Thomas De Quincey

Thomas Penson De Quincey (/də ˈkwɪnsi/;[1] 15 August 1785 – 8 December 1859) was an English essayist, best known for his Confessions of an English Opium-Eater (1821).[2][3] Many scholars suggest that in publishing this work De Quincey inaugurated the tradition of addiction literature in the West.[4]

For the writer and producer of Technotronic, see Jo Bogaert.

Thomas De Quincey
Thomas de Quincey by Sir John Watson-Gordon
BornThomas Penson De Quincey
(1785-08-15)August 15, 1785
Manchester, Lancashire, England
DiedDecember 8, 1859(1859-12-08) (aged 74)
Edinburgh, Scotland
Resting placeSt Cuthbert's Churchyard, Edinburgh
Notable worksConfessions of an English Opium-Eater
"On the Knocking at the Gate in Macbeth"

Life and work

Child and student

Thomas Penson De Quincey was born at 86 Cross Street, Manchester, Lancashire.[5] His father, a successful merchant with an interest in literature, died when De Quincey was quite young. Soon after his birth the family went to The Farm and then later to Greenheys, a larger country house in Chorlton-on-Medlock near Manchester. In 1796, three years after the death of his father, Thomas Quincey, his mother – the erstwhile Elizabeth Penson – took the name "De Quincey."[6] That same year, De Quincey's mother moved to Bath and enrolled him at King Edward's School. He was a weak and sickly child. His youth was spent in solitude, and when his elder brother, William, came home, he wrought havoc in the quiet surroundings. De Quincey's mother was a woman of strong character and intelligence, but seems to have inspired more awe than affection in her children. She brought them up strictly, taking De Quincey out of school after three years because she was afraid he would become big-headed, and sending him to an inferior school at Wingfield, Wiltshire.[7]

Around this time, in 1799, De Quincey first read Lyrical Ballads by William Wordsworth and Coleridge.[6] In 1800, De Quincey, aged 15, was ready for the University of Oxford; his scholarship was far in advance of his years. "That boy could harangue an Athenian mob better than you or I could address an English one", his master at Bath had said.[8] He was sent to Manchester Grammar School, in order that after three years' stay he might obtain a scholarship to Brasenose College, Oxford, but he took flight after 19 months.[9]

Bust of Thomas De Quincey, by Sir John Steell.

His first plan had been to reach Wordsworth, whose Lyrical Ballads (1798) had consoled him in fits of depression and had awakened in him a deep reverence for the poet. But for that De Quincey was too timid, so he made his way to Chester, where his mother dwelt, in the hope of seeing a sister; he was caught by the older members of the family, but, through the efforts of his uncle, Colonel Penson, received the promise of a guinea (£1.05) a week to carry out his later project of a solitary tramp through Wales. From July to November 1802, De Quincey lived as a wayfarer. He soon lost his guinea by ceasing to keep his family informed of his whereabouts, and had difficulty making ends meet. Still, apparently fearing pursuit, he borrowed some money and travelled to London, where he tried to borrow more. Having failed, he lived close to starvation rather than return to his family.[10]

Fox Ghyll, near Rydal, Cumbria, De Quincey's home from 1820-25

Discovered by chance by his friends, De Quincey was brought home and finally allowed to go to Worcester College, Oxford, on a reduced income. Here, we are told, "he came to be looked upon as a strange being who associated with no one." In 1804, while at Oxford, he began the occasional use of opium.[6] He completed his studies, but failed to take the oral examination leading to a degree; he left the university without graduating.[11] He became an acquaintance of Coleridge and Wordsworth, having already sought out Charles Lamb in London. His acquaintance with Wordsworth led to his settling in 1809 at Grasmere, in the Lake District. He lived for ten years in Dove Cottage, which Wordsworth had occupied and which is now a popular tourist attraction, and for another five years at Foxghyll Country House, Ambleside.[12] De Quincey was married in 1816, and soon after, having no money left, he took up literary work in earnest.[13]

His wife Margaret bore him eight children before her death in 1837. Three of De Quincey's daughters survived him. One of his sons, Paul Frederick de Quincey (1828–1894), emigrated to New Zealand.[14]

Journalist
De Quincey's large house at 1 Forres Street, Edinburgh.

