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Confessions of an English Opium-Eater
by Thomas de Quincey
with illustrations from William Max Miller's Arabesques

    Thomas de Quincey's Confessions of an English Opium Eater first appeared in 1821 in the London Magazine. An immediate success, this work appeared the following year in book form and has remained in print ever since. Friends of both Wordsworth and Coleridge, de Quincey became a major figure of the Romantic Movement, and his personal account of opium addiction exhibits a preoccupation with  dreams, visions, and nightmares common to the Romantics. The following extract is taken from the section of his Confessions subtitled "The Pains of Opium." It provides a remarkable account of drug-induced mental decompensation, and describes the mind altering effects of opium with unforgettable vividness. The illustrations which appear on this page were done by processing drawings of a human skull through various distortion filters on Adobe Photo Deluxe.



"... as when some great painter dips
His pencil in the gloom of earthquake and eclipse."
-- Shelley's Revolt of Islam

    I now pass to what is the main subject of these latter confessions, to the history and journal of what took place in my dreams; for these were the immediate and proximate cause of my acutest suffering.
    The first notice I had of any important change going on in this part of my physical economy, was from the re-awaking of a state of eye generally incident to childhood, or exalted states of irritability. I know not whether my reader is aware that many children, perhaps most, have a power of painting, as it were, upon the darkness, all sorts of phantoms: in some that power is simply a mechanic affection of the eye; others have a voluntary or semi-voluntary power to dismiss or summon them; or as a child once said to me, when I questioned him on this matter, "I can tell them to go, and they go; but sometimes they come when I don't tell them to come." Whereupon I told him that he had almost as unlimited a command over apparitions as a Roman centurion over his soldiers. In the middle of 1817, I think it was, that this faculty became positively distressing to me: at night, when I lay awake in bed, vast processions passed along in mournful pomp; friezes of never-ending stories, that to my feelings were as sad and solemn as if they were stories drawn from times before OEdipus or Priam, before Tyre, before Memphis. And, at the same time, a corresponding change took place in my dreams; a theatre seemed suddenly opened and lighted up within my brain, which presented, nightly, spectacles of more than earthly splendor. And the four following facts may be mentioned, as noticeable at this time:

I. That, as the creative state of the eye increased, a sympathy seemed to arise between the waking and the dreaming states of the brain in one point, -- that whatsoever I happened to call up and to trace by a voluntary act upon the darkness was very apt to transfer itself to my dreams; so that I feared to exercise this faculty; for, as Midas turned all things to gold, that yet baffled his hopes and defrauded his human desires, so whatsoever things capable of being visually represented I did but think of in the darkness, immediately shaped themselves into phantoms of the eye; and, by a process apparently no less inevitable, when thus once traced in faint and visionary colors, like writings in sympathetic ink, they were drawn out, by the fierce chemistry of my dreams, into insufferable splendor that fretted my heart.

II. For this, and all other changes in my dreams, were accompanied by deep-seated anxiety and gloomy melancholy, such as are wholly incommunicable by words. I seemed every night to descend -- not metaphorically, but literally to descend -- into chasms and sunless abysses, depths below depths, from which it seemed hopeless that I could ever re-ascend. Nor did I, by waking, feel that I had re-ascended. This I do not dwell upon; because the state of gloom which attended these gorgeous spectacles, amounting at least to utter darkness, as of some suicidal despondency, cannot be approached by words.

III. The sense of space, and in the end the sense of time, were both powerfully affected. Buildings, landscapes, etc., were exhibited in proportions so vast as the bodily eye is not fitted to receive. Space swelled, and was amplified to an extent of unutterable infinity. This, however, did not disturb me so much as the vast expansion of time. I sometimes seemed to have lived for seventy or one hundred years in one night; nay, sometimes had feelings representative of a millennium, passed in that time, or, however, of a duration far beyond the limits of any human experience.

