In editing an English classic for use in the secondary schools, there is always opportunity for the expression of personal convictions and personal taste; nevertheless, where one has predecessors in the task of preparing such a text, it is difficult always, occasionally impossible, to avoid treading on their heels. The present editor, therefore, hastens to acknowledge his indebtedness to the various school editions of the Revolt of the Tartars, already in existence. The notes by Masson are so authoritative and so essential that their quotation needs no comment. De Quincey's footnotes are retained in their original form and appear embodied in the text. The other annotations suggest the method which the editor would follow in class-room work upon this essay.

The student's attention is called frequently to the form of expression; the discriminating use of epithets, the employment of foreign phrases, the allusions to Milton and the Bible, the structure of paragraphs, the treatment of incident, the development of feeling, the impressiveness of a present personality; all this, however, is with the purpose, not of mechanic exercise, nor merely to illustrate "rhetoric," but to illuminate De Quincey. It is with this intention, presumably, that the text is prescribed. There is little attractiveness, after all, in the idea of a style so colorless and so impersonal that the individuality of its victim is lost in its own perfection; this was certainly not the Opium-Eater's mind concerning literary form, nor does it appear to have been the aim of any of our masters. Indeed, it may be well in passing to point out to pupils how fatal to success in writing is the attempt to imitate the style of any man, De Quincey included; it is always in order to emphasize the naturalness and spontaneity of the "grand style" wherever it is found. The teacher should not inculcate a blind admiration of all that De Quincey has said or done; there is opportunity, even in this brief essay, to exercise the pupil in applying the commonplace tests of criticism, although it should be seen to as well that a true appreciation is awakened for the real excellences of this little masterpiece.

INTRODUCTION.

Table of Contents

Thomas De Quincey is one of the eccentric figures in English literature. Popularly he is known as the English Opium-Eater and as the subject of numerous anecdotes which emphasize the oddities of his temperament and the unconventionality of his habits. That this man of distinguished genius was the victim—pitifully the victim—of opium is the lamentable fact; that he was morbidly shy and shunned intercourse with all except a few intimate, congenial friends; that he was comically indifferent to the fashion of his dress; that he was the most unpractical and childlike of men; that he was often betrayed, because of these peculiarities, into many ridiculous embarrassments, such as are described by Mr. Findlay, Mr. Hogg, and Mr. Burton—of all this there can be no doubt; but these idiosyncrasies are, after all, of minor importance, the accidents, not the essentials in the life and personality of this remarkable man. The points that should attract our notice, the qualities that really give distinction to De Quincey, are the broad sweep of his knowledge, almost unlimited in its scope and singularly accurate in its details, a facility of phrasing and a word supply that transformed the mere power of discriminating expression into a fine art, and a style that, while it lapsed occasionally from the standard of its own excellence, was generally self-corrective and frequently forsook the levels of commonplace excellence for the highest reaches of impassioned prose. Nor is this all. His pages do not lack in humor—humor of the truest and most delicate type; and if De Quincey is at times impelled beyond the bounds of taste, even these excursions demonstrate his power, at least in handling the grotesque. His sympathies, however, are always genuine, and often are profound. The pages of his autobiographic essays reveal the strength of his affections, while in the interpretation of such a character as that of Joan of Arc, or in allusions like those to the pariahs—defenceless outcasts from society, by whose wretched lot his heart was often wrung—he writes in truest pathos.

Now sympathy is own child of the imagination, whether expressed in the language of laughter or in the vernacular of tears; and the most distinctive quality in the mental make-up of De Quincey was, after all, this dominant imagination which was characteristic of the man from childhood to old age. The Opium-Eater once defined the great scholar as "not one who depends simply on an infinite memory, but also on an infinite and electrical power of combination, bringing together from the four winds, like the angel of the resurrection, what else were dust from dead men's bones, into the unity of breathing life." Such was De Quincey himself. He was a scholar born, gifted with a mind apt for the subtleties of metaphysics, a memory well-nigh inexhaustible in the recovery of facts; in one respect, at least, he was a great scholar, for his mind was dominated by an imagination as vigorous as that which created Macaulay's England, almost as sensitive to dramatic effect as that which painted Carlyle's French Revolution. Therefore when he wrote narrative, historical narrative, or reminiscence, he lived in the experiences he pictured, as great historians do; perhaps living over again the scenes of the past, or for the first time making real the details of occurrences with which he was only recently familiar.

The Revolt of the Tartars is a good illustration of his power. Attracted by the chance reading of an obscure French missionary and traveller to the dramatic possibilities of an episode in Russian history, De Quincey built from the bare notes thus discovered, supplemented by others drawn from a matter-of-fact German archæologist, a narrative which for vividness of detail and truthfulness of local color belongs among the best of those classics in which fancy helps to illuminate fact, and where the imagination is invoked to recreate what one feels intuitively must have been real.

The Revolt of the Tartars, while not exhibiting the highest achievement of the author's power, nevertheless belongs in the group of writings wherein his peculiar excellences are fairly manifested. The obvious quality of

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