thomas De Quincey,” in Ineffability: Naming the Unnameable from Dante to Beckett (1984), pp. 131–46, provides a useful Lacanian approach to the psychology of desire in De Quincey’s “On the Knocking at the Gate in Macbeth.” See also Mary Jacobus, “ ‘That Great Stage Where Senators Perform’: Macbeth and the Politics of Romantic Theatre,” Studies in Romanticism, 22(3) (Fall 1983): 353–87, who discusses the treatment of revolution and regicide in Romantic criticism; and John W. Bilsland, “De Quincey’s Critical Dilations,” University of Toronto Notes 169

Quarterly: a Canadian Journal of the Humanities 52(2) (Fall 1982): 79–83, who examines De Quincey’s approach to Macbeth in the context of his criticism of Greek drama. 13. Letter of July 16, 1838; quoted in M 4:17. 14. “Shakespeare and Wordsworth,” Folger MS Y.d. 543 ff 3a,b,c. This essay has been transcribed and published in PW 2:197–200. 15. Frederick W. Shilstone, “Autobiography as ‘Involute’: De Quincey on the Therapies of Memory,” South Atlantic Review 48(1) (Jan., 1983): 20–34. 16. De Quincey also recollected the childhood reading of Arabian Nights in “Suspiria de Profundis”; see the discussion in Chapter 1 above. Judith Plotz, “In the Footsteps of Alladin: De Quincey’s Arabian Nights,” The Wordsworth Circle, 29 (1998): 120–30, describes De Quincey’s departures from the text in retelling the tales. De Quincey himself reveals an aspect of his retelling in his account of “ventriloquizing” the role of the young man pleading to the magician (Lindop 135). See: “The Story of Aladdin: Or, The Wonderful Lamp,” Arabian Nights (Dublin: printed for Whitestone; J. Sheppard, B. Corcoran, 1776) III:286–96; “The History of Aladdin; or, The Wonderful Lamp,” Arabian Nights Entertainments, in Novelists Magazine (London: Harrison, 1785), XVIII:483–93. 17. In an examination of rhetorical and semiotic affects that seem especially germane to De Quincey’s criticism, Evelyne Keitel, in Von den Gefühle beim Lesen, pp. 9–51, delineates a cross-fertilization between the cogni- tive and the emotional (or pre-cognitive) responses to literature. 18. In the 1854 postscript to the 1827 and 1839 essays “On Murder Considered as One of the Fine Arts,” De Quincey provides a more fully elaborated version of the Williams and the Ratcliffe Highway murders; M 13:9–51, 52–69, 70–124. See Burwick, “De Quincey and the Aesthetics of Violence,” The Wordsworth Circle, 37(2) (Spring 1996): 78–86. 19. De Quincey naturally returns to his childhood memory of Aladdin as an example of sinister magic, or of fantastic “upholstery.” Ridiculing the account of the Eleusinian Mysteries in Divine Legation of Moses by William Warburton, Bishop of Gloucester, De Quincey recalls “Aladdin’s impious order for a roc’s egg, the egg of the very deity whom the slave of the lamp had served, to hang up in his principle saloon. The Bishop found his chandelier, or fancied he had found it, in the old lumber garrets of Eleusis” M 7:198; “Secret Societies,” Tait’s Magazine (Aug. and Oct., 1847). Although he here says of Warburton that, “if he had a just and powerful thought (as sometimes in germ he had), or a wise and beautiful thought, it was soon digested into a crochet” (M 7:195), he elsewhere praised Warburton’s notes on the plays of Shakespeare (M 8:272n); see note 10 below. 10. The voice that tells Macbeth that he shall “Sleep no more” speaks also to the guilty conscious of Caleb Williams in the novel of the same name by William Godwin (Oxford: Oxford University Press, 1970 p. 138), and William Wordsworth, arriving in Paris a month after the September Massacres of 1792, imagines that same voice crying “To the whole city ‘Sleep no more’” (1805 Prelude, X, 62–77). 170 Notes

11. De Quincey states that, although he did not hear the arguments, he knows Coleridge’s account of Othello “by report, as the result of a lecture which he read at the Royal Institute.” It is unlikely that De Quincey is referring to the lectures on Othello given at the Surrey Institute (Jan. 5 and 12, 1813), for which he would have no contemporary reports. The subsequent lecture series, held at the White Lion in Bristol, were reported in the Bristol Gazette. In the lecture of Nov. 9, 1813, as reported on Nov. 11, 1813, “Mr. Coleridge contrasted [the character of Leontes] with that of Othello, whom Shakespear had portrayed the very opposite to a jealous man; he was noble, generous, open-hearted; unsuspicious and unsuspecting, and who, even after the exhibition of the handker- chief as evidence of his wife’s guilt, blurts out in her praise.” Lectures 1808–1819: On Literature, 1:554–5. 12. Opposing the argument that “to take arms against a sea of troubles” was a mixed metaphor which ought to be emended, “to take arms against a siege of troubles,” De Quincey upholds “the integrity of the image” and refers to William Warburton’s note to Shakespeare’s text: “Yet, though all arms must be idle against the sea considered literally [ … ], Warburton contended justly that all images much employed evanesce into the ideas which they represent. A sea of troubles comes to mean only a multitude of troubles. No image of the sea is suggested; and arms, incongruous in relation to the literal sea, is not so in relation to a multitude; besides that the image arms itself evanesces for the same reason into resistance. For this one note, which I cite from boyish remembrance, I have always admired the subtlety of Warburton” (viii, 272n); “Protestantism,” Tait’s Magazine (Nov., Dec., 1847; Feb., 1848). 13. As reenacted by the players, the sleeping King is killed by pouring poison into his ear (III.ii). In referring to the image of King Claudius in the paint- ing as the “mildew’d ear” of blighted grain whose ergot poison will infect his brother, Hamlet puns on “ear” and thus links the introvolution of the painting with that of the players. Cf. Pharaoh’s dream of the rank ears of corn, Genesis 41:5–8. On the motif ergotism see “Blake and the Blighted Corn,” in Burwick, Poetic Madness and the Romantic Imagination (1996). 14. For his biography, De Quincey relied on Nicholas Rowe, George Steevens, Edmund Malone, and . From Rowe, he cited, but rejected (“This tale is fabulous, and rotten to its core”), the claim that Shakespeare was guilty of deer-poaching from the park of Sir Thomas Lucy. Rowe documented the incident with the passage from The Merry Wives of Windsor (I.i.1–35, 80–2, 111–12) in which Justice Shallow charges Falstaff with the crime. De Quincey introduced other passages which he found biographically relevant: Robert Sadler’s impatience with his father’s debts informs the ingratitude of Lucullus when Timon falls into debt, Timon of Athens, III.i and IV.ii; Shakespeare’s relationship with Anne Hathaway prompted the cautions against premarital sex in The Tempest, IV.i, and against a man marrying an older woman, Twelfth Night, II.iv; and the man’s submission “when a woman woos,” 41. Following publication in the Encylopaedia Britannica, these passages, Notes 171

