Guilty Thing (66 page)

panegyric instead of satire. . .
Joseph Cottle,
Reminiscences of Samuel Taylor Coleridge and Robert Southey
, London: Houlston and Stoneman, 1847, p. 193.

the greatest event. . .
mind. . . De Quincey remembers this as being 1799, but it is more likely to have been the spring or summer of 1798.
Lyrical Ballads
was published in the autumn of 1798, and it is unlikely that a manuscript of one of the poems would be in circulation after the book itself was available. James Losh of Bath, a friend of Wordsworth, remembered reading in manuscript ‘a curious but fine little poem of Wordsworth's' during the spring of 1798. See Mary Moorman, ‘Wordsworth's Commonplace Book',
Notes & Queries
, 202 (1957), p. 405.

Nothing. . .
my own being. . .
Jared Curtis,
The Fenwick Notes of William Wordsworth
, Bristol: Bristol Classical Press, 1993, p. 159.

dark, cold place. . .
Coleridge,
Biographia Literaria
, I, p. 141.

How deep. . .
such a ballad!
. . . Hogg, p. 93.

guidance. . .
Jordan, p. 37.

religious fervour. . .
Coleridge,
Biographia Literaria,
II, p. 9.

Chapter 3: Schooltime (continued)

the feeling therein developed. . .
R. L. Brett and A. R. Jones (eds),
Lyrical Ballads
, London and New York: Routledge, 2005, p. 293.

language of conversation. . .
awkwardness. . .
Brett and Jones (eds),
Lyrical Ballads
, p. 49.

procrastination . . .
too-lateness. . .
Japp, II, p. 142.

full thirty years. . .
Masson, II, p. 59.

an old quiz. . .
Masson, I, p. 393.

the originality of the Lyrical Ballads. . .
see Robert Mayo, ‘The Contemporaneity of the
Lyrical Ballads
' (
PMLA
, lxix, 1954, pp. 486–522). Mayo argues that the
Lyrical Ballads
conformed in many respects to the popular poetry of the magazines in the 1790s. It was ‘experimental' less in its innovations than in the freshness and intensity it brought to already familiar traditions.

The name of Wordsworth. . .
contempt. . .
Masson, II, p. 60.

poems from the first edition appeared in twenty-three separate papers. . .
Patricia Gael, ‘
Lyrical Ballads
in British Periodicals, 1798–1800',
Wordsworth Circle
, Winter 2013.

in an element of danger. . .
Masson, I, p. 390.

mere beds. . .
shrubberies. . .
Masson, I, p. 283.

This was a tender point. . .
Black Letter period. . .
Masson, I, p. 168.

the sublimity. . .
gloom and uncertainty. . .
Masson, I, pp. 178–82.

first view. . .
greater distances. . .
Masson, III, p. 296. Readers of the Whispering Gallery passage in De Quincey's revised edition of
Confessions of an English Opium-Eater
have remarked that he misremembered its effect: the sound which begins in a state of muffled secrecy arrives not magnified but
clarified
. De Quincey's memory always tended towards amplification rather than elucidation.

Depths. . .
gloomy recesses. . .
G. Lindop (ed.),
Works
, 20, p. 337.

exploding like minute guns
. . .
Japp (ed.),
Posthumous Works of Thomas De Quincey
, I, p. 77.

down into. . .
able to describe
. . . Japp, p. 32.

Dullness was the downside of sublimity. . .
see De Quincey, ‘Schlosser's History of the Eighteenth Century', in John E. Jordan (ed.),
De Quincey as Critic
, London: Routledge, 1973, p. 314.

Eleusinian mysteries. . .
Masson, I, p. 212.

my profoundest sympathies. . .
Masson, I, p. 219.

this morning. . .
so are you. . .
Masson, I, p. 223.

old Irish nobility . . .
cornucopia. . .
Masson, I, p. 325.

In England. . .
microscope. . .
Japp, pp. 37–8.