IV. The minutest incidents of childhood, or forgotten scenes of later years, were often revived. I could not be said to recollect them; for if I had been told of them when waking, I should not have been able to acknowledge them as parts of my past experience. But placed as they were before me, in dreams like intuitions, and clothed in all their evanescent circumstances and accompanying feelings, I recognized them instantaneously. I was once told by a near relative of mine, that having in her childhood fallen into a river, and being on the very verge of death but for the critical assistance which reached her, she saw in a moment her whole life, in its minutest incidents, arrayed before her simultaneously as in a mirror; and she had a faculty developed as suddenly for comprehending the whole and every part. This, from some opium experiences of mine, I can believe; I have, indeed, seen the same thing asserted twice in modern books, and accompanied by a remark which I am convinced is true, namely, that the dread book of account, which the Scriptures speak of, is, in fact, the mind itself of each individual. Of this, at least, I feel assured, that there is no such thing as forgetting possible to the mind; a thousand accidents may and will interpose a veil between our present consciousness and the secret inscriptions on the mind. Accidents of the same sort will also rend away this veil; but alike, whether veiled or unveiled, the inscription remains for ever; just as the stars seem to withdraw before the common light of day, whereas, in fact, we all know that it is the light which is drawn over them as a veil; and that they are waiting to be revealed, when the obscuring daylight shall have withdrawn.

    Having noticed these four facts as memorably distinguishing my dreams from those of health, I shall now cite a case illustrative of the first fact; and shall then cite any others that I remember, either in their chronological order, or any other that may give them more effect as pictures to the reader.
    I had been in youth, and ever since, for occasional amusement, a great reader of Livy, whom I confess that I prefer, both for style and matter, to any other of the Roman historians; and I had often felt as most solemn and appalling sounds, and most emphatically representative of the majesty of the Roman people, the two words so often occurring in Livy -- Consul Romanus; especially when the consul is introduced in his military character. I mean to say, that the words king, sultan, regent, etc., or any other titles of those who embody in their own persons the collective majesty of a great people, had less power over my reverential feelings. I had, also, though no great reader of history, made my self minutely and critically familiar with one period of English history, namely, the period of the Parliamentary War, having been attracted by the moral grandeur of some who figured in that day, and by the many interesting memoirs which survive those unquiet times. Both these parts of my lighter reading, having furnished me often with matter of reflection, now furnish me with matter for my dreams. Often I used to see, after painting upon the blank darkness a sort of rehearsal whilst waking, a crowd of ladies, and perhaps a festival and dances. And I heard it said, or I said to myself, "These are English ladies from the unhappy times of Charles I. These are the wives and daughters of those who met in peace, and sat at the same tables, and were allied by marriage or by blood; and yet, after a certain day in August, 1642, never smiled upon each other again, nor met but in the field of battle; and at Marston Moor, at Newbury, or at Naseby, cut asunder all ties of love by the cruel saber, and washed away in blood the memory of ancient friendship." The ladies danced, and looked as lovely as the court of George IV. Yet I knew, even in my dream, that they had been in the grave for nearly two centuries. This pageant would suddenly dissolve; and, at a clapping of hands, would be heard the heart-quaking sound of Consul Romanus; and immediately came "sweeping by," in gorgeous paludaments, Paulus or Marius, girt around by a company of centurions, with the crimson tunic hoisted on a spear, and followed by the alalagmos of the Roman legions.
    Many years ago, when I was looking over Piranesi's "Antiquities of Rome," Mr. Coleridge, who was standing by, described to me a set of plates by that artist, called his "Dreams," and which record the scenery of his own visions during the delirium of a fever. Some of them (I describe only from memory of Mr. Coleridge's account) represented vast Gothic halls; on the floor of which stood all sorts of engines and machinery, wheels, cables, pulleys, levers, catapults, etc., expressive of enormous power put forth, and resistance overcome. Creeping along the sides of the walls, you perceived a staircase; and upon it, groping his way upwards, was Piranesi himself. Follow the stairs a little further, and you perceive it to come to a sudden, abrupt termination, without any balustrade, and allowing no step onwards to him who had reached the extremity, except into the depths below. Whatever is to become of poor Piranesi? You suppose, at least, that his labors must in some way terminate here. But raise your eyes, and behold a second flight of stairs still higher; on which again Piranesi is perceived, by this time standing on the very brink of the abyss. Again elevate your eye, and a still more a๋rial flight of stairs is beheld; and again is poor Piranesi busy on his aspiring labors; and so on, until the unfinished stairs and Piranesi both are lost in the upper gloom of the hall. With the same power of endless growth and self-reproduction did my architecture proceed in dreams. In the early stage of my malady, the splendor of my dreams was indeed chiefly architectural; and I beheld such pomp of cities and palaces as was never yet beheld by the waking eye, unless in the clouds. From a great modern poet I cite the part of a passage which describes, as an appearance actually beheld in the clouds, what in many of its circumstances I saw frequently in sleep:

The appearance, instantaneously disclosed,
Was of a mighty city -- boldly say
A wilderness of building, sinking far
And self-withdrawn into a wondrous depth,
Far sinking into splendor -- without end!
Fabric it seemed of diamond, and of gold,
With alabaster domes and silver spires,
And blazing terrace upon terrace, high
Uplifted; here, serene pavilions bright,
In avenues disposed. there towers begirt
With battlements that on their restless fronts
Bore stars -- illumination of all gems!
By earthly nature had the effect been wrought
Upon the dark materials of the storm
Now pacified; on them, and on the coves,
And mountain-steeps and summits, whereunto
The vapors had receded -- taking there
Their station under a cerulean sky
, etc., etc.
 