and De Quincey’s claims for their biographical significance, became the common staple of subsequent biographers. The passage from The Tempest IV.i, is cited by Elze, p. 83; by Lee, p. 25; by Reese, p. 30; by Quennell, p. 29; by Schoenbaum, pp. 88–9, by Sams, p. 51. The passage from Twelfth Night II.iv (“let still the woman take / An elder than her- self”) is repeated by Elze, p. 82; by Lee, p. 25; by Reese, p. 30; by Schoebaum, p. 83; by Sams, p. 51. Elze, the only one of these biogra- phers to acknowledge De Quincey’s encyclopedia article (Elze, pp. 80, 271), also cites Sonnet 41 on the submission of 18-year-old Shakespeare to the seductive wiles of 26–year-old Anne Hathaway (p. 76). 15. “Shakspeare and Wordsworth,” Folger Shakespeare Library MS Y.d. 543 ff 3a–c; transcribed in Japp, Posthumous Works II:197–200. De Quincey com- ments on Raymond de Véncour, Milton, et la Poésie Epique (1838): “At p. 420 he says: ‘Wordsworth qui (de même que Byron) sympathise peu cor- dialement avec Shakspeare, se prosterne cependant comme Byron devant le Paradis perdu; Milton est la grande idole de Wordsworth; il ne craint pas quelquefois de se comparer lui-même a son géant’; (never unless in the single accident of praying for a similar audience – ‘fit audience let me find though few’); ‘et en vérité ses ont souvent le même esprit prophétique, la même élévation sacrée que ceux de l’Homre Anglais.’ There cannot be graver mistakes than are here brought into one focus.” 16. , Vorlesungen über dramatische Kunst und Literatur (1811–13). For his various references to classical poetry as sculpturesque (plastisch) and modern poetry as painterly (malerisch or pittoreske), see A. W. Schlegel, Kritische Schriften und Briefe, II, 86, 101, 104–8; V, 45, 69–71, 79, 99, 209–10; VI, 28, 112–13. 17. In the third autobiographical paper on “Oxford,” Tait’s Magazine (Aug., 1835), De Quincey offered a similar comparison between Shakespeare and Milton: “Milton was not an extensive or discursive thinker, as Shakespeare was; for the motions of his mind were slow, solemn, sequacious, like those of the planets; not agile and assimilative; not attracting all things within its own sphere; not multiform: repulsion was the law of his intellect – he moved in solitary grandeur” (2:69). 18. Coleridge, Lectures 1808–1819: On Literature, refers to “the disgusting passage of the Porter, which I dare pledge myself to demonstrate an Interpretation of the Actors” (Nov. 2, 1813), I:527.

6 Miltonic Overtures

1. Lindop 37–49, 62–80. Excerpts transcribed from manuscript drafts of “The English Mail-Coach” (National Library of Scotland: MS4789, ff 61–2; MS21239, ff 1–32; Bodleian Library, Oxford: MS Eng. misc, C. 461, f 103) will be given in the notes; all other references to De Quincey will be cited from Lindop’s edition and documented parenthetically in the text. 2. In the notes to his edition of Confession of an English Opium-Eater and Other Writings, Grevel Lindop provides references to the quotations from 172 Notes

