You know perhaps, masculine reader, better than I can tell you, what is a Palimpsest. Possibly, you have one in your own library. But yet, for the sake of others who may not know, or may have forgotten, suffer me to explain it here, lest any female reader, who honors; these papers with her notice, should tax me with. explaining it once too seldom; which would be worse. to bear than a simultaneous complaint from twelve proud men, that I had explained it three times too often. You therefore, fair reader, understand, that for your accommodation exclusively, I explain the meaning of this word. It is Greek; and our sex enjoys the office and privilege of standing counsel to yours, in all questions of Greek. We are, under favor, perpetual and hereditary dragomans to you. So that if, by accident, you know the meaning of a Greek word, yet by courtesy to us, your counsel learned in that matter, you will always seem not to know it.
A palimpsest, then, is a membrane or roll cleansed of its manuscript by reiterated successions.
What was the reason that the Greeks and the Romans had not the advantage of printed books? The answer will be, from ninety-nine persons in a hundred,—Because the mystery of printing was not then discovered. But this is altogether a mistake. The secret of printing must have been discovered many thousands of times before it was used, or could be used. The inventive powers of man are divine; and also his stupidity is divine, as Cowper so playfully illustrates in the slow development of the sofa through successive generations of immortal dullness. It took centuries of blockheads to raise a joint stool into a chair; and it required something like a miracle of genius, in the estimate of elder generations, to reveal the possibility of lengthening a chair into a chaise-longue, or a sofa. Yes, these were inventions that cost mighty throes of intellectual power. But still, as respects printing, and admirable as is the stupidity of man, it was really not quite equal to the task of evading an object which stared him in the face with so broad a gaze. It did not require an Athenian intellect to read the main secret of printing in many scores of processes which the ordinary uses of life were daily repeating. To say nothing of analogous artifices amongst various mechanic artisans, all that is essential in printing must have been known to every nation that struck coins and medals. Not, therefore, any want. of a printing art,—that is, of an art for multiplying impressions,—but the want of a cheap material for receiving such impressions, was the obstacle to an introduction of printed books, even as early as Pisistratus. The ancients did apply printing to records of silver and gold; to marble, and many other substances cheaper than gold and silver, they did not, since each monument required a separate effort of inscription. Simply this defect it was of a cheap material for receiving impresses, which froze in its very fountains the early resources of printing.
Some twenty years ago, this view of the case was luminously expounded by Dr. Whately, the present Archbishop of Dublin, and with the merit, I believe, of having first suggested it. Since then, this theory has received indirect confirmation. Now, out of that original scarcity affecting all materials proper for durable books, which continued up to times comparatively modern, grew the opening for palimpsests. Naturally, when once a roll of parchment or of vellum had done its office, by propagating through a series of generations what once had possessed an interest for them, but which, under changes of opinion or of taste, had faded to their feelings or had become obsolete for their undertakings, the whole membrana or vellum skin, the two-fold product of human skill, costly material, and costly freight of thought, which it carried, drooped in value concurrently—supposing that each were inalienably associated to the other. Once it had been the impress of a human mind which stamped its value upon the vellum; the vellum, though costly, had contributed but a secondary element of value to the total result. At length, however, this relation between the vehicle and its freight has gradually been undermined. The vellum, from having been the setting of the jewel, has risen at length to be the jewel itself; and the burden of thought, from having given the chief value to the vellum, has now become the chief obstacle to its value; nay, has totally extinguished its value, unless it can be dissociated from the connection. Yet, if this unlinking can be effected, then, fast as the inscription upon the membrane is sinking into rubbish, the membrane itself is reviving in its separate importance; and, from bearing a ministerial value, the vellum has come at last to absorb the whole value.
