Baudelaire, De Quincey, and Poe, Part One

Welcome to Celebrate Poe - this is episode 318 - DeQuincy, Baudelaire, and Poe - Part One

Recently, I ran across a book about Charles Baudelaire called A Portrait of the Artist as a Drug Addict.  There is no question about it - According to the author -  Charles Baudelaire, the translator of Edgar Allan Poe's works, was a heavy user of opium. Baudelaire wrote extensively about his experiences with opium and other drugs in his book (Artificial Paradises), published in 1860.

This episode is the first in a series of podcasts that examine the opium use of Baudelaire, De Quincey, and Poe.

Thank you for experiencing Celebrate Poe.

Transcript

Welcome to Celebrate Poe - this is episode 318 - DeQuincy, Baudelaire, and Poe - Part One

Recently, I ran across a book about Charles Baudelaire called A Portrait of the Artist as a Drug Addict.  There is no question about it - According to the author -  Charles Baudelaire, the translator of Edgar Allan Poe's works, was a heavy user of opium. Baudelaire wrote extensively about his experiences with opium and other drugs in his book (Artificial Paradises), published in 1860.

In “Artificial Paradises," Baudelaire describes the effects of opium and hashish, discussing how they could theoretically aid mankind in reaching an "ideal" world. The book serves as a memoir of Baudelaire's last years and captures the dreamlike visions he experienced during his narcotic trances.

Baudelaire's use of opium was not merely recreational. Like many others of his time, he likely started using it for medicinal purposes, as opium was widely available and used to treat various ailments in 19th-century Europe. However, his use escalated into addiction, which tormented him until his death in 1867.

But the thing that really came across as even more striking from the book about Baudelaire was De Quincey’s Portrait of an English Opium-Eater.  For one thing, I personally feel that De Quincey was a better writer, and was able to draw you into his very strange world - with words tumbling over top of each other.  And strangely enough, Charles Baudelaire was almost obsessed - which I guess you have to be - in translating De Quincey into French, much like Baudelaire had done with Poe.

Now Baudelaire’s experiences with opium significantly influenced his work. In translating "Les Fleurs du Mal" (The Flowers of Evil), Baudelaire frequently refers to "le spleen," or the suffering of the self, and writes eloquently about feelings of depression and complete boredom. You don’t have to be a genius to realize these themes were connected to his struggles with opium addiction.

Baudelaire's relationship with opium was complex and paradoxical, much like that of Thomas De Quincey, whose work "Confessions of an English Opium-Eater" influenced Baudelaire's writing on the subject. Baudelaire explored both the allure and the destructive nature of opium in his work, reflecting the conflicting experiences of many addicts.

As mentioned earlier, Thomas De Quincey's work, particularly his "Confessions of an English Opium-Eater," had a significant influence on Charles Baudelaire.  Baudelaire greatly admired De Quincey's "Confessions," considering it a masterpiece - it WAS engrossing, but not THAT good in my opinion. Baudelaire translated and adapted the work in his book "Les Paradis Artificiels" (Artificial Paradises), published in 1860.
De Quincey's vivid descriptions of opium use likely influenced Baudelaire to experiment with drugs himself. 

De Quincey's "impassioned prose" and ability to describe drug-induced experiences in detail influenced Baudelaire's own writing on the subject. Baudelaire adopted a similar approach in describing the effects of hashish and opium.  And Baudelaire's writings on drug experiences, particularly in "Les Paradis Artificiels," followed a structure similar to De Quincey's "Confessions," discussing both the pleasures and pains of drug use.

De Quincey's portrayal of himself as a loner wandering through city streets resonated with Baudelaire, influencing his concept of the flâneur and his observations of urban life.  You might remember the term flaneur from Edgar Poe’s The Man of the Crowd referring to a man who wanders the street and becomes a part of those wandering.

De Quincey's work even contributed to Baudelaire's view of drug addiction as a "noble artistic undertaking," - an idea that would later influence 20th-century writers like William S. Burroughs and Jack Kerouac
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We then know that Baudelaire used opium. Do we have any proof that Poe used opium?