In July 1818 De Quincey became editor of The Westmorland Gazette, a Tory newspaper published in Kendal, after its first editor had been dismissed.[15] He was unreliable at meeting deadlines, and in June 1819 the proprietors complained about "their dissatisfaction with the lack of 'regular communication between the Editor and the Printer'", and he resigned in November 1819.[16] De Quincey's political sympathies tended towards the right. He was "a champion of aristocratic privilege," reserved "Jacobin" as his highest term of opprobrium, held reactionary views on the Peterloo Massacre and the Sepoy rebellion, on Catholic Emancipation and the enfranchisement of the common people.

Translator and essayist

In 1821 he went to London to dispose of some translations from German authors, but was persuaded first to write and publish an account of his opium experiences, which that year appeared in the London Magazine. This new sensation eclipsed Lamb's Essays of Elia, which were then appearing in the same periodical. The Confessions of an English Opium-Eater were soon published in book form.[17] De Quincey then made literary acquaintances. Thomas Hood found the shrinking author "at home in a German ocean of literature, in a storm, flooding all the floor, the tables and the chairs – billows of books …"[18] De Quincey was famous for his conversation; Richard Woodhouse wrote of the "depth and reality, as I may so call it, of his knowledge … His conversation appeared like the elaboration of a mine of results …"[19]

From this time on, De Quincey maintained himself by contributing to various magazines. He soon exchanged London and the Lakes for Edinburgh,[20] the nearby village of Polton, and Glasgow; he spent the remainder of his life in Scotland.[21] In the 1830s he is listed as living at 1 Forres Street, a large townhouse on the edge of the Moray Estate in Edinburgh.[22]

Blackwood's Edinburgh Magazine and its rival Tait's Magazine received numerous contributions. Suspiria de Profundis (1845) appeared in Blackwood's, as did The English Mail-Coach (1849). Joan of Arc (1847) was published in Tait's. Between 1835 and 1849, Tait's published a series of De Quincey's reminiscences of Wordsworth, Coleridge, Robert Southey and other figures among the Lake Poets – a series that taken together constitutes one of his most important works.[23]

Financial pressures
Thomas De Quincey

Along with his opium addiction, debt was one of the primary constraints of De Quincey's adult life.[24] He pursued journalism as the one way available to him to pay his bills; and without financial need it is an open question how much writing he would ever have done.

De Quincey came into his patrimony at the age of 21, when he received £2,000 from his late father's estate. He was unwisely generous with his funds, making loans that could not or would not be repaid, including a £300 loan to Coleridge in 1807. After leaving Oxford without a degree, he made an attempt to study law, but desultorily and unsuccessfully; he had no steady income and spent large sums on books (he was a lifelong collector). By the 1820s he was constantly in financial difficulties. More than once in his later years, De Quincey was forced to seek protection from arrest in the debtors' sanctuary of Holyrood in Edinburgh.[25] (At the time, Holyrood Park formed a debtors' sanctuary; people could not be arrested for debt within those bounds.[26] The debtors who took sanctuary there could emerge only on Sundays, when arrests for debt were not allowed.) Yet De Quincey's money problems persisted; he got into further difficulties for debts he incurred within the sanctuary.[27]

His financial situation improved only later in his life. His mother's death in 1846 brought him an income of £200 per year. When his daughters matured, they managed his budget more responsibly than he ever had himself.[28]

Medical issues

Medical practitioners have speculated on the physical ailments that inspired and underlay De Quincey's resort to opium, and searched the corpus of his autobiographical works for evidence. One possibility is "a mild … case of infantile paralysis" that he may have contracted from Wordsworth's children.[29] De Quincey certainly had intestinal problems, and problems with his vision – which could have been related: "uncorrected myopic astigmatism … manifests itself as digestive problems in men."[30] De Quincey also suffered neuralgic facial pain, "trigeminal neuralgia"  – "attacks of piercing pain in the face, of such severity that they sometimes drive the victim to suicide."[31]

As with many addicts, De Quincey's opium addiction may have had a "self-medication" aspect for real physical illnesses, as well as a psychological aspect.[32]

De Quincey's grave in St. Cuthbert's Kirkyard, Edinburgh.