Milton in “Confessions” and “Suspiria de Profundis”: “Confessions,” p. 10, Paradise Lost II:306–7, p. 11, Paradise Lost XII:647, p. 12, Paradise Lost IV:830, p. 19, Paradise Lost XII:647, p. 30, Paradise Regained II:455–6, p. 39, “L’Allegro” and “Il Pensoroso,” p. 70, “Il Pensoroso,” p. 77, Paradise Lost X:602, p. 80, Paradise Lost XII:644. “Suspiria de Profundis,” p. 100, Paradise Lost IX:991 and 897–9, p. 101, Paradise Lost IX:912–16, p. 107, Paradise Lost IX:784–5, p. 135, “On Shakespeare,” p. 136, Paradise Lost I:91–2, p. 138, “At a Solemn Music,” p. 152, “Arcades.” 3. Laura Roman, “Milton, De Quincey, and the Fugue,” paper presented at the Wordsworth Summer Conference, Grasmere, Aug. 5, 1992. 4. De Quincey shifts between what Murray Krieger has identified as the descriptive and empathic modes of enargia; Ekphrasis: the Illusion of the Natural Sign (Baltimore and London: Johns Hopkins University Press, 1992), pp. 67–90 and 93–112. 5. W. J. T. Mitchell, “Ekphrasis and the Other,” South Atlantic Quarterly, 91 (Summer 1992): 695–719. 6. Krieger, “Ekphrasis and the Still Movement of Poetry: Or, Laokoön Revisited.” in The Poet as Critic, ed. Frederick P. W. McDowell (Evanston: Northwestern University Press, 1967), pp. 3–26. James A. W. Heffernan, in “Ekphrasis and Representation,” New Literary History, 22 (Spring 1991): 297–316, argues against the conception of a ekphrasis as a “frozen moment”: “From Homer’s time to our own, ekphrastic literature reveals again and again this narrative response to pictorial stasis, this storytelling impulse that language by its very nature seems to release and stimulate. That is why I must disagree with Krieger when he treats ekphrasis as a way of freezing time in space” (301). See also James Heffernan, Museum of Words: the Poetics of Ekphrasis from Homer to Ashbury (Chicago: University of Chicago Press, 1993), pp. 2–3. Like Heffernan, Grant Scott, in The Sculpted Word: Keats, Ekphrasis, and the Visual Arts (New York: University Press of New , 1994), insists upon the essentially illusory nature of the presumed “frozen moment” (29–30); Scott also calls attention to the way in which ekphrasis, notably in Keats’ “Ode on a Grecian Urn,” becomes an occasion for the male poet to assert authority and control over a female-gendered artifact (119–50). 7. Raleigh, The History of the World (London: 1652), p. 669: “O eloquent, just, and mighty Death! whom none could advise, thou hast perswaded; what none have dared, thou hast done; and whom all the world hath flattered, thou hast cast out of the world and despised: thou hast drawn together all the far stretched greatness, all the pride, cruelty, and ambition of man, and covered it all over with these two narrow words, Hic jacet.” 8. Wordsworth, Poetical Works, ed. Thomas Hutchinson, rev. Ernest De Selincourt (London: Oxford University Press, 1969), p. 200; subsequent references to this edition of Wordsworth’s poetry are given parenthetically. 9. Nicholas Poussin, ET IN ARCADIA EGO (ca. 1630–5), Louvre; this version was often engraved; the earlier version by Poussin (1626–8) is in Chatsworth, Devonshire. Poussin adapted the theme from the painting by Guercino (1591–1666) which hangs in the Galleria Corsino. See Notes 173

Erwin Panofsky, “Et in Arcadia Ego: Poussin and the Elegiac Tradition,” in Meaning in the Visual Arts (Garden City, 1957), pp. 295–320. 10. See Ronald Paulson, The Art of Hogarth (London: Phaidon, 1975), pp. 22–40. 11. Although De Quincey is aware of the precedents in Athenian, Hellenic, and Roman art, he also knows that contemporary sculpture has favored draped representations of the human figure. Yet even in his own time, Canova and Thorwaldsen endeavored to make the robes disappear. In spite of the moral pretense which demands drapery, “reason, conscious of an impotence to satisfy its moral need, has recourse to the parergon”: Immanuel Kant, Kritik der Urteilskraft, §14, in Werke, 6 vols., ed. Wilhelm Weischedel (Darmstadt: Wissenschaftliche Buchgesellschaft, 1975), V:306; Jacques Derrida, La Vérité en peinture (Paris: Flammarion, 1978), p. 64. 12. This particular formulation of the difference between the sculpturesque and the picturesque owes more to A. W. Schlegel’s reading of Lessing than to Lessing’s own account. De Quincey most probably heard it expounded by Coleridge as well: see Coleridge Lectures 1808–1819: On Literature, 2 vols., ed. Reginald A. Foakes, The Collected Works of Samuel Taylor Coleridge, 5 (Princeton: Princeton University Press; London: Routledge and Kegan Paul, 1987), I:349, 368; II:349. Schlegel, Kritische Schriften und Briefe, 7 vols., ed. Edgar Lohner (Stuttgart: Kohlhammer, 1962–74), II:86, 101, 104–8; V:45, 69–71, 73, 79, 99, 209–10; VI:28, 112–13. 13. Burwick, “Coleridge’s Limbo and Ne Plus Ultra: The Multeity of Intertextuality,” Romanticism Past and Present, 9 (1985): 35–45. 14. Spitzer, “The ‘Ode on a Grecian Urn,’ or Content vs. Metagrammar,”in Essays on English and American Literature, ed. A. Hatcher (Princeton: Princeton University Press, 1962), pp. 67–97; Scott, The Sculpted Word, pp. 98–108; in addition to his discussion of the “Ode on a Grecian Urn,” see also the discrimination between Classical and Romantic ekphrasis in Scott’s Introduction. 15. [Richter], Werke, 6 vols., eds. Walter Höllerer, Gustav Lohmann, Norbert Miller (Munich: Hanser Verlag, 1959–63), II:268–71; Burwick, “The Dream-Visions of Jean Paul and Thomas De Quincey,” Comparative Literature, 20(1) (Winter, 1968): 1–26. 16. National Library of Scotland: MS21239, f 62: “Suff[er] me, reader to recal [int] bef[ore] your memory. Suffer me to converge the elements of the case. They were these (or These they were). From a [deep] breakless [hush] hush [and from the peace] of this saintly sum[mer] night, – from the pathetic blending of this sweet moonlight dawn-light, dreamlight – (notice to the r[eader] the imposs[ibility] of fixing an absol[ute] point in things so varying as a succession of time.) – from the tenderness of this manly fluttering – whispering – murmuring love – suddenly as fm the – f[iel]ds and the w[oo]ds sud[den]ly as from the chambers of the air, – sud[denly] as fm the gd opening at sunset – leaped upon her with the flashing of cataracts – Death the crowned phantom, with all the eq[uipage] of his ter[rors], and with the [an] tiger roar of his voice. The young man sat like a rock: that which could be done, [he] had been done.” 174 Notes

