DeQuincy, Baudelaire, and Poe - Part Three

Welcome to Celebrate Poe - Episode 321 - DeQuincy, Baudelaire, and Poe - Part Three)

I hope you listened to the previous episode that deals with Thomas De Quincy and his 1821 autobiographical work "Confessions of an English Opium-Eater.

But before we go any further, I wan to try and clear something up. An opium-eater is not actually someone who eats opium, but rather a person who uses opium as a recreational drug or an opium addict. The term "opium-eater" was popularized by Thomas De Quincey in his work "Confessions of an English Opium-Eater”. In reality, De Quincey consumed opium in the form of laudanum, which is a tincture of opium dissolved in alcohol. This liquid preparation was widely used in the 19th century to treat various ailments and was easily available without a prescription. What could possibly go wrong?

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Transcript

Welcome to Celebrate Poe - Episode 322 - Dreaming of Monsters or Poe, de Quincey, and Baudelaire

I hope you listened to the previous episode that deals with Thomas De Quincy and his 1821 autobiographical work "Confessions of an English Opium-Eater.

But before we go any further, I wan to try and clear something up. An opium-eater is not actually someone who eats opium, but rather a person who uses opium as a recreational drug or an opium addict. The term "opium-eater" was popularized by Thomas De Quincey in his work "Confessions of an English Opium-Eater”. In reality, De Quincey consumed opium in the form of laudanum, which is a tincture of opium dissolved in alcohol. This liquid preparation was widely used in the 19th century to treat various ailments and was easily available without a prescription.

Apparently, the phrase "opium-eater" was likely used by De Quincey to create an exotic and mysterious image, alluding to Turkish addicts who were known to eat bitter cakes of solid opium. This term helped heighten the sense of exoticism in his work and made his experiences seem more intriguing to English audiences. It's important to note that De Quincey's use of the term "opium-eater" was more metaphorical than literal, as he primarily consumed the drug in liquid form rather than eating it.

De Quincey's opium use became a central theme in his most famous work, "Confessions of an English Opium-Eater," which inaugurated the tradition of addiction literature in the West. This autobiographical account not only launched his literary career but also provided him with a unique subject matter that set him apart from other writers of his time.

De Quincy felt that opium acted as an "ice-axe to free the frozen sea within him," enabling him to produce writing when he had previously struggled.
His opium-induced dreams and experiences provided rich content for his work, particularly in describing the "pleasures" and "pains" of opium use.

In this brief section from Confessions of an English Opium Eater, De Quincey believes that he is experiencing dreams that become nightmares - 

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, &c. All the feet of the tables, sofas, &c., 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 coloured shoes, or new frocks, or to let me see them dressed for going out. I protest that so awful was the transition from the damned 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.

And let me emphasize, most scholars believe that the opium addiction that De Quincey experienced did not apply to Edgar Poe.

Not surprisingly, De Quincey’s opium addiction severely affected his personal and professional relationships. He squandered his inheritance and often found himself hiding from debtors. The drug exacerbated his existing health problems, including neuralgic facial pain, which he initially used opium to treat.

De Quincey experienced intense withdrawal symptoms when trying to quit, and his addiction led to periods of suffering and isolation.
And while his writings on opium may have made him famous, they also led to criticism and concern about potentially encouraging drug use in others.

But despite these obvious challenges, De Quincey's relationship with opium was complex. He sometimes regarded his habit as a source of amusement, while at other times he was horrified by the damage it inflicted on his life. Ultimately, his addiction became an integral part of his identity as a writer, forever linking his literary legacy to his experiences with opium.

It is believed that De Quincey's opium experiences initially enhanced his ability to produce highly imaginative and poetic writing. Opium-induced dreams provided rich material for De Quincey's work, allowing him to explore surreal and fantastical themes. As he gradually reduced his opium use, these dreams intensified, flooding back with heightened urgency and intensity.

De Quincey also pioneered a deeply personal and introspective style of writing, particularly evident in his exploration of addiction. He was the first to detail the confusing and paradoxical nature of drug dependence, influencing later addiction literature.

His writing delved into the inner workings of the human mind, examining the subconscious and the effects of drugs on perception and cognition. This approach influenced later writers and even psychoanalysts like Sigmund Freud.

De Quincey's work often contrasted the euphoric experiences of opium use with the nightmarish consequences of addiction, creating a tension that became a hallmark of his writing. And while opium ultimately hindered his productivity, it initially provided De Quincey with periods of intense creative energy, influencing the rhythm and flow of his writing.

De Quincey's addiction not only provided him with unique subject matter but also shaped his distinctive literary voice, combining vivid imagery, psychological insight, and a deeply personal narrative style. His work laid the foundation for future addiction literature and influenced generations of writers exploring altered states of consciousness and the human psyche.

De Quincey's opium use initially led to fantastical dreams filled with striking imagery of cityscapes, machinery, and infinite stairways. These dreams seemed to last an eternity and became a central subject of his writing.
And under heavy opium dependence, De Quincey's early life experiences were transformed into hallucinogenic nightmares. For instance, his steps in London came back to haunt his sleep, with human faces tyrannizing over his dreams. As De Quincey gradually reduced his opium use, his dreams flooded back with heightened urgency and intensity, providing rich material for his writing.