By his own testimony, De Quincey first used opium in 1804 to relieve his neuralgia; he used it for pleasure, but no more than weekly, through 1812. It was in 1813 that he first commenced daily usage, in response to illness and his grief over the death of Wordsworth's young daughter Catherine. During 1813–1819 his daily dose was very high, and resulted in the sufferings recounted in the final sections of his Confessions. For the rest of his life his opium use fluctuated between extremes; he took "enormous doses" in 1843, but late in 1848 he went for 61 days with none at all. There are many theories surrounding the effects of opium on literary creation, and notably, his periods of low use were literarily unproductive.[33]

He died in Edinburgh and is buried in St Cuthbert's Churchyard at the west end of Princes Street. His stone, in the southwest section of the churchyard on a west facing wall, is plain and says nothing of his work.

Collected works

During the final decade of his life, De Quincey labored on a collected edition of his works.[34] Ticknor and Fields, a Boston publishing house, first proposed such a collection, and solicited De Quincey's approval and co-operation. It was only when De Quincey, a chronic procrastinator, failed to answer repeated letters from James Thomas Fields[35] that the American publisher proceeded independently, reprinting the author's works from their original magazine appearances. Twenty-two volumes of De Quincey's Writings were issued from 1851–59.

The existence of the American edition prompted a corresponding British edition. Since the spring of 1850 De Quincey had been a regular contributor to an Edinburgh periodical called Hogg's Weekly Instructor, whose publisher, James Hogg, undertook to publish Selections Grave and Gay from Writings Published and Unpublished by Thomas De Quincey. De Quincey edited and revised his works for the Hogg edition; the 1856 second edition of the Confessions was prepared for inclusion in Selections Grave and Gay…. The first volume of that edition appeared in May 1853, and the fourteenth and last in January 1860, a month after the author's death.

Both of these were multi-volume collections, yet made no pretense to be complete. Scholar and editor David Masson attempted a more definitive collection: The Works of Thomas De Quincey appeared in fourteen volumes in 1889 and 1890. Yet De Quincey's writings were so voluminous and widely dispersed that further collections followed: two volumes of The Uncollected Writings (1890), and two volumes of Posthumous Works (1891–93). De Quincey's 1803 diary was published in 1927.[36] Another volume, New Essays by De Quincey, appeared in 1966.

Influence

His immediate influence extended to Edgar Allan Poe, Fitz Hugh Ludlow, Charles Baudelaire and Nikolai Gogol, but even major 20th-century writers such as Jorge Luis Borges admired and claimed to be partly influenced by his work. Berlioz also loosely based his Symphonie fantastique on Confessions of an English Opium-Eater, drawing on the theme of the internal struggle with one's self.

Dario Argento used De Quincey's Suspiria, particularly "Levana and Our Ladies of Sorrow", as an inspiration for his "Three Mothers" trilogy of films, which include Suspiria, Inferno and The Mother of Tears. This influence carried over into Luca Guadagnino's 2018 version of the film.

Shelby Hughes created Jynxies Natural Habitat, an online archive of stamp art on glassine heroin bags, under the pseudonym "Dequincey Jinxey," in reference to De Quincey. She also used the pseudonym in interviews related to the archive.