17. National Library of Scotland: MS4789, f 19, ff 22–3: “But the Lady – ! Oh heavens will that spectacle ever depart from my dreams, as she rose and [rav] sank upon her seat, sank and rose, [tossed] threw up her arms wildly to heaven, clutched at some visionary object in the air, fainting, praying, raving, despairing” – Figure to yourself, reader, the [unpar] ele- ments of the case: suffer me to [recal] recal before your mind the circum- stances of the unparalleled situation. From the [peac] silence and deep peace of this saintly summer night, from the pathetic blending of this sweet moonlight, dawnlight, dreamlight, – from the manly tenderness of this flattering, whispering, murmuring love, – suddenly as from the woods and fields, – suddenly as from the chambers of the air opening in revelations, – suddenly as from the ground yawning at her feet, leaped upon her with the flashing of cataracts, Death the crownéd* phantom, with all the equipage of his terrors, and the tiger roar of his voice. The moments were numbered. In the twinkling of an eye our flying horses had carried us to the termination of the umbrageous aisle; at right angles we wheeled into our former direction: the turn of the road carried the scene out of my eyes in an instant, and swept it into my dreams for ever.” [* The asterisk above refers to the following note: “It is important to my rhythmus that this word crowned should be read, and therefore should be printed, as a disyllable – crownéd.”] 18. The Poems of , ed. Jack Stillinger (Cambridge, Mass.: Belknap, Harvard University Press, 1978), pp. 478–91. 19. Bodleian Library, Oxford: MS Eng. misc, C. 461, f 103: “1. The preaching of Noah – shooting like rockets out of sleep. 2. The sea running with pursuing billows. 3. The sea running upon the rocks of a port harb[our] – a narrow channel – Light torches – all the town stretching yr [their] arms to save – your chil- dren are on deck: almost you touch the arms yt [that] are stretched out. 4. All have perished: but you – hatefully to yourself – why you know not – how you ask not – are again walking in smouldering cities -- burnt out decaying cities of ravage and havock or stretching away thro’ dark roads upon what horrifying impulse – you see – but understand you do not. 5. The Mail Coach breakg down – all news rep[ort] but ruin. 6. The faces of the Marble mantle-piece.” 20. Philosophical Lectures of Samuel Taylor Coleridge, ed. Kathleen Coburn (London: Pilot Press, 1949), pp. 167–8. 21. Faust: Der Tragödie erster und zweiter Teil. Urfaust, ed. Erich Trunz (: Christian Wegner, 1968), pp. 57, 359.

7 Wordsworthean Associations

1. Aristotle, De Memoria et Reminiscentia, in The Basic Works of Aristotle, ed. Richard McKeon (New York: Random House, 1941), pp. 607–17. Notes 175

2. Introduction, Selected Essays on Rhetoric by Thomas De Quincey, pp. xxv–xxxv. 3. Composed during the Goslar period, the Matthew poems include: “Matthew,” “The Fountain,” “Two April Mornings,” “Could I the Priest’s Consent Have Gained,” “Remembering How Thou Didst Beguile,” and “Address to the Scholars of the Village School”; see Burwick, “Wordsworth in Goslar,” Anglistik, 9(1) (March, 1998): 81–99. Although the “Matthew” of the Matthew poems was apparently a fictional compos- ite, William Taylor, the headmaster of Hawkshead, would have been very much in the poet’s mind as he recalled the episodes from his school years; see Richard Matlak, “The Men in Wordsworth’s Life,” The Wordsworth Circle, 9 (1978): 391–7, and Matlak, “A Psychobiological Approach to Wordsworth’s Goslar Poetry,” in Approaches to Teaching Wordsworth’s Poetry, pp. 147–52. 4. Margaret Russett, “Wordsworth’s Gothic Interpreter: De Quincey Personifies ‘We are Seven,’ ” Studies in Romanticism, 30 (Fall 1991): 345–65; revised as the opening chapter of De Quincey’s Romanticism: Canonical Minority and the Forms of Transmission, Cambridge Studies in Romanticism (Cambridge: Cambridge University Press, 1997), pp. 14–51. 5. Mark Reed, Wordsworth: the Chronology of the Middle Years, 1800–1815, dates the composition of “Stray Pleasures” between April 4 and November 14, 1806; p. 318. 6. Hartley, Observations on Man, I:6: “The Doctrine of Vibrations may appear at first sight to have no Connection with that of Association; however, if these Doctrines be found to contain the Laws of Bodily and Mental Powers respectively, they must be related to each other, since the Body and Mind are. One may expect that Vibrations should infer Association as their Effect, and Associations point to Vibrations as its cause.” 7. “Language” (London Magazine 1823): “Whilst the finest models of style exist, and sub–consciously operate as sources of delight, the conscious valuation of style is least perfectly developed.” “Caesars: IV. Hadrian” (Blackwood’s 1834): “The Emperor Hadrian had taken one solitary step […] in the elevation of human nature; and not […] without some subcon- scious influence received directly or indirectly from Christianity.” “Pope” (Encyclopaedia Britannica, 7th edn., 1838): “How much grander and more faithful to the great theme [Christianity] were the subconscious percep- tions of his heart than the explicit commentaries of his understanding.” 8. Katherine Kimball, “Coleridge’s Animant Pendulum: the Waking/Dreaming Imagination” (paper delivered at the Wordsworth Summer Conference, Grasmere, England, Aug. 5, 1998), discussed the concept of the subcon- scious in Coleridge’s thought. I thank her for providing me with these ref- erences from Coleridge’s Notebooks. 9. Lectures on Literature, II:175, 299; I:495. In the third of this passages (I:495), Coleridge seems to recollect Friedrich Schelling’s discussion of how the Bewußtsein draws from the Bewußtlose; System des transzendetalen Idealismus (1800), Werke, III:618. 176 Notes