De Quincey's work contrasted the euphoric experiences of opium-induced dreams with the nightmarish consequences of addiction. In "Confessions of an English Opium-Eater," he described both the pleasures and pains of opium use.

De Quincey's highly poetic and imaginative prose in describing his dreams and nightmares made his work a stylistic masterpiece of English literature.
His portrayal of dreams and nightmares delved into the inner workings of the human mind, exploring the subconscious and the effects of drugs on perception and cognition.

De Quincey's addiction-influenced portrayal of dreams and nightmares not only provided unique subject matter but also shaped his distinctive literary voice, combining vivid imagery with psychological insight. His work laid the foundation for future addiction literature and influenced generations of writers exploring altered states of consciousness.

During his most intense period of addiction, Thomas De Quincey's relationship with opium was deeply paradoxical and all-consuming:
At the peak of his addiction, De Quincey consumed around twelve thousand drops of laudanum daily, an incredibly high dosage.

Opium provided De Quincey with irregular bursts of creative energy, but ultimately hindered his productivity and ability to meet deadlines.

De Quincey was to experience a "sickening confusion" at the core of his drug experience, simultaneously viewing opium as a celestial lover and a life-withering blight.

And when attempting to quit, De Quincey faced severe withdrawal symptoms including "nervous misery," vomiting, nausea, irritability, and depression. He often fought through withdrawal symptoms, only to have his resolution falter, leading him back to opium use and gradually increasing intake levels.

And as De Quincey reduced his opium use, his dreams flooded back with heightened urgency and intensity, providing rich material for his writing.

Initially, opium enhanced his dreams, making them vivid and controllable. He claimed he could summon specific images into his mind before sleep, ensuring they would animate his dreams. This phenomenon resembled lucid dreaming, and were basically peaceful.

However, as his addiction progressed, De Quincey's dreams became increasingly disturbing. Long-term opium abuse led to nightmares that seemed to drag him down into an abyss. These nightmares often featured intense, culturally-influenced imagery, such as being "stared at, hooted at, grinned at, and chattered at, by monkeys in Asian settings.

Interestingly, while De Quincey attributed his vivid dreams to opium use, modern understanding suggests that opium actually suppresses dreams. The intense dreams and nightmares he experienced were likely a result of withdrawal as he attempted to reduce his opium intake. This withdrawal effect led to dreams flooding back with heightened urgency and intensity.
De Quincey's addiction also affected his sleep through physical symptoms. During periods of withdrawal, he experienced sweating and terrible stomach pains that kept him awake. These physical manifestations of withdrawal, combined with the psychological distress of nightmares, significantly impacted his ability to obtain restful sleep.

De Quincey's opium-induced dreams became a source of creative material, enabling him to write about his experiences. His vivid dreams world provided a stark contrast to his confined physical existence. While largely restricted to a single room due to his addiction, De Quincey's dreams offered expansive visions of "cities and palaces as was never yet beheld by the waking eye".

The vivid dreams often reflected De Quincey's emotional state and past traumas. Dreams of visiting a child's grave, likely inspired by the death of William Wordsworth's daughter, show how his dream life intertwined with his emotional experiences.

De Quincey's dreams distorted his sense of time and space, making him feel disproportionately small in his environment and expanding his perception of time.

The intensity of his dreams sometimes led to sleep avoidance. After a particularly disturbing dream in 1820, De Quincey "resolved never to sleep again".

De Quincey claimed that opium increased his brain's sensitivity to stimulation, leading him to schedule his opium use around aesthetic experiences like opera performances for "supernatural pleasure” - sounds like a teenager getting really stoned for a concert.

The preoccupation with death in his dreams - De Quincey, not the teenager -  foreshadowed real-life events, including contemplation of suicide as a means to end his opium dependency. These vivid dreams, while providing temporary escape and artistic inspiration, ultimately contributed to De Quincey's struggle with addiction and its impact on his daily functioning.

Not surprisingly, Thomas De Quincey made numerous attempts to quit opium throughout his life, but ultimately struggled with addiction for over half a century. His efforts to quit included:

Gradually reducing his dosage: De Quincey attempted to wean himself off opium by slowly decreasing his intake. At one point, he managed to reduce his consumption from 8,000 drops of laudanum a day to 160 drops a day.
Periods of abstinence: He occasionally achieved brief periods without opium use, claiming at one point that "for six months 'opium' was a word unknown”.

Repeated vows and resolutions: De Quincey frequently declared his intention to overcome his addiction, stating "conquer it I must…or it will conquer me”.

Enduring withdrawal symptoms: He often tried to battle through the painful withdrawal effects, which included vomiting, nausea, irritability, and depression.

