Memorials and Other Papers — Volume 1. Томас Де Квинси

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СКАЧАТЬ What I had beheld from my seat upon the mail,—the scenical strife of action and passion, of anguish and fear, as I had there witnessed them moving in ghostly silence; this duel between life and death narrowing itself to a point of such exquisite evanescence as the collision neared,—all these elements of the scene blended, under the law of association, with the previous and permanent features of distinction investing the mail itself, which features at that time lay—1st, in velocity unprecedented; 2dly, in the power and beauty of the horses: 3dly, in the official connection with the government of a great nation; and, 4thly, in the function, almost a consecrated function, of publishing and diffusing through the land the great political events, and especially the great battles during a conflict of unparalleled grandeur. These honorary distinctions are all described circumstantially in the FIRST or introductory section ("The Glory of Motion"). The three first were distinctions maintained at all times; but the fourth and grandest belonged exclusively to the war with Napoleon; and this it was which most naturally introduced Waterloo into the dream. Waterloo, I understood, was the particular feature of the "Dream-Fugue" which my censors were least able to account for. Yet surely Waterloo, which, in common with every other great battle, it had been our special privilege to publish over all the land, most naturally entered the Dream under the license of our privilege. If not—if there be anything amiss—let the Dream be responsible. The Dream is a law to itself; and as well quarrel with a rainbow for showing, or for not showing, a secondary arch. So far as I know, every element in the shifting movements of the Dream derived itself either primarily from the incidents of the actual scene, or from secondary features associated with the mail. For example, the cathedral aisle derived itself from the mimic combination of features which grouped themselves together at the point of approaching collision, namely, an arrow-like section of the road, six hundred yards long, under the solemn lights described, with lofty trees meeting overhead in arches. The guard's horn, again—a humble instrument in itself—was yet glorified as the organ of publication for so many great national events. And the incident of the Dying Trumpeter, who rises from a marble bas-relief, and carries a marble trumpet to his marble lips for the purpose of warning the female infant, was doubtless secretly suggested by my own imperfect effort to seize the guard's horn, and to blow a warning blast. But the Dream knows best; and the Dream, I say again, is the responsible party.

      4. "The Spanish Nun." [Footnote: Published in "Narrative and Miscellaneous Essays."]—There are some narratives, which, though pure fictions from first to last, counterfeit so vividly the air of grave realities, that, if deliberately offered for such, they would for a time impose upon everybody. In the opposite scale there are other narratives, which, whilst rigorously true, move amongst characters and scenes so remote from our ordinary experience, and through, a state of society so favorable to an adventurous cast of incidents, that they would everywhere pass for romances, if severed from the documents which attest their fidelity to facts. In the former class stand the admirable novels of De Foe; and, on a lower range, within the same category, the inimitable "Vicar of Wakefield;" upon which last novel, without at all designing it, I once became the author of the following instructive experiment. I had given a copy of this little novel to a beautiful girl of seventeen, the daughter of a statesman in Westmoreland, not designing any deception (nor so much as any concealment) with respect to the fictitious character of the incidents and of the actors in that famous tale. Mere accident it was that had intercepted those explanations as to the extent of fiction in these points which in this case it would have been so natural to make. Indeed, considering the exquisite verisimilitude of the work meeting with such absolute inexperience in the reader, it was almost a duty to have made them. This duty, however, something had caused me to forget; and when next I saw the young mountaineer, I forgot that I had forgotten it. Consequently, at first I was perplexed by the unfaltering gravity with which my fair young friend spoke of Dr. Primrose, of Sophia and her sister, of Squire Thornhill, &c., as real and probably living personages, who could sue and be sued. It appeared that this artless young rustic, who had never heard of novels and romances as a bare possibility amongst all the shameless devices of London swindlers, had read with religious fidelity every word of this tale, so thoroughly life-like, surrendering her perfect faith and her loving sympathy to the different persons in the tale, and the natural distresses in which they are involved, without suspecting, for a moment, that by so much as a breathing of exaggeration or of embellishment the pure gospel truth of the narrative could have been sullied. She listened, in a kind of breathless stupor, to my frank explanation—that not part only, but the whole, of this natural tale was a pure invention. Scorn and indignation flashed from her eyes. She regarded herself as one who had been hoaxed and swindled; begged me to take back the book; and never again, to the end of her life, could endure to look into the book, or to be reminded of that criminal imposture which Dr. Oliver Goldsmith had practised upon her youthful credulity.

      In that case, a book altogether fabulous, and not meaning to offer itself for anything else, had been read as genuine history. Here, on the other hand, the adventures of the Spanish Nun, which in every detail of time and place have since been sifted and authenticated, stood a good chance at one period of being classed as the most lawless of romances. It is, indeed, undeniable, and this arises as a natural result from the bold, adventurous character of the heroine, and from the unsettled state of society at that period in Spanish America, that a reader the most credulous would at times be startled with doubts upon what seems so unvarying a tenor of danger and lawless violence. But, on the other hand, it is also undeniable that a reader the most obstinately sceptical would be equally startled in the very opposite direction, on remarking that the incidents are far from being such as a romance-writer would have been likely to invent; since, if striking, tragic, and even appalling, they are at times repulsive. And it seems evident that, once putting himself to the cost of a wholesale fiction, the writer would have used his privilege more freely for his own advantage. Whereas the author of these memoirs clearly writes under the coercion and restraint of a notorious reality, that would not suffer him to ignore or to modify the leading facts. Then, as to the objection that few people or none have an experience presenting such uniformity of perilous adventure, a little closer attention shows that the experience in this case is not uniform; and so far otherwise, that a period of several years in Kate's South American life is confessedly suppressed; and on no other ground whatever than that this long parenthesis is not adventurous, not essentially differing from the monotonous character of ordinary Spanish life.

      Suppose the case, therefore, that Kate's memoirs had been thrown upon the world with no vouchers for their authenticity beyond such internal presumptions as would have occurred to thoughtful readers, when reviewing the entire succession of incidents, I am of opinion that the person best qualified by legal experience to judge of evidence would finally have pronounced a favorable award; since it is easy to understand that in a world so vast as the Peru, the Mexico, the Chili, of Spaniards during the first quarter of the seventeenth century, and under the slender modification of Indian manners as yet effected by the Papal Christianization of those countries, and in the neighborhood of a river-system so awful, of a mountain-system so unheard-of in Europe, there would probably, by blind, unconscious sympathy, grow up a tendency to lawless and gigantesque ideals of adventurous life; under which, united with the duelling code of Europe, many things would become trivial and commonplace experiences that to us home-bred English ("qui musas colimus severiores") seem monstrous and revolting.

      Left, therefore, to itself, my belief is, that the story of the Military Nun would have prevailed finally against the demurs of the sceptics. However, in the mean time, all such demurs were suddenly and officially silenced forever. Soon after the publication of Kate's memoirs, in what you may call an early stage of her literary career, though two centuries after her personal career had closed, a regular controversy arose upon the degree of credit due to these extraordinary confessions (such they may be called) of the poor conscience-haunted nun. Whether these in Kate's original MS. were entitled "Autobiographic Sketches," or "Selections Grave and Gay," from the military experiences of a Nun, or possibly "The Confessions of a Biscayan Fire-Eater," is more than I know. No matter: confessions they were; and confessions that, when at length published, were absolutely mobbed and hustled by a gang of misbelieving (that is, miscreant) critics. And this fact is most remarkable, that the person who originally headed the incredulous party, namely, Senor de Ferrer, СКАЧАТЬ