10. Kathleen Coburn, Self-Conscious Imagination (London: Oxford University Press, 1974), p. 21. 11. “Letters to a Young Man whose Education has been Neglected,” No. III. On Languages (1823; in Masson, 10:46–52). De Quincey had first used the terms in an introductory letter to his translation of Voss’s Luisa (1821); subsequent discussions of the “literature of knowledge” and the “literature of power” occur in his review of “The Life and Adventures of Oliver Goldsmith” (North British Review, May 1848; Masson 4:308–9), his review of “The Works of Alexander Pope” (North British Review, Aug., 1848; Masson, 11:53–9), and in “Cause of the Novel’s Decline” (PW 1:302–5). See the discussion in Chapter 1 above. 12. “Essay, Supplementary to the Preface” (1815), The Prose Works of William Wordsworth, eds. W. J. B. Owen and Jane Worthington Smyser (Oxford: Clarendon, 1974), III:82. 13. Henry Crabb Robinson on Books and their Writers, ed. Edith Morley (London: J. M. Dent and Sons, 1938), I:89 (May 31, 1812), quoted in The Prose Works of William Wordsworth, III:104. 14. See, too, Wordsworth’s “On the Banks of a Rocky Stream”:

Behold an emblem of our human mind Crowded with thoughts that need a settled home, Yet, like to eddying balls of foam Within this whirlpool, they each other chase Round and round, and neither find An outlet nor a resting-place! Bibliography

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Abercorn, Anne, Marchioness of 44 Bohte, Johann Heinrich 43, 44, Aesop 94–6 78, 167 Alexis, Willibald (Ewald Hering) Bohte, Sarah Lloyd 167 viii, 46–8, 50–1, 54, 57–60, Bonaparte, Napoleon 50 62–4, 66, 166 Bosch, Hieronymus: The Garden of Apel, Johann August 57 Earthly Delights 124 Arabian Nights 12, 13, 91–9, 163, Brain 3, 6, 10, 22, 25, 31, 98, 150 169 affected by opium 22 Tales of Aladdin and of Sinbad palimpsest of 21 92, 93, 97 Brewster, Sir David 20, 164 Ariosto 40 Brocken Spectre 3, 20, 164 Aristophanes 52 Brun, Frederika 30 Aristotle 143, 174 Burke, William, and Willaim Hare Poetics 83 (murderers who sold cadavers to Arnim, Bettina von 41, 166 Dr. Robert Knox) 74, 83 Associationism 143, l59–60, 175 Byron, George Gordon, Lord 171 Childe Harold 53 Baker, Henry 79 Don Juan 52, 54 Barrell, John vii, 163 Baumgarten Alexander Gottlieb 80 Campbell and Traill, barristers 69 Baxter, Edmund viii Campbell, Thomas 108, 170 Beatty, Arthur 143 Canova, Antonio 173 Beaumont, Sir George 117, 118, 119 Capote, Truman: In Cold Blood 87 Beaupuis, Michael 36 Carlyle, Thomas 26, 53, 165 Behler, Ernst 53 Cato Street Conspiracy 47, Bell, Sir Charles 149 48, 58 Benson, Thomas 69, 77, 167 Chatterton, Thomas 50 Bentham, Mathilda 151 Chaucer, Geoffrey: Canterbury Bible 90, 91, 99 Tales 86 Christ’s entry into Jerusalem, in Christie, Agatha 87 Matthew 90, 94 Clarkson, Catherine 39 I Corinthians 15 13, 14, 17 Clarkson, Thomas 8, 9, 163 Daniel 96 Clej, Alina vii Noah, in Genesis 138, 174 Coburn, Kathleen 152, 176 Bilsland, John 168 Coenen, Wilhelm 72, 75–7 Black, Adam 32 Coleridge, Samuel Taylor x, 24, Black, Joel vii, 80, 167, 168 29–30, 36, 38–40, 99, 158, Blaikie, David 69 165, 171 Blake, William 52, 170 adaptation from Schelling 163, “Crystal Cabinet” 6 175

185 186 Index

Coleridge, Samuel Taylor (continued) self-consciousness 52, 152, 176 ascent of the Brocken 20, 164 slumbering 158 Biographia Literaria 30 threshold of 154 collaboration with Wordsworth 35 unawakened 2, 153 “Dejection: an Ode” 129 unthought-of 152 “Epitaph for S. T. C.” 130 vital 2, 100 “: an Ode” 30 Constable, Archibald 43, 49 “The Hymn to Chamouni” 30 Cookson, Dorothy 163 Kantian metaphysics 64, 68, 80 Corrigan, Timothy 168 “Kubla Khan” 16, 127, 130 Croone, William 79 “Life-in-Death” 129 Cullen, Miss 35, 38 “Limbo” 126, 147, 173 Cullen, William 35 natural and supernatural 154 “Ne Plus Ultra” 173 David, Jacques-Louis: Death of on Klopstock 29 Marat 81 on Piranesi 97, 138, 139 De Luca, Vincent 165 on the subconscious 151–2, 175 De Quincey, Thomas on The Triumph of Death, at casuistry and eidoloclasm xii, Campo Santo of Pisa 138–9 24–42 on Wordsworth’s “Stray Pleasures” on consciousness xii 147 Dark Interpreter 19, 36 opium addiction 24, 114, 120 debts vi, 11, 12, 13, 18, 21, 22, “Pains of Sleep” 130 32, 65, 105, 161, 170 Philosophical Lectures 174 economics of the mind 6, 9, 10 plagiarism 6, 24, 31, 32, 41, 166 ekphrasis as rhetorical “The Rime of the Ancient enargia 113 Mariner” 30, 53, 129, 137 essays on Coleridge 6 romantic irony 53 in Germany 68–69, 167 scupturesque and picturesque 173 idem in alio 124, 125, 164 Shakespearean criticism 88, involute viii, 12, 13, 89–95, 98–99, 110, 152, 170 97–99, 105, 109–11, 113, 142, Coleridge, Hartley 30, 32 163, 169 Coleridge, Sara(daughter): prepares involute, compared to 2nd ed. of Biographia Literaria Wordsworth’s “spots of time” 32, 165 89–90 Coleridge, Sarah Fricker 31, 164 irony xii Collingwood, Cecil 167 jests on 64 Collins, William: “Ode to the journalistic career x, xii Passions” 99 Kantian aesthetics xi Conscious awareness 155, 159 law of antagonism 3, 22, 164 Consciousness xii, 1, 2–9, 14–20, Literature of Knowledge, Literature 22, 53, 101, 110, 114, 134, 142, of Power x, xii, 1–24, 100, 143, 145, 149, 151, 152, 154, 115, 152, 153, 165, 176 156, 159, 160, 162, 163 manuscripts vii, 4 Bewußtlos, Bewußtsein 175 opium addiction 1, 3, 22 dawn of 2, 153 paradox xii, 5, 6 Index 187