But despite these efforts, De Quincey consistently relapsed due to various factors - The physical pains of withdrawal would always drive him back to the drug. But he found it difficult to work or think clearly without opium.
Ultimately, De Quincey's attempts to quit were unsuccessful, as he remained addicted to opium until his death in 1859.

De Quincey described the withdrawal symptoms from opium as intense and prolonged, characterizing them as "nervous misery" that included vomiting, nausea, irritability, and depression. He portrayed the process as excruciatingly long, claiming to be "still agitated, writhing, throbbing, palpitating, shattered" even four months after cessation.

De Quincey's account included severe physical effects such as "irritation of stomach" and "intense perspirations". He described feeling "agitated, writhing, throbbing, palpitating" for months after quitting the dru. His withdrawal experience also involved psychological symptoms, including horrifying visions, isolating paranoia, and nightmares featuring crocodiles and other terrifying imagery.

It's important to note that modern medical knowledge suggests De Quincey's depiction may have exaggerated the duration and severity of opioid withdrawal, which typically lasts about a week and is comparable to a very bad flu. His vivid and dramatic portrayal of withdrawal symptoms has been criticized for potentially misleading readers about the nature of opioid addiction and recovery.

In conclusion, Thomas De Quincey's "Confessions of an English Opium Eater" explores several key themes: 

De Quincey attempts to honestly chronicle his descent into opium addiction, detailing both the pleasures and pains associated with drug use.

De Quincey admires the conduct of the poor, often framing them as morally superior to the rich. 

De Quincey presents himself as a philosopher, suggesting that a rich intellectual life can justify questionable behavior. He explores how opium use affects his ability to focus on studies.

The memoir is infused with a sense of longing for the past, as De Quincey romanticizes events that were unpleasant at the time.

De Quincey dedicates significant attention to describing his opium-induced nightmares, believing that dreams reveal the depths of one's personality and suffering.

Throughout the memoir, De Quincey reflects on his nights spent wandering the streets of London, using this motif to explore both physical and metaphorical journeys.

De Quincey examines how the pursuit of pleasure through opium use ultimately leads to intense suffering.

The author expresses a complex relationship with the foreign origins of opium, reflecting broader societal anxieties about the infiltration of exotic substances into British society.

These themes interweave throughout the narrative, creating a complex exploration of addiction, society, and the human psyche in 19th-century England.

Ultimately, De Quincey romanticizes his experiences with opium in several ways. He describes opium as amplifying his senses, leading to a heightened appreciation for music and the arts.  He portrays opium as providing relief from physical pain and opening "a gateway to a world of enhanced sensation and beauty”. He also uses impassioned prose and vivid imagery to describe his opium-induced experiences, often verging on the poetic. De Quincey recounts moments of beauty and tranquility, describing "celestial" experiences brought about by opium use.
He portrays his opium-influenced walks through London streets as dreamlike adventures, filled with fantastical elements. De Quincey presents opium as a means to transcend ordinary existence, exploring realms of imagination and heightened consciousness. He suggests that opium visions contribute to his creative process, allowing for "new artistic perspectives" in his writing. By employing these romanticized depictions, De Quincey creates a seductive narrative around opium use, emphasizing its pleasurable and transformative aspects while initially downplaying its negative consequences.

Thomas De Quincey employs rich, evocative poetic language to enhance his descriptions of opium visions, creating vivid and emotionally resonant imagery that blurs the line between reality and dream-like states. His use of poetic devices serves to intensify the reader's experience and convey the profound impact of opium on his perception.

De Quincey's prose often mimics the expansive and transformative nature of his opium experiences. He describes how opium amplifies sensory perceptions, particularly in relation to space and time: "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 70 or 100 years in one night". This elevated language conveys the drug's ability to distort reality and create a sense of the sublime.

The author's vivid imagery is evident in his descriptions of opium-induced visions. In one passage, he writes: "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". This image, with its use of personification and accumulation, creates a sense of overwhelming emotional intensity and cosmic scale.
De Quincey's poetic language often draws on literary allusions, enriching his descriptions with cultural and emotional resonance. His visions are frequently "filled with allusions to the poets," such as echoing imagery from Coleridge's "Rime of the Ancient Mariner”

The author's mastery of poetic prose is perhaps most evident in this famous passage regarding opium:

"Oh! just, subtle, and mighty opium! that to the hearts of poor and rich alike, for the wounds that will never heal, and for 'the pangs that tempt the spirit to rebel,' bringest an assuaging balm; eloquent opium! that with thy potent rhetoric stealest away the purposes of wrath”.

This passage, with its elevated diction, personification, and rhythmic cadence, exemplifies De Quincey's ability to transform his drug experiences into literary art.

By employing these poetic techniques, De Quincey not only describes his opium visions but also recreates their emotional and psychological impact for the reader, elevating his personal experiences to the realm of universal human insight and aesthetic pleasure.

Join Celebrate Poe for Episode 323 - Translating Poe

Sources include: Rime of the Ancient Mariner by Samuel Taylor Colerage, Confessions of an English Opium Eater by Thomas de Quincey, and Charles Baudelaire: Portrait of the Artist as a Drug Addict.

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