or in its vicinity, for the rest of his life. The grotesquely humorous Essay on Murder Considered as One of the Fine Arts appeared in Blackwood's in 1827. In 1832 he published a series of articles on Roman History, entitled The Cæsars. It was in July, 1837, that the Revolt of the Tartars appeared; in 1840 his critical paper upon The Essenes. Meanwhile De Quincey had begun contributions to Tait's Magazine, another Edinburgh publication, and it was in that periodical that the Sketches of Life and Manners from the Autobiography of an English Opium-Eater began to appear in 1834, running on through several years. These sketches include the chapters on Wordsworth, Coleridge, Lamb, and Southey as well as those Autobiographic Sketches which form such a charming and illuminating portion of his complete works.
The family life was sadly broken in 1837 by the death of De Quincey's wife. He who was now left as guardian of the little household of six children, was himself so helpless in all practical matters that it seemed as though he were in their childish care rather than protector of them. Scores of anecdotes are related of his odd and unpractical behavior. One of his curious habits had been the multiplication of lodgings; as books and manuscripts accumulated about him so that there remained room for no more, he would turn the key upon his possessions and migrate elsewhere to repeat the performance later on. It is known that as many as four separate rents were at one and the same time being paid by this odd, shy little man, rather than allow the disturbance or contraction of his domain. Sometimes an anxious journey in search of a manuscript had to be made by author and publisher in conjunction before the missing paper could be located. The home life of this eccentric yet lovable man of genius seems to have been always affectionate and tender in spite even of his bondage to opium; it was especially beautiful and childlike in his latest years. His eldest daughter, Margaret, assumed quietly the place of headship, and with a discretion equal to her devotion she watched over her father's welfare. With reference to De Quincey's circumstances at this time, his biographer, Mr. Masson, says: "Very soon, if left to himself, he would have taken possession of every room in the house, one after another, and 'snowed up' each with his papers; but, that having been gently prevented, he had one room to work in all day and all night to his heart's content. The evenings, or the intervals between his daily working time and his nightly working time, or stroll, he generally spent in the drawing-room with his daughters, either alone or in company with any friends that chanced to be with him. At such times, we are told, he was unusually charming. 'The newspaper was brought out, and he, telling in his own delightful way, rather than reading, the news, would, on questions from this one or that one of the party, often including young friends of his children, neighbors, or visitors from distant places, illuminate the subject with such a wealth of memories, of old stories of past or present experiences, of humor, of suggestion, even of prophecy, as by its very wealth makes it impossible to give any taste of it.' The description is by one of his daughters; and she adds a touch which is inimitable in its fidelity and tenderness. 'He was not,' she says, 'a reassuring man for nervous people to live with, as those nights were exceptional on which he did not set something on fire, the commonest incident being for some one to look up from book or work, to say casually, Papa, your hair is on fire; of which a calm Is it, my love? and a hand rubbing out the blaze was all the notice taken.'" [4]
Of his personal appearance Professor Minto says:
"He was a slender little man, with small, clearly chiselled features, a large head, and a remarkably high, square forehead. There was a peculiarly high and regular arch in the wrinkles of his brow, which was also slightly contracted. The lines of his countenance fell naturally into an expression of mild suffering, of endurance sweetened by benevolence, or, according to the fancy of the interpreter, of gentle, melancholy sweetness. All that met him seem to have been struck with the measured, silvery, yet somewhat hollow and unearthly tones of his voice, the more impressive that the flow of his talk was unhesitating and unbroken."
The literary labors were continuous. In 1845 the beautiful Suspiria de Profundis (Sighs from the Depths) appeared in Blackwood's; The English Mail Coach and The Vision of Sudden Death, in 1849. Among other papers contributed to Tait's Magazine, the Joan of Arc appeared in 1847. During the last ten years of his life, De Quincey was occupied chiefly in preparing for the publishers a complete edition of his works. Ticknor & Fields, of Boston, the most distinguished of our American publishing firms, had put forth, 1851–55, the first edition of De Quincey's collected writings, in twenty volumes. The first British edition was undertaken by Mr. James Hogg, of Edinburgh, in 1853, with the co-operation of the author, and under his direction; the final volume of this edition was not issued until the year following De Quincey's death.
In the autumn of 1859 the frail physique of the now famous Opium-Eater grew gradually feeble, although suffering from no definite disease. It became evident that his life was drawing to its end. On December 8, his two daughters standing by his side, he fell into a doze. His mind had been wandering amid the scenes of his childhood, and his last utterance was the cry, "Sister, sister, sister!" as if in recognition of one awaiting him, one who had been often in his dreams, the beloved Elizabeth, whose death had made so profound and lasting an impression on his imagination as a child.
The authoritative edition of De Quincey's Works is that edited by David Masson and published in fourteen volumes by Adam and Charles Black (Edinburgh). For American students the Riverside Edition, in twelve volumes (Houghton, Mifflin & Co., Boston), will be found convenient. The most satisfactory Life of De Quincey is the one by Masson in the English Men of Letters series. Of a more anecdotal type are the Life of De Quincey, by H.A. Page, whose real name is Alexander H. Japp (2 vols., New York, 1877), and De Quincey Memorials (New York, 1891), by the same author. Very interesting is the brief volume, Recollections of Thomas De Quincey, by John R. Findlay (Edinburgh, 1886), who also contributes the paper on De Quincey to the Encyclopædia Britannica. De Quincey and his Friends, by James Hogg (London, 1895), is another volume of recollections, souvenirs, and anecdotes, which help to make real their subject's personality. Besides the editor, other writers contribute to this volume: Richard Woodhouse, John R. Findlay, and John Hill Burton, who has given under the name "Papaverius," a picturesque description of the Opium-Eater. The student should always remember that De Quincey's own chapters in the Autobiographic Sketches, and the Confessions of an English Opium-Eater, which are among the most charming and important of his writings, are also the most authoritative and most valuable sources of our information concerning him. In reading about De Quincey, do not fail to read De Quincey himself.
The best criticism of the Opium-Eater's work is found in William Minto's Manual of English Prose Literature (Ginn & Co.). A shorter essay is contained in Saintsbury's History of Nineteenth Century Literature. A very valuable list of all De Quincey's writings, in chronological order, is given by Fred N. Scott, in his edition of De Quincey's essays on Style, Rhetoric, and Language (Allyn & Bacon). Numerous magazine articles may be found by referring to Poole's Index.
FOOTNOTES:
[1] Autobiographic Sketches, Chap. I.
[2] Ibid.
[3]Confessions of an English Opium-Eater, Part II.
[4] De Quincey (English Men of Letters), David Masson, p. 110.
HOW TO READ DE QUINCEY.
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