De Quincey, Thomas (continued) “On Suicide” 36 political and historical “On the English Notices of journalism vii Kant” 68 political economy x, xii “On the Knocking at the Gate in psychological criticism xiii, 1, 2 Macbeth” xiii, 2, 78, 79, 86, psychological criticism of 88–92, 97, 111, l42, 168 Shakespeare viii, 88–109 “On Wordsworth’s Poetry” xiii, psychological criticism of 2, 142, 154 Wordsworth 2, 142–60, 165 “Protestantism” 165 psychopathology vii “Samuel Taylor Coleridge” 29, 33 review of Ferrier’s “Philosophy of “Savannah-la-Mar” 125 Consciousness” 7, 9, 17 “Secret Socieities” 162 rhetoric and eloquence 23, 100 “Shakespeare” (Encyclopaedia rhetoric and eloquence in Britannica) 32, 88, 105–11, Shakespeare 88, 100 142, 170 rhetoric and style xii, 66, 115 “Shakespeare and Wordsworth” Selections Grave and Gay 83 88, 89, 110, 169, 171 self-exposition vii “Sketches of Life and Manners” sense of paradox xi xii, 35, 166 as shaper and interpreter of “Society of the Lakes” 35, 37 English Romanticism vii “Style” 153 Wordsworth, defense of 35, 38; “Suspiria de Profundis” vii, xii, resentment of 33, 34, 40; 3–5, 8, 9, 11–19, 21, 22, 112, scandalous revelations of 42 161, 163 “Autobiography” 143 “System of the Heavens” 130 “Casuistry” 24–5, 36 “The Dream-Vision of the “Cause of the Novel’s Decline” 1 Infinite” vi, 125, 130–1 “Confessions of an English “The English Mail-Coach” vii, Opium-Eater” x, xi, xii, 1, 3, viii, xii, xiii, 5, 17, 112–41, 22, 68, 98, 109, 112–15, 125, 171, 174 142, 157, 168, 172 “The King of Hayti” 163 “Death of a German Great Man” “The Life and Adventures of (Herder) 29, 167 Oliver Goldsmith” 1, 165 “Dialogues of Three Templars” The Logic of Political Economy xii xii, 161 “The Works of Alexander Pope” 1 “Great Forgers” 50 translation of Voss’s Luisa 1, “Lake Reminiscences” xii, 42, 165 143, 163, 165 Walladmor viii, xi–xiii, 43–66, “Language” 175 78, 166 “Letters to a Young Man whose “What is Theory?” 161 Education has been De Quincey, Margaret Simpson Neglected” xi, 1, 68, 165, l76 (wife) 33, 40, 109 “On Murder Considered as One of De Quincey, William Penson (son) the Fine Arts” vii, viii, 109 xi–xiii, 23, 24, 67–87, l25, Derrida, Jacques 173 133, 168, 169 Donne, John: Biathanatos 36 188 Index

Doyle, Arthur Conan 87 Gulliver, Isaac vii, 48, 166, 167 Dreaming faculty: economy of xii, 10 Hall, Rev. Samuel: from 1793 to Dugdale, Giles 167 1797, De Quincey’s tutor 94–5 Hamilton, Elizabeth 35 Ekphrasis 113, 117, 119, 123, 127, Härtl, Heinz 166 135, 140, 172, 173 Hartley, David 98, 143, 149, in Lessing’s Laokoon 131 150, 175 shield of Achilles, Iliad Book XVIII Hathaway, Anne 104, 106, 170–1 131 Hatyter, Alethea 114 shield of Aeneis, Aeneid Book VIII Hazlitt, William 54, 88, 99, 161 131 on Shakespeare 88 Entrapment 52, 113, 130, 135, 136, Heffernan, James 172 139, 140, 141 Herbig, Friedrich August 43 Euripedes: Medea 81, 122 Herder, Johann Gottfried 29, 167 Hessey, James Augustus 47, 68, 69, Ferrier, James Frederick 72, 77, 167 Lectures, on Greek Philosophy 162 Hoffmann, Ernst Theodor Amadeus “Philosophy of Consciousness” 50–54 7–9, 17, 22, 145, 162–3 Hogarth, William “The Plagiarisms of S. T. “The Harlot’s Progress” 124 Coleridge” 6, 32, 41, 166 “Marriage a la Mode” 124 Fichte Johann Gottlieb 64 “The Rake’s Progress” 124 Fielding: the Murderer of Murderers Homer 104 79, 168 Iliad 131 Fonk, Peter 72, 75–7, 167 Horace (Quintus Horatius Flaccus) “frozen moment” 113, 115, 100, 114, 115, 162 118–22, 126, 131, 172 Howard, Luke 157 Freud, Sigmund 4, 18, 143, 150, 161–3 Jacobus, Mary 168 Fulda, Daniel 167 Japp, Uwe 53 Furst Lilian 53 Jean Paul (Richter) 19, 31, 52, 130, 173 Gaull, Marilyn vi Jeffrey, Francis 34 Gill, Stephen 41, 42, 166 Jewell, Margaret (Mary) 85, 92, Goethe, Johann Wolfgang von 27, 125, 133 28, 30, 40, 41, 166 Jordan, John E. 1, 32, 33, 34, 40, Faust 20, 141, 174 161, 165 Wilhelm Meisters Lehrjahre 26 Jung, Carl 143, 150 Gough, John 39 Junius (Sir Philip Francis) 50 Greek chorus 19 Greek literature 110 Kabul, Siege of 79, 168 Greek 21, 103, 104, 169 Kant, Immanuel 29 Green, George and Sarah 39 a priori categories 52 Green, Joseph Henry 30, 31, 165 aesthetics 24, 68, 78, 80–2, 86 Groves, David viii Critique of Judgement xi, 69, 82, 165, 168, 173 Index 189