Major publications
Main article: Thomas De Quincey bibliography

References
  1. De Quincey. Dictionary.com. Collins English Dictionary – Complete & Unabridged 10th Edition. HarperCollins Publishers. http://dictionary.reference.com/browse/de_quincey (accessed: 29 June 2013).
  2. Eaton, Horace Ainsworth, Thomas De Quincey: A Biography, New York, Oxford University Press, 1936; reprinted New York, Octagon Books, 1972;
  3. Lindop, Grevel. The Opium-Eater: A Life of Thomas De Quincey, London, J. M. Dent & Sons, 1981.
  4. Morrison, Robert. "De Quincey's Wicked Book", OUP Blog. Oxford University Press, 2013.
  5. The later building on the site (adjoining John Dalton Street) bears a stone inscription referring to de Quincey.
  6. Morrison, Robert. "Thomas De Quincey: Chronology" TDQ Homepage. Kingston: Queen's University, 2013. "Archived copy". Archived from the original on 24 December 2013. Retrieved 24 December 2013.CS1 maint: archived copy as title (link)
  7. Eaton, pp. 1–40; Lindop, pp. 2–43.
  8. Morrison, Robert. "Thomas De Quincey: Biography" TDQ Homepage. Kingston: Queen's University, 2013. "Archived copy". Archived from the original on 3 May 2007. Retrieved 12 June 2013.CS1 maint: archived copy as title (link)
  9. Lindop, pp. 25, 46–62, and ff.
  10. Eaton, pp. 57–87.
  11. Eaton, pp. 106–29.
  12. "Nomination for the English Lake District Cultural Landscape: An Evolving Masterpiece" (PDF) (PDF). Lake District National Park Partnership. 20 May 2015. p. 39. Retrieved 23 May 2016.
  13. Eaton, pp. 255–308.
  14. "Death of Colonel de Quincey". The New Zealand Herald. XXXI (9486). 16 April 1894. p. 5. Retrieved 10 December 2013.
  15. Liukkonen, Petri. "Thomas De Quincey". Books and Writers (kirjasto.sci.fi). Finland: Kuusankoski Public Library. Archived from the original on 10 October 2014.
  16. Lindop, Grevel (September 2004). "Quincey, Thomas Penson De (1785–1859)". Oxford Dictionary of National Biography. Oxford University Press. Retrieved 4 July 2010. Online edition available by subscription
  17. Confessions was first published in London Magazine in 1821. It was published in book form the following year. (Morrison, Robert. "Thomas De Quincey: Chronology." TDQ Homepage. Kingston: Queen's University, 2013. "Archived copy". Archived from the original on 24 December 2013. Retrieved 24 December 2013.CS1 maint: archived copy as title (link))
  18. Lindop. pp. 259–60.
  19. Eaton, pp. 280.
  20. Bloy, Marjie. "Thomas de Quincey: A biography". Victorian Web.
  21. Eaton, pp. 309–33 and ff.
  22. "Edinburgh Post Office annual directory, 1832-1833". National Library of Scotland. p. 153. Retrieved 25 February 2018.
  23. Thomas De Quincey, Recollections of the Lakes and the Lake Poets, David Wright, ed., New York, Penguin Books, 1970.
  24. Lindop, pp. 246, 255, 257, 269, 271 and ff., especially 319-39.
  25. Lindop, pp. 310–11; Eaton, pp. 342–3.
  26. "A Parliament for a People..." (PDF). Archived from the original (PDF) on 4 September 2012. Retrieved 25 September 2011.
  27. Eaton, p. 372.
  28. Eaton, pp. 429–30.
  29. C. H. Hendricks, cited in: Judson S. Lyon, Thomas De Quincey, New York, Twayne Publishers, 1969; p. 57.
  30. George M. Gould, cited in Lyon, p. 55.
  31. Philip Sandblom, Creativity and Disease, Seventh Edition, New York, Marion Boyars, 1992; p. 49.
  32. Lyon, pp. 57–8.
  33. Alethea Hayter, Opium and the Romantic Imagination, revised edition, Wellingborough, Northamptonshire, Crucible, 1988; pp. 229–31.
  34. Eaton, pp. 469–82.
  35. Eaton, pg. 472.
  36. Eaton, pg. 525.