So we certainly know that Baudelaire used opium - but do we have any proof that Poe used opium.  Well, based on the available evidence, there is no conclusive proof that Edgar Allan Poe habitually used opium.It is true that a several of Poe’s heroes did use opium in his stories, and while rumors and speculation about Poe's opium use have persisted, several key points that challenge this notion that Poe himself was a regular opium user:
Most sources claiming Poe's opium use lack substantial evidence or rely on mentions of opium in his fiction, which is certainly not conclusive proof.
The only recorded instance of Poe claiming opium use is in a letter to Annie Richmond dated November 16, 1848, where he mentions buying laudanum during a period of despair. However, this single incident does not indicate habitual use.

Dr. John Carter, a highly reliable source who knew and examined Poe, stated, "Poe never used opium in any instance that I am aware of”. Similarly, Dr. Thomas Dunn English, despite being Poe's enemy, admitted he saw no signs of opium use in Poe

Poe's use of opium in his stories is primarily a literary device, with his narrators admitting to opium use, not Poe himself.

Some scholars, like Hervey Allen, have mistakenly attributed claims of Poe's opium use to credible sources, perpetuating the myth.

It's possible Poe used opium medicinally, as it was a common pharmaceutical ingredient in his time, but this does not equate to habitual use or addiction.

Some reports suggest Poe was extremely sensitive to alcohol, which could explain his erratic behavior without the need to invoke opium use.

While Poe struggled with alcohol and experienced periods of depression and behavioral changes, the evidence for opium use remains largely speculative. The persistent rumors about his opium use may be attempts to explain his imaginative works or to devalue his literary merit by attributing his creativity to drug-induced experiences rather than his artistic ability.

So the evidence for Edgar Allan Poe's opium use is limited and largely circumstantial. In fact, the only recorded case of Poe claiming opium use is in a letter to Annie Richmond dated November 16, 1848, where he mentions buying laudanum during a period of despair. However, again this single incident - if it happened - certainly does not indicate habitual use.


While there have been persistent rumors and speculation about Poe's opium use, the available evidence does not support claims of habitual use or addiction. The single documented instance and the possibility of medicinal use are the strongest pieces of evidence, but they fall short of proving regular or recreational use of opium by Poe.
Related

As mentioned earlier, several of Poe's works contain references to opium or depict experiences that some have interpreted as drug-induced. However, it's crucial to note that the presence of these elements in his fiction does not constitute evidence of Poe's personal opium use. Here are some notable examples:

"The Fall of the House of Usher": The narrator mentions using opium to calm his nerves, describing "the after dream of the reveller upon opium.”

"Ligeia": The narrator admits to opium use, stating, "In the excitement of my 
opium dreams (for I was habitually fettered in the shackles of the drug).”

"The Black Cat": While not explicitly mentioning opium, the narrator's altered states and hallucinations have been interpreted by some as drug-induced.

"The Pit and the Pendulum": The vivid, nightmarish quality of the narrative has led some to speculate about drug influence, though opium is not mentioned directly.

"The Raven": The dreamlike atmosphere and the narrator's psychological state have been subject to interpretations involving drug use, though this is purely speculative.

It seems that Poe is one of those writers where you can read a lot into his works.

It's important to emphasize that these references are literary devices used by Poe to create atmosphere, explore altered states of consciousness, or develop character. Many of Poe's narrators admit to opium use, but this should not be confused with Poe's personal habit. The presence of opium in his stories reflects its prevalence in 19th-century literature and society rather than serving as evidence of Poe's own use1.

Some scholars and critics have attempted to attribute Poe's imaginative works to drug-induced experiences rather than his artistic ability.

However, this view is not supported by concrete evidence and may stem from a desire to explain or diminish Poe's creative genius.

So I think by this point, it should be obvious that any opium use by Poe is not even remotely in the same class as the devastating habits of De Qunicey and Baudelaire.  In fact Baudelaire, often a very heavy user,
analyzed and expanded upon De Quincey's descriptions of opium use and its effects. Inspired by De Quincey, Baudelaire delved into detailed descriptions of the psychological and physiological effects of opium and hashish. He explored how these substances could potentially aid in reaching an "ideal" world.