Kant, Immanuel (continued) Magendie, François 149 Critique of Pure Reason xi Maid of Buttermere (:Mary Das: Ich denke as Ding-an-sich 52 Robinson), deceived by disinterestedness 86 John Hatfield 39 on National Character 29 Malone, Edmund 108, 170 necessity of als ob 165 Maniquis, Robert viii, 161, 162, 164 Paralogisms and Antinomies xi Marr family reason and imagination 81 Timothy Marr, Cilia Marr (wife), the sublime 80, 82, 83 Timothy Marr junr (son), Theory and Practice 161 James Gowen (apprentice) Keats, John 52, 174 78, 85, 87, 92, 125 ekphrasis 172 see also Margaret Jewell (servant to “Eve of St Agnes” 128 the Marr family) “The Fall of Hyperion” 127–9, Masson, David 40, 165–8 137 Matlak, Richard 175 “negative capability” 53 McDonagh, Josephine vii, 161 “Ode to a Nightingale” 128 Medusa-moment 114, 126, 140, 141 “Ode on a Grecian Urn” 128, Mellor, Anne 53, 65 172, 173 Metternich, Clemens Wenzel Lothar, Keitel, Evelyne 169 Prince 50 Kimball, Katherine 175 Millar, John 38 Kind, Friedrich 57 Millar, Mrs 35, 38 Klopstock, Friedrich Gottlieb 29, 40 Milton, John x, 88, 89, 110, 171 Knox, Dr. Robert 74 and , as sculpturesque Krieger, Murray 172 110 and Ariosto 40 Lacan, Jacques 143, 150, 162 De Quincey’s quotations from Lactantius 72 172 Lamb, Charles 88, 99, 146 and Klopstock 29, 40 on Shakespeare 88 “Lycidas” 144 Leibniz, Gottfried Wilhelm 80 Paradise Lost xiii, 12, 13, 40, 86, Leites, Edmund 165 99, 112, 113, 129, 138, 172 Lessing, Gotthold Ephraim “Samson Agonistes” 30 Laokoon 115–25, 131, 133, 173 and Shakespeare 171 time: evanescent and durational, and the sublime 104 homogenous and and Wordsworth 171 heterogenous 117–20, 125 Mind 2, 4–10, 17–19, 22, 90, 91, Lewes, George Henry 151 99–101, 110, 114, 115, 119, Lindop, Grevel vi, viii, 5, 164, 168, 129, 142–5, 149, 151–8, 163, 171 171, 175, 176 Locke, John 143 affected by opium 115, 120 Lowes, John Livingston 16, 163 animating action of 116 antagonisms 22 M’Kean, Alexander and Michael creativity of 23 83, 84 development from childhood 15 Macpherson, James 49 economy of 9, 10 190 Index

Mind (continued) Psychology, drowsy realms of 91 effects of literature upon 2 Pygmalion-moment 114, 115, Kantian categories 52 126, 140 as palimpsest 21 power of xii, 100, 160 Quennell, Peter 104, 108 processes in slumber 81 Quincey, Elizabeth 13, 14, 18, 20 revulsion of 98 hydrocephaly 18 sensibility 83 Quincey, Elizabeth (sister) 10 sense of sublimity 82 Quincey, Elizabeth Penson (mother) Mitchell, W. J. T. 113, 132, 172 10, 21 Montagu, Basil 39 Quincey Henry (brother) 10 Morrison, Robert viii Quincey, Jane (4th sister) 10, 12 Motion and paralsis 17 Quincey, Jane (3rd sister) 10 Muller, Johannes 149 Quincey, John (brother) 10 Murray, John 41 Quincey, Mary (sister) 10 Quincey, Richard (brother, Nitsch, Friedrich 68 “Pink”) 10 North, Christopher, see John Wilson Quincey, Thomas (father) 10 Quintillian 115 Outis 79 murdered wife and children 80 Raleigh, Sir Walter 114, 172 Reed, Mark 38, 166, 175 Panofsky, Erwin 173 Reynolds, Sir Joshua 124 Pantisocracy 39 Contemplating the Paradoxes 162 Tragic Muse 123 Parekbasis 53 Ricardo, David x, 1, 161 Parr, Dr. Samuel 29 Roberts, Daniel viii Paulson, Ronald 173 Robinson, Henry Crabb 39, 42, Phaedrus 95 153, 166, 176 the Fables 94 Roman, Laura viii, 172 Picture within a picture 102 Rowe, Nicholas 170 picturesque and sculpturesque 110, Rubens, Peter Paul: Rape of the 125, 173 Daughters of Leucippus 81 Piranesi, Giovanni Battista 97, Russett, Margaret vii, 34, 138–40 165, 175 play within a play 102 Rzepka, Charles viii, 161 Plotz, Judith 169 S., Dr., see Hall, Rev. Samuel Political economy x, xi, xii, 1, 2, 6, Schelling, Friedrich Wilhelm Joseph 21, 23, 37, 161, 162 von 19, 30–2, 41, 163, 175 Pousin, Nicholas: Et in Arcadia Ego Schiller, Friedrich 80 122, 172 Schlegel, August Wilhelm 52, 110, Priestman, Martin 168 171, 173 Proctor, Sigmund 1, 161 Schlegel, Friedrich 52, 53, 64 Proudfit, Charles 161 Schneider, Matthew viii psychological criticism xi, xiii, 2, 4, Schubert, Gotthelf Heinrich 88, 92, 142, 143, 150–2, 154, 159 19, 163 Index 191

