In the first part of the “Confessions” there is one passage, describing a dream inspired by opium, which we cannot resist the temptation to extract, as it is one of the sublimest in English prose. “The dream,” he says, “commenced with a music which now I often heard in dreams—a music of preparation and awakening suspense; a music like the opening of the Coronation Anthem, and which, like _that_, gave the feeling of a vast march, of infinite cavalcades filing off, and the tread of innumerable armies. The morning was come of a mighty day—a day of crisis and of final hope for human nature, then suffering some mysterious eclipse, and laboring in some dread extremity. Somewhere, I knew not where—somehow, I knew not how—by some beings, I knew not whom—a battle, a strife, an agony, was conducting—was evolved, like a great drama, or piece of music; with which my sympathy was the more insupportable from my confusion as to its place, its cause, its nature, and its possible issue. I, as is usual in dreams, (where we make ourselves central to every movement,) had the power, and yet had not the power, to decide it. I had the power, if I could raise myself, to will it; and yet again had not the power, for the weight of twenty Atlantics was upon me, or the oppression of inexpiable guilt. ‘Deeper than ever plummet sounded,’ I lay inactive. Then, like a chorus, the passion deepened. Some greater interest was at stake; some mightier cause than ever yet the sword had pleaded, or trumpet had proclaimed. Then came sudden alarms; hurryings to and fro; trepidations of innumerable fugitives. I knew not whether from the good cause or the bad, darkness and light, tempest and human faces, and at last with the sense that all was lost, female forms, and the features that were worth all the world to me, and but a moment allowed—and clasped hands, and heart-breaking partings, and then—everlasting farewells! and, with a sigh such as the caves of hell sighed when the incestuous mother uttered the abhorred name of death, the sound was reverberated—everlasting farewells! and again, and yet again reverberated—everlasting farewells!”
“Suspiria de Profundis,” the conclusion of the Confessions, occupies about as much space as the original work, and has now, for the first time, been connected with it in the same volume. The style of the conclusion is even more majestic, visionary and resounding than the first portion, and is full of thrilling pictures and Macbeth “sights.” We hope that this volume will meet with a success so marked, as to induce the publishers to issue the remaining volumes of De Quincey’s miscellanies in rapid succession.