Reading, Hunting . . .
elemental war. . .
Japp, I, pp. 28–9. The line, ‘from some high cliff superior', is not from Shakespeare but Akenside's mid-eighteenth century didactic poem,
Pleasures of Imagination.

some victim. . .
antique school-room. . .
Masson, I, p. 331.

stir out of doors. . .
conjured up. . .
Japp, pp. 53–5.

trifling degree of cleanliness. . .
Friedrich Engels,
The Condition of the Working Class in England
, London: Swan Sonnenschein & Co., 1892, p. 53.

Series of unfurnished . . .
cauliflower. . .
Masson, III, pp. 247–52.

worm-eaten passages. . .
Masson, III, p. 271.

slumbering in the mind. . .
‘On Wordsworth's Poetry', in Jordan (ed.),
De Quincey as Critic
, p. 416.

a profound secret. . .
Masson, II, p. 60.

All good poetry. . .
into neglect. . .
Brett and Jones (eds),
Lyrical Ballads
, pp. 291, 294.

the most finished. . .
fine arts. . .
‘Wordsworth and Southey, Affinities and Differences', in Jordan (ed.),
De Quincey as Critic
, p. 427.

You must expect. . .
introduce you. . .
Japp, I, p. 61.

fraternisers. . .
with ingratitude. . .
Masson, II, pp. 127–8.

genius . . .
of the highest class. . .
see Henry Roscoe,
The Life of William Roscoe
, London: Cadell and Blackwood, 1833, p. 233: ‘With the little volume of Mr. Coleridge's poems I have been greatly delighted – his genius is of the highest class. The characteristics of a fervid imagination and a highly cultivated taste are visible in every page.' For an excellent exploration of De Quincey's relationship with, and debt to, the Everton coterie see Daniel Sanjiv Roberts, ‘De Quincey's Discovery of
Lyrical Ballads
, The Politics of Reading',
Studies in Romanticism
, 36 (Winter 1997), pp. 511–32.

Bristol is not. . .
Roscoe,
Life of William Roscoe
, I, pp. 231–3.

the manners of good sense. . .
Griggs, I, pp. 607, 2, 746.

To me. . .
of a divine art. . .
Masson, II, p. 129.

hallowed to my own thoughts. . .
Masson, II, p. 139.

searched east and west. . .
Masson, II, p. 139.

a pretty duodecimo. . .
Masson, III, p. 312.

ancient gothic monastery. . .
Masson, II, p. 11.

Sir Robert's day. . .
on its stage. . .
Masson, I, p. 409.

Every human being. . .
I govern you? . . .
Japp, I, pp. 73–4.

transformation in a pantomime. . .
Uglow, p. 289.

army with banners. . .
Masson, III, p. 289.

he had been uniformly . . .
power. . .
‘Confessions', p. 12.

a sort of trance. . .
upon the stairs. . .
Masson, III, p. 297.

I dressed myself . . .
archididasculus. . .
‘Confessions', pp. 12–14.

deep, deep magnet. . .
Masson, III, p. 283.

Chapter 4: Residence in London

hallowed character. . .
embarrassment. . .
Masson, III, p. 284.

Sphinx's riddle. . .
Masson, III, p. 287.

confluent at the post office. . .
Masson, III, p. 286.

what Wordsworth. . .
heart-corroding doubt. . .
Masson, III, pp. 279–84.

dazzling day. . .
Whispering Galleries. . .
Masson, III, p. 300.

What was it?. . .
my fancied felony. . .
Masson, III, p. 310.

total revolt. . .
Japp, I, p. 71.

headstrong act. . .
magnify. . .
Masson, III, pp. 312, 317.

even the brooks . . .
seeking in Wales. . .
Masson, III, p. 322.