    The sublime circumstance -- "battlements that on their restless fronts bore stars" -- might have been copied from my architectural dreams, for it often occurred. We hear it reported of Dryden, and of Fuseli in modern times, that they thought proper to eat raw meat for the sake of obtaining splendid dreams: how much better, for such a purpose, to have eaten opium, which yet I do not remember that any poet is recorded to have done, except the dramatist Shadwell; and in ancient days, Homer is, I think, rightly reputed to have known the virtues of opium.
    To my architecture succeeded dreams of lakes, and silvery expanses of water: these haunted me so much, that I feared (though possibly it will appear ludicrous to a medical man) that some dropsical state or tendency of the brain might thus be making itself (to use a metaphysical word) objective, and the sentient organ project itself as its own object. For two months I suffered greatly in my head -- a part of my bodily structure which had hitherto been so clear from all touch or taint of weakness (physically, I mean), that I used to say of it, as the last Lord Orford said of his stomach, that it seemed likely to survive the rest of my person. Till now I had never felt a headache even, or any the slightest pain, except rheumatic pains caused by my own folly. However, I got over this attack, though it must have been verging on something very dangerous.
    The waters now changed their character, -- from translucent lakes, shining like mirrors, they now became seas and oceans. And now came a tremendous change, which, unfolding itself slowly like a scroll, through many months, promised an abiding torment; and, in fact, it never left me until the winding up of my case. Hitherto the human face had often mixed in my dreams, but not despotically, nor with any special power of tormenting. But now that which I have called the tyranny of the human face, began to unfold itself. Perhaps some part of my London life might be answerable for this. Be that as it may, now it was that upon the rocking waters of the ocean the human face began to appear; the sea appeared paved with innumerable faces, upturned to the heavens; faces, imploring, wrathful, despairing, surged upwards by thousands, by myriads, by generations, by centuries: my agitation was infinite, my mind tossed, and swayed with the ocean.
    May, 1818. -- The Malay had been a fearful enemy for months. I have been every night, through his means, transported into Asiatic scenes. I know not whether others share in my feelings on this point; but I have often thought that if I were compelled to forego England, and to live in China, and among Chinese manners and modes of life and scenery, I should go mad. The causes of my horror lie deep, and some of them must be common to others. Southern Asia, in general, is the seal of awful images and associations. As the cradle of the human race, it would alone have a dim and reverential feeling connected with it. But there are other reasons. No man can pretend that the wild, barbarous, and capricious superstitions of Africa, or of savage tribes elsewhere, affect him in the way that he is affected by the ancient, monumental, cruel, and elaborate religions of Indostan, etc. The mere antiquity of Asiatic things, of their institutions, histories, modes of faith, etc., is so impressive, that to me the vast age of the race and name overpowers the sense of youth in the individual. A young Chinese seems to me an antediluvian man renewed. Even Englishmen, though not bred in any knowledge of such institutions, cannot but shudder at the mystic sublimity of castes that have flowed apart, and refused to mix, through such immemorial tracts of time; nor can any man fail to be awed by the names of the Ganges, or the Euphrates. It contributes much to these feelings, that Southern Asia is, and has been for thousands of years, the part of thc earth most swarming with human life, the great officina gentium. Man is a weed in those regions. The vast empires, also, into which the enormous population of Asia has always been cast, give a further sublimity to the feelings associated with all oriental names or images. In China, over and above what it has in common with the rest of Southern Asia, I am terrified by the modes of life, by the manners, and the barrier of utter abhorrence, and want of sympathy, placed between us by feelings deeper than I can analyze. I could sooner live with lunatics, or brute animals. All this, and much more than I can say, or have time to say, the reader must enter into, before he can comprehend the unimaginable horror which these dreams of oriental imagery, and mythological tortures, impressed upon me. Under the connecting feeling of tropical heat and vertical sunlights, I brought together all creatures, birds, beasts, reptiles, all trees and plants, usages and appearances, that are found in all tropical regions, and assembled them together in China or Indostan. From kindred feelings, I soon brought Egypt and all her gods under the same law. I was stared at, hooted at, grinned at, chattered at, by monkeys, by paroquets, by cockatoos. I ran into pagodas, and was fixed, for centuries, at the summit, or in secret rooms: I was the idol; I was the priest; I was worshipped; I was sacrificed. I fled from the wrath of Brama through all the forests of Asia: Vishnu hated me; Seva laid wait for me. I came suddenly upon Isis and Osiris: I had done a deed, they said, which the ibis and the crocodile trembled at. I was buried for a thousand years, in stone coffins, with mummies and sphinxes, in narrow chambers at the heart of eternal pyramids. I was kissed, with cancerous kisses, by crocodiles; and laid, confounded with all unutterable slimy things, amongst reeds and Nilotic mud.
    I thus give the reader some slight abstraction of my oriental dreams, which always filled me with such amazement at the monstrous scenery that horror seemed absorbed, for a while, in sheer astonishment. Sooner or later came a reflux of feeling that swallowed up the astonishment, and left me, not so much in terror, as in hatred and abomination of what I saw. Over every form, and threat, and punishment, and dim, sightless, incarceration, brooded a sense of eternity and infinity that drove me into an oppression as of madness. Into these dreams only, it was, with one or two slight exceptions, that any circumstances of physical horror entered. All before had been moral and spiritual terrors. But here the main agents were ugly birds, or snakes, or crocodiles, especially the last. The cursed crocodile became to me the object of more horror than almost all the rest. I was compelled to live with him; and (as was always the case, almost, in my dreams) for centuries. I escaped sometimes, and found myself in Chinese houses with cane tables, etc. All the feet of the tables, sofas, etc., soon became instinct with life: the abominable head of the crocodile, and his leering eyes, looked out at me, multiplied into a thousand repetitions; and I stood loathing and fascinated. And so often did this hideous reptile haunt my dreams, that many times the very same dream was broken up in the very same way: I heard gentle voices speaking to me (I hear everything when I am sleeping and instantly I awoke: it was broad noon, and my children were standing, hand in hand, at my bedside; come to show me their colored shoes, or new frocks, or to let me see them dressed for going out. I protest that so awful was the transition from the d----d crocodile, and the other unutterable monsters and abortions of my dreams, to the sight of innocent human natures and of infancy, that, in the mighty and sudden revulsion of mind, I wept, and could not forbear it, as I kissed their faces.
 


