The Posthumous Works of Thomas De Quincey, Vol. 1. Томас Де Квинси

find De Quincey writing in his prefatory notice to the enlarged edition of the 'Confessions' in November, 1856:

      'All along I had relied upon a crowning grace, which I had reserved for the final page of this volume, in a succession of some twenty or twenty-five dreams and noon-day visions, which had arisen under the latter stage of opium influence. These have disappeared; some under circumstances which allow me a reasonable prospect of recovering them, some unaccountably, and some dishonourably. Five or six I believe were burned in a sudden conflagration which arose from the spark of a candle falling unobserved amongst a very large pile of papers in a bedroom, where I was alone and reading. Falling not on, but amongst and within the papers, the fire would soon have been ahead of conflict, and, by communicating with the slight woodwork and draperies of a bed, it would have immediately enveloped the laths of the ceiling overhead, and thus the house, far from fire-engines, would have been burned down in half-an-hour. My attention was first drawn by a sudden light upon my book; and the whole difference between a total destruction of the premises and a trivial loss (from books charred) of five guineas was due to a large Spanish cloak. This, thrown over and then drawn down tightly, by the aid of one sole person, somewhat agitated, but retaining her presence of mind, effectually extinguished the fire. Amongst the papers burned partially, but not so burned as to be absolutely irretrievable, was "The Daughter of Lebanon," and this I have printed and have intentionally placed it at the end, as appropriately closing a record in which the case of poor "Ann the Outcast" formed not only the most memorable and the most suggestively pathetic incident, but also that which, more than any other, coloured—or (more truly, I should say) shaped, moulded and remoulded, composed and decomposed—the great body of opium dreams.'

      After this loss of the greater portion of the 'Suspiria' copy, De Quincey seems to have become indifferent in some degree to their continuity and relation to each other. He drew the 'Affliction of Childhood' and 'Dream Echoes,' which stood early in the order of the 'Suspiria,' into the 'Autobiographic Sketches,' and also the 'Spectre of the Brocken,' which was meant to come somewhat later in the series as originally planned; and, as we have seen, he appended 'The Daughter of Lebanon' to the 'Opium Confessions,' without any reference, save in the preface, to its really having formed part of a separate collection of dreams.

      From a list found among his MSS. we are able to give the arrangement of the whole as it would have appeared had no accident occurred, and all the papers been at hand. Those followed by a cross are those which are now recovered, and those with a dagger what were reprinted either as 'Suspiria' or otherwise in Messrs. Black's editions.

      SUSPIRIA DE PROFUNDIS

      1. Dreaming, †

      2. The Affliction of Childhood. †

      Dream Echoes. †

      3. The English Mail Coach. †

      (1) The Glory of Motion.

      (2) Vision of Sudden Death.

      (3) Dream-fugue.

      4. The Palimpsest of the Human Brain. †

      5. Vision of Life. †

      6. Memorial Suspiria. †

      7. Levana and our Ladies of Sorrow.

      8. Solitude of Childhood. ☩

      9. The Dark Interpreter. ☩

      10. The Apparition of the Brocken. †

      11. Savannah-la-Mar.

      12. The Dreadful Infant. (There was the glory of innocence made perfect; there was the dreadful

      beauty of infancy that had seen God.)

      13. Foundering Ships.

      14. The Archbishop and the Controller of Fire.

      15. God that didst Promise.

      16. Count the Leaves in Vallombrosa.

      17. But if I submitted with Resignation, not the less I searched for the Unsearchable—sometimes

      in Arab Deserts, sometimes in the Sea.

      18. That ran before us in Malice.

      19. Morning of Execution.

      20. Daughter of Lebanon. †

      21. Kyrie Eleison.

      22. The Princess that lost a Single Seed of a Pomegranate. ☩

      23. The Nursery in Arabian Deserts.

      24. The Halcyon Calm and the Coffin.

      25. Faces! Angels' Faces!

      26. At that Word.

      27. Oh, Apothanate! that hatest Death, and cleansest from the Pollution of Sorrow.

      28. Who is this Woman that for some Months has followed me up and down? Her face I cannot

      see, for she keeps for ever behind me.

      29. Who is this Woman that beckoneth and warneth me from the Place where she is, and in

      whose Eyes is Woeful remembrance? I guess who she is. ☩

      30. Cagot and Cressida.

      31. Lethe and Anapaula.

      32. Oh, sweep away, Angel, with Angelic Scorn, the Dogs that come with Curious Eyes to gaze.

      Thus of the thirty-two 'Suspiria' intended by the author, we have only nine that received his final corrections, and even with those now recovered, we have only about one half of the whole, presuming that those which are lost or remained unwritten would have averaged about the same length as those we have. To those who have studied the 'Suspiria' as published, how suggestive many of these titles will be! 'Count the Leaves in Vallombrosa'—what phantasies would that have conjured up! The lost, the apparently wasted of the leaves from the tree of human life, and the possibilities of use and redemption! De Quincey would there doubtless have given us under a form more or less fanciful or symbolical his reading of the problem:

      'Why Nature out of fifty seeds

      So often brings but one to bear.'

      The case of the Cagots, the pariahs of the Pyrenees, as we know from references elsewhere, excited his curiosity, as did all of the pariah class, and much engaged his attention; and in the 'Cagot and Cressida' 'Suspiria' we should probably have had under symbols of mighty abstractions the vision of the pariah world, and the world of health and outward fortune which scorns and excludes the other, and partly, at all events, actively dooms it to a living death in England of to-day, as in India of the past, and in Jewry of old, where the leper was thrust outside the wall to wail 'Unclean! unclean!'

      1.—The Dark Interpreter

      'Oh, eternity with outstretched wings, that broodest over the secret truths in whose roots lie the mysteries of man—his whence, his whither—have I searched thee, and struck a right key on thy dreadful organ!'

      Suffering is a mightier agency in the hands of nature, as a Demiurgus creating the intellect, than most people are aware of.

      The truth I heard often in sleep from the lips of the Dark Interpreter. Who is he? He is a shadow, reader, but a shadow with whom you must suffer me to make you acquainted. You need not be afraid of him, for when I explain his nature and origin you will see that he is essentially inoffensive; or if sometimes he menaces with his countenance, that is but seldom: and then, as his features in those moods shift as rapidly as clouds in a gale of wind, you may always look for the terrific aspects to vanish as fast as they have gathered. As to his origin—what it is, I know exactly, but cannot without a little circuit of preparation make you understand. Perhaps you are aware of that power in the eye of many children by which in darkness they project a vast theatre of phantasmagorical figures moving forwards or backwards between their bed-curtains and the chamber walls. In some children this power is semi-voluntary—they can control or perhaps suspend the shows; but in others it is altogether automatic. I myself, at the date of my last confessions, had seen in this way more processions—generally solemn, mournful, belonging to eternity, but also at times glad, triumphal pomps, that seemed to enter the gates of Time—than all the