Scott, Sir Walter viii, xii, xiii, The Tempest 26, 104, 108, 109, 43–51, 54, 57–8, 61–2, 64, 170, 171 66, 164 Timon of Athens 105, 170 The Abbot 61 Twelfth Night 107, 170, 171 The Antiquary 61 Two Noble Kinsmen 100 The Betrothed 166 Shelley, Percy Bysshe 52 The Fortunes of Nigel 43 Shelvocke, George 30 Guy Mannering 61 Shilstone, Frederick 169 Ivanhoe 50 Simond, Louis 35–40, 166 Kenilworth 43, 61 Simpson, David 52, 53, 65 Lady of the Lake 50 Smith, Elizabeth 35 Lay of the Last Minstrel 50 Snyder, Robert Lance vi, 162 Old Mortality 50 Southey, Robert 30, 36, 40, 39, The Pirate 43, 61 142, 165 Peveril of the Peak 50, 51 Spedding, John vii, 166 Quentin Durward 43, 50 Spenser, Edmund 114 Tales of my Landlord 61 Faerie Queene 64, 66 Waverley 50, 61 Spitzer, Leo 173 Scott, Grant 172, 173 Steevens, George 170 Sculpturesque and picturesque Stewart, Dugald 68 110, 125, 173 Strohschneider-Kohrs, Ingrid 53 Shakespeare, John 105, 170 Subconscious xiii, 1–4, 6, 8, 17, 21, Shakespeare, Susanna 107 22, 150–4, 160, 163, 175 Shakespeare, William x, 23, borderland of 158 88–111 Sublime 80, 82, 84, 85, 94–7, 104, Antony and Cleopatra 157 158, 159 comic relief 86 sublime antagonism 101 De Quincey’s quotations from 89 Swiff, Jonathan 80 deer-poaching 170 Gulliver’s Travels 48 extends the “domains of “A Modest Proposal” 67, 85 consciousness” 110 Symonds, Barry viii Hamlet 101–4, 152, 157, 170 Henry VI 86 Taylor, John 47, 68 King Lear 101, 142 Taylor, William 175 Macbeth 86–7, 96–7, 101, 109, 169 Thorwaldsen, Bertel 173 The Merry Wives of Windsor 170 Tieck, Ludwig 50–3 Midsummer-Night’s Dream 26 Timomachus 122, 123 and Mitton 171 Triumph of Death, fresco 139 Othello 98, 99, 101, 170 Unconsciousness 150–2, 162, 164 play within a play 102–3 collective 159 psychological insight 142 Unbewußtsein 150, 163 as rhetorician 100 Bewuißtlos, Bewußtsein 175 self-reflective irony 52 Under-consciousness 151 Sonnet 41 106, 170, 171 Unterbewußtsein 150 sublime 104 supernatural 110 Vaihinger, Hans 165 192 Index

Véncour, Raymond de 88, 110, 171 as philosophic poet 154 Virgil: Aeneid 77, 131, 132, 168 as poet Laureate 142 Voss, Johann Heinrich: Luisa 165 power 153, 154 “Address to Kilchurn Castle” Walpole, Horace 50 119, 154–6 Warburton, William, Bishop of “The child is father of the Gloucester 169 man” 15 notes on Shakespeare 169–70 “Composed after a Journey across Weber, Carl Maria von: Hambleton Hills” 156–7 Der Freischütz 57 “Elegiac Stanzas” 118–119 Whale, John vi, vii, viii “Essay on Epitaphs” 121 White, John 167 Essay, Supplementary to the Whyte, Lancelot 162 Preface 153 Williams, John 79, 83, 85, 87, The Excursion 110, 154, 92, 125 157, 158 Willich, Anthony Florian “The Fountain” 144 Madinger 68 “Hail, Twilight” 156 Wilson, John (“Christopher North”) “Hart-Leap Well” 144, 156 6, 34, 72–3, 162, 165 142 Wolff, Christian 80 Poems (1845) 142 Wordsworth, Catherine 39 Poems in Two Volumes (1807) Wordsworth, Dorothy 33, 39, 159 158, 165 Preface to Lyrical Ballads 154 Wordsworth, John 118 The Prelude 15, 16, 33, 36, 89, Wordsworth, Mary 33, 165 119, 154, 155 Wordsworth William x, 8, 23, 24, “On the Banks of a Rocky Stream” 29, 34, 36, 39, 142–61, 165, 169 176 on Abolition of the Slave “Sky-Prospect” 158 Trade 163 “spots of time” 89 association of ideas 143, 144, “Stray Pleasures” 144, 146 150, 155 “There was a Boy” 34, 165 compared to Shakespeare 88, “Those words were uttered” 158 89, 110 “The Two April Mornings” 144 on De Quincey’s betrayal 29–32 “Upon the Sight of a Beautiful in Goslar 175 Picture” 117–18 irony 52 “We Are Seven” 144, 145, 175 lack of public recognition 35, 37 meeting with Louis Simond Zeno 133 39–40, 166 paradoxes 132