About the Arabesques


Sectioned Skull, by Leonardo da Vinci. The Arabesques
on this page were made by transfiguring this drawing with
the aid of Adobe Photo Deluxe.

    The kaleidoscopic imagery employed by the artwork on this page provides visual  stimuli that induces the sensitive viewer to participate in a kind of enhanced perceptual experience similar to that described by de Quincey. Like Rorschach's ink blots, the symmetrical Arabesques  encourage viewer's to project their own imaginations into them. Everyone sees something different, and what is seen depends upon an individual's state of mind at a given moment of time. Strange landscapes, magical cities, enchanted kingdoms and archetypal beings, all will appear within  the actively reciprocating consciousness which gives itself contemplatively to the Arabesques. The internal harmony and balance of the pieces awakens the pattern-making faculty, and people see visions conjured from their own inner depths when they meditate on them. Opium enables the mind to do this when looking at ordinary objects in the world, and so my strange Arabesques are actually visual metaphors of the opium experience itself. They all derive from a single drawing of a human skull (popularly conceived as the material abode of the mind), and perform  for this humble organic object the same illuminating expansion of perspectives which opium does for all human perceptions of reality. Transformed by art into a device of talismanic reconnaissance, revealing horizons of significance which multiply toward infinity, the skull becomes a portal leading into different realities, and our imaginations dream and dance upon the threshold of other worlds when contemplating its transfigured image. ---W. M. M.


About the Background Art


Background Image: Giovanni Piranesi, Carceri d'Invenzione
(plate III, second edition, engraving.)

The background art for this page was made by kaleidoscoping Piranesi's
engraving. Hold the mouse on the above image to see the original work. In
addition to being mentioned in the Confessions, Piranesi's engravings of
prisons ("carceri") perfectly illustrate the vast architectural vistas beheld
by de Quincey while under the influence of opium.



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