You must recollect, Betty
. . .
Masson, III, p. 323.

two and a half hours. . .
this vagrancy. . .
Masson, III, p. 329.

to fly where no man pursued. . .
Masson, III, p. 338.

real suffering. . .
Masson, II, p. 55.

the last brief. . .
expiring lamp. . .
Masson, III, p. 343.

whole atmosphere. . .
and in darkness. . .
Masson, III, pp. 346–7.

unhappy countenance. . .
barely decent. . .
Masson, III, pp. 350–1.

Radix God. . .
see Iain McCalman, ‘Mystagogues of Revolution', in James Chandler and Kevin Gilmartin (eds),
Romantic Metropolis: The Urban Scene of British Culture, 1780 –1840
, Cambridge: Cambridge University Press, 2005, p. 192.

corrector of Greek proofs. . .
‘Confessions', p. 28.

extremities such as these
. . .
‘Confessions', p. 19.

ballad-singing confraternity. . .
John Thomas Smith,
A Book for a Rainy Day, Or, Recollections of the Events of the Years 1766–1833
, London: Methuen, 1905, p. 239.

natural black frame. . .
Charles Lamb, ‘Recollections of a Late Royal Academician' (1831) in
The Complete Correspondence and Works of Charles Lamb
, with an essay on his life and genius by Thomas Purnell, London: E. Moxton, 1870, III, p. 406.

ceiled with looking glasses. . .
enriched with trees. . .
Jerry White,
A Great and Monstrous Thing: London in the Eighteenth Century
, London: Bodley Head, 2011, p. 294.

the outcasts and pariahs. . .
sitting. . .
‘Confessions', p. 24.

ragged dirty shoes. . .
common to them all. . .
Francis Place,
The Autobiography of Francis Place
, edited with an introduction by Mary Thale, Cambridge: Cambridge University Press, 1972, p. 71.

died on the spot. . .
‘Confessions', p. 26.

by dreamy lamplight . . .
shed tears. . .
‘Confessions', p. 27.

fraud
. . .
De Quincey, ‘Some Thoughts on Biography', in Japp (ed.),
Posthumous Works of Thomas De Quincey
, I, p. 116.

beauteous Wretches. . .
the same circle. . .
‘An Account of the Life of Mr Richard Savage', in Donald Greene (ed.),
The Oxford Authors
,
Samuel Johnson
, Oxford: Oxford University Press, 1984, p. 145.

nest-egg. . .
Japp (ed.),
Posthumous Works of Thomas De Quincey
, I, p. 114.

on moonlight nights. . .
fly to comfort. . .
‘Confessions', p. 40.

many a charming family scene
. . .
Sophie in London, 1786; Being the Diary of Sophie v la Roche,
trans. from the German by Clare Williams, London: Jonathan Cape, 1933, p. 141.

now in the occupation . . .
cheerful and gay. . .
‘Confessions', p. 34.

If she lived. . .
meeting her. . .
‘Confessions', p. 38.

stony-hearted stepmother. . .
‘Confessions', p. 39.

concessions
. . .
Diary, p.18.

book that . . .
does not permit itself to be read. . .
Edgar Allan Poe, ‘The Man of the Crowd', in
Edgar Allan Poe, Thirty-Two Stories
, edited by Stuart Levin and Susan F. Levine, Indianapolis: Hackett Publishing, 2000, p. 129.

Chapter 5: Summer Vacation

good and kind matron. . .
under her roof. . .
Robert Syers,
History of Everton, Including Familiar Dissertations on the People, and Descriptive Delineations of the Several & Separate Properties of the Township
, Liverpool: J. and G. Robinson, 1830, p. 303.

afloat in the heart of the town. . .
W. Jones,
The Liverpool Guide, Including a Sketch of the Environs
, Liverpool, Crane and Jones, 1801, p. 34.

lost in thought . . .
never passed away. . .
Diary, p. 25.

the sentence hangs and turns
. . .
Diary, p. 55.

damnation to drink. . .
Diary, p. 55.

talk about the war
. . .
Diary, p. 53.

as inferior beings. . .
Diary, p. 50.

road down to hell. . .
Diary, p. 36.