De Quincey's relatively frank discussion of his opium addiction likely influenced Baudelaire's own candid approach to describing his struggles with the drug. Baudelaire was influenced by De Quincey's vivid and introspective writing style when describing drug-induced states and their aftermath.

Note this vivid, but ultimately confusing section from Confessions of an English Opium Eater.

It will occur to you often to ask, why did I not release myself from the horrors of opium by leaving it off or diminishing it? To this I must answer briefly: it might be supposed that I yielded to the fascinations of opium too easily; it cannot be supposed that any man can be charmed by its terrors. The reader may be sure, therefore, that I made attempts innumerable to reduce the quantity. I add, that those who witnessed the agonies of those attempts, and not myself, were the first to beg me to desist. But could not have I reduced it a drop a day, or, by adding water, have bisected or trisected a drop? A thousand drops bisected would thus have taken nearly six years to reduce, and that way would certainly not have answered. But this is a common mistake of those who know nothing of opium experimentally; I appeal to those who do, whether it is not always found that down to a certain point it can be reduced with ease and even pleasure, but that after that point further reduction causes intense suffering. Yes, say many thoughtless persons, who know not what they are talking of, you will suffer a little low spirits and dejection for a few days. I answer, no; there is nothing like low spirits; on the contrary, the mere animal spirits are uncommonly raised: the pulse is improved: the health is better. It is not there that the suffering lies. It has no resemblance to the sufferings caused by renouncing wine. It is a state of unutterable irritation of stomach (which surely is not much like dejection), accompanied by intense perspirations, and feelings such as I will not attempt without more space at my design.

Like De Quincey, Baudelaire developed a complex and paradoxical relationship with opium, exploring both its allure and its destructive nature in his work. De Quincey's work set a precedent for drug literature that Baudelaire built upon, contributing to the broader cultural discourse on opium use in the 19th century.

Baudelaire, inspired by De Quincey, was inspired to delve into detailed descriptions of the psychological and physiological effects of opium and hashish.  And like De Quincey, Baudelaire examined the dual nature of drug use, exploring both its allure and destructive potential. Both authors focused on how drugs could potentially aid in reaching an "ideal" world or altered state of mind. De Quincey's preoccupation with the cost of opium and its ability to be bought and sold influenced Baudelaire's reflections on drug use - subjects that were never a part of Poe’s works.

Baudelaire likely drew inspiration from De Quincey's extensive descriptions of opium-induced dreams and their psychological significance. De Quincey's concern for the poor and his observations on social disparities may have influenced Baudelaire's own social commentary.  And both authors explored how a rich intellectual life could justify or explain behaviors that might otherwise be considered questionable.
Baudelaire often expanded on De Quincey's ideas about internalizing experiences, particularly in relation to the concept of the "Other" and infinity.
By engaging with these themes, Baudelaire built upon De Quincey's work, contributing to the broader cultural discourse on opium use and its effects on the human psyche in 19th-century literature.

Now, it is indeed realistic to call Thomas De Quincey "the father of drug literature" for several compelling reasons:

De Quincey's "Confessions of an English Opium-Eater," published in 1821, was the first widely-read narrative to explore drug experiences in detail.

De Quincey introduced the idea of recreational drug use to a broad commercial audience, transforming public perception of drugs.

He was the first to publish a compelling narrative exploring the seductive pleasures and devastating pains of drug use, initiating the modern addiction story. De Quincey's work inspired numerous authors, including Edgar Allan Poe, Charles Baudelaire, and William S. Burroughs, establishing a new genre of introspective literature. The "Confessions" dominated scientific and public views on opium's effects for several generations.  And many scholars suggest that De Quincey inaugurated the tradition of addiction literature in the West.

De Quincey's vivid descriptions of opium-induced euphoria and creativity inadvertently romanticized drug use, influencing future generations to experiment with opioids. He was the first to explore in detail the painful cycles of intoxication, withdrawal, and relapse that characterize opioid addiction, mirroring modern experiences. De Quincey accurately described withdrawal symptoms such as "nervous misery," vomiting, nausea, irritability, and depression, which align with current medical knowledge.
His struggle to permanently stop using opium reflects the challenges faced by many modern addicts in overcoming opioid dependence. De Quincey captured the complex, contradictory nature of addiction, describing opium as both irresistible and destructive, a sentiment echoed by many current addicts.  And while not directly addressed by De Quincey, his work contributed to a cultural fascination with opioids that may have influenced their over-prescription in recent decades.