Further reading
  • Abrams, M.H. (1971). Natural Supernaturalism: Tradition and Revolution in Romantic Literature. New York: Norton.
  • Agnew, Lois Peters (2012). Thomas De Quincey: British Rhetoric's Romantic Turn. Carbondale: Southern Illinois University Press.
  • Barrell, John (1991). The Infection of Thomas De Quincey. New Have: Yale University Press.
  • Bate, Jonathan (1993). "The Literature of Power: Coleridge and De Quincey." In: Coleridge’s Visionary Languages. Bury St. Edmonds: Brewer, pp. 137–50.
  • Baxter, Edmund (1990). De Quincey's Art of Autobiography. Edinburgh: Edinburgh University Press.
  • Berridge, Virginia and Griffith Edwards (1981). Opium and the People: Opiate Use in Nineteenth-century England. London: Allen Lane.
  • Clej, Alina (1995). A Genealogy of the Modern Self: Thomas De Quincey and the Intoxication of Writing. Stanford: Stanford University Press.
  • De Luca, V.A. (1980). Thomas De Quincey: The Prose of Vision. Toronto: University of Toronto Press.
  • Devlin, D.D. (1983). De Quincey, Wordsworth and the Art of Prose. London: Macmillan.
  • Goldman, Albert (1965). The Mine and the Mint: Sources for the Writings of Thomas De Quincey. Carbondale: Southern Illinois University Press.
  • Le Gallienne, Richard (1898). "Introduction." In: The Opium Eater and Essays. London: Ward, Lock & Co., pp. vii–xxv.
  • McDonagh, Josephine (1994). De Quincey's Disciplines. Oxford: Clarendon Press.
  • North, Julian (1997). De Quincey Reviewed: Thomas De Quincey’s Critical Reception, 1821-1994. London: Camden House.
  • Oliphant, Margaret (1877). "The Opium-Eater," Blackwood's Magazine, Vol. 122, pp. 717–41.
  • Roberts, Daniel S. (2000). Reviosionary Gleam: De Quincey, Coleridge and the High Romantic Argument. Liverpool: Liverpool University Press.
  • Russett, Margaret (1997). De Quincey’s Romanticism: Canonical Minority and the Forms of Transmission. Cambridge: Cambridge University Press.
  • Rzepka, Charles (1995). Sacramental Commodities: Gift, Text and the Sublime in De Quincey. Amherst: University of Massachusetts Press.
  • Saintsbury, George (1923). "De Quincey." In: The Collected Essays and Papers, Vol. 1. London: Dent, pp. 210–38.
  • Snyder, Robert Lance, ed. (1985). Thomas De Quincey: Bicentenary Studies. Norman: University of Oklahoma Press.
  • Stephen, Leslie (1869). "The Decay of Murder," The Cornhill Magazine, Vol. 20, pp. 722–33.
  • Utz, Richard (2018). "The Cathedral as Time Machine: Art, Architecture, and Religion." In: The Idea of the Gothic Cathedral. Interdisciplinary Perspectives on the Meanings of the Medieval Edifice in the Modern Period, ed. Stephanie Glaser (Turnhout: Brepols, 2018). pp. 239–59. [on "The Glory of Motion" 1849]
  • Stirling, James Hutchison (1867). "De Quincey and Coleridge Upon Kant," Fortnightly Review, Vol. 8, pp. 377–97.
  • Frances, Wilson (2016). Guilty Thing: A Life of Thomas De Quincey. Farrar, Straus and Giroux. New York. ISBN 978-0-374-16730-1
  • Wellek, René (1944). "De Quincey’s Status in the History of Ideas,” Philological Quarterly, Vol. 23, pp. 248–72.
  • Woodhouse, Richard (1885). "Notes of Conversation with Thomas De Quincey." In: Confessions of an English Opium-Eater. London: Kegan Paul, pp. 191–233.
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