De Quincey's work initiated the modern addiction narrative, shaping public discourse on drug use in ways that continue to resonate today.

De Quincey's addiction directly inspired his most famous work, which was partly written to pay off his debts. This autobiographical account provided an unprecedented exploration of drug experiences in literature.
His opium use enabled him to produce extraordinarily vivid and detailed descriptions of drug-induced states that are extremely engrossing. De Quincey's opium experiences led to "vast processions of never-ending stories painted on the darkness" and dreams that filled "the stage of that theatre" in his mind.

Let me repeat that - vast processions of never-ending stories painted on the darkness" and dreams that filled "the stage of that theatre" in his mind.

 Opium acted as "the ice-axe to free the frozen sea within him," allowing De Quincey to delve deeply into his psyche and produce highly introspective literature His drug experiences influenced his perception of time, leading to passages that explored the elasticity of time in ways that anticipated modernist literature. De Quincey's addiction led to terrifying nightmares and visions, which he vividly described in his work, contributing to the gothic and horror elements in his writing. His addiction affected his writing process, with periods of rationality and productivity during attempts to reduce consumption, followed by periods of "suicidal despondency".

De Quincey's struggles with addiction became a central theme in his work, allowing him to explore the dualities of pleasure and pain, euphoria and despair. While opium addiction certainly severely impacted De Quincey's life and relationships, it paradoxically fueled his literary career, providing him with unique insights and experiences that shaped his distinctive writing style and subject matter.

Thomas De Quincey's "Confessions of an English Opium-Eater" vividly reflected his inner turmoil in a variety of ways. De Quincey describes both the euphoric effects of opium and the devastating consequences of addiction. He details "states of gloom amounting at last to utter darkness," and lurid nightmares, yet also acknowledges an "overbalance on the side of the pleasures of opium”. His work also captures De Quincey's repeated attempts to overcome his dependence on opium. He vows to "conquer it I must...or it will conquer me," yet inevitably relapses, illustrating his internal conflict.

De Quincey's opium use led to profound alterations in his perception of reality, resulting in vivid hallucinations and surreal experiences that mirror his psychological turmoil. The author explores how opium influenced his creative faculties, reflecting the complex relationship between his addiction and artistic sensibilities. De Quincey provides raw accounts of the "torment and suffering" accompanying his addiction, offering a stark portrayal of his inner struggles.  In fact, the very act of writing "Confessions" serves as a means for De Quincey to confront and process his inner demons, using confession as a tool for understanding and potential redemption.

De Quincey believed opium heightened his senses and mental faculties, claiming it introduced "exquisite order, legislation, and harmony" among his mental faculties. While studies show that opium actually suppresses dreams during use, De Quincey found that coming off the drug led to intense, vivid dreams that fueled his creativity. According to DeQuincey, oopium acted as "the ice-axe to free the frozen sea within me," unlocking his creative potential and providing unique insights. De Quincey saw opium as both a source of inspiration and a hindrance to productivity, noting its ability to give "irregular bursts of energy" while defeating "steady exertion".
His addiction became a central theme in his work, particularly in "Confessions of an English Opium-Eater," transforming his personal struggles into literary output. De Quincey's addiction allowed him to study and describe his experiences with "clinical detachment," contributing to his unique prose style.

Despite these perceived benefits, De Quincey's addiction ultimately hindered his productivity and reliability as a writer. His complex relationship with opium shaped his views on creativity, but also led to long periods of procrastination and years of unfulfilled literary promise.

Join Celebrate Poe for episode 319 - DeQuincy, Baudelaire, and Poe - Part  Two

Sources include: The Complete Works of Edgar Allan Poe, Edited by Andrew Berger, Baudelaire in Chains: An Portrait of the Artist as a Drug Addict, and Confessions of an English Opium Eater by Thomas De Quincy.

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