Hence the importance for our ancestors that the separation should be effected. Hence it arose in the middle ages, as a considerable object for chemistry, to discharge the writing from the roll, and thus to make it available for a new succession of thoughts. The soil, if cleansed from what once had been hot-house plants, but now were held to be weeds, would be ready to receive a fresh and more appropriate crop. In that object the monkish chemist succeeded; but after a fashion which seems almost incredible, incredible not as regards the extent of their success, but as regards the delicacy of restraints under which it moved,—so equally adjusted was their success to the immediate interests of that period, and to the reversionary objects of our own. They did the thing; but not so radically as to prevent us, their posterity, from undoing it. They expelled the writing sufficiently to leave a field for the new manuscript, and yet not sufficiently to make the traces of the elder manuscript irrecoverable for us. Could magic, could Hermes Trismegistus, have done more? What would you think, fair reader, of a problem such as this,—to write a book which should be sense for your own generation, nonsense for the next, should revive into sense for the next after that, but again become nonsense for the fourth; and so on by alternate successions, sinking into night or blazing into day, like the Sicilian river Arethusa, and the English river Mole; or like the undulating motions of a flattened stone which children cause to skim the breast of a river, now diving below the water, now grazing its surface, sinking heavily into darkness, rising buoyantly into light, through a long vista of alternations? Such a problem, you say, is impossible. But really it is a problem not harder apparently than to bid a generation kill, but so that a subsequent generation may call back into life; bury, but so that posterity may command to rise again. Yet that was what the rude chemistry of past ages effected when coming into combination with the reaction from the more refined chemistry of our own. Had they been better chemists, had we been worse, the mixed result, namely, that, dying for them, the flower should revive for us, could not have been effected. They did the thing proposed to them: they did it effectually, for they founded upon it all that was wanted: and yet ineffectually, since we unravelled their work; effacing all above which they had superscribed; restoring all below which they had effaced.
Here, for instance, is a parchment which contained some Grecian tragedy, the Agamemnon of Eschylus, or the Phœnisse of Euripides. This had possessed a value almost inappreciable in the eyes of accomplished scholars, continually growing rarer through generations. But four centuries are gone by since the destruction of the Western Empire. Christianity, with towering grandeurs of another class, has founded a different empire; and some bigoted, yet perhaps holy monk, has washed away (as he persuades himself) the heathen’s tragedy, replacing it with a monastic legend; which legend is disfigured with fables in its incidents, and yet in a higher sense is true, because interwoven with Christian morals, and with the sublimest of Christian revelations. Three, four, five centuries more, find man still devout as ever; but the language has become obsolete, and even for Christian devotion a new era has arisen, throwing it into the channel of crusading zeal or of chivalrous enthusiasm. The membrana is wanted now for a knightly romance—for “my Cid,” or Cœur de Lion; for Sir Tristrem, or Lybmeus Disconus. In this way, by means of the imperfect chemistry known to the medieval period, the same roll has served as a conservatory for three separate generations of flowers and fruits, all perfectly different, and yet all specially adapted to the wants of the successive possessors. The Greek tragedy, the monkish legend, the knightly romance, each has ruled its own period. One harvest after another has been gathered into the garners of man through ages far apart. And the same hydraulic machinery has distributed, through the same marble fountains, water, milk, or wine, according to the habits and training of the generations that came to quench their thirst.
Such were the achievements of rude monastic chemistry. But the more elaborate chemistry of our own days has reversed all these motions of our simple ancestors, which results in every stage that to them would have realized the most fantastic amongst the promises of thaumaturgy. Insolent vaunt of Paracelsus, that he would restore the original rose or violet out of the ashes settling from its combustion—that is now rivalled in this modern achievement. The traces of each successive handwriting, regularly effaced, as had been imagined, have, in the inverse order, been regularly called back: the footsteps of the game pursued, wolf or stag, in each several chase, have been unlinked, and hunted back through all their doubles; and, as the chorus of the Athenian stage unwove through the antistrophe every step that had been mystically woven through the strophe, so, by our modern conjurations of science, secrets of ages remote from each other have been exorcised* from the accumulated shadows of centuries. Chemistry, a witch as potent as the Erictho of Lucanto (Pharsalia, lib. vi. or vii.), has extorted by her torments, from the dust and ashes of forgotten centuries, the secrets of a life extinct for the general eye, but still glowing in the embers. Even the fable of the Phœnix, that secular bird, who propagated his solitary existence, and his solitary births, along the line of centuries, through eternal relays of funeral mists, is but a type of what we have done with Palimpsests. We have backed upon each phoenix in the long regressus, and forced him to expose his ancestral phoenix, sleeping in the ashes below his own ashes. Our good old forefathers would have been aghast at our sorceries; and, if they speculated on the propriety of burning Dr. Faustus, us they would have burned by acclamation. Trial there would have been none; and they could not otherwise have satisfied their horror of the brazen profligacy marking our modern magic, than by ploughing up the houses of all who had been parties to it, and sowing the ground with salt.
*Note: Some readers may be apt to suppose, from all English experience, that the word exorcise means properly banishment to the shades. Not so. Citation from the shades, or sometimes the torturing coercion of mystic adjurations, is more truly the primary sense.
Fancy not, reader, that this tumult of images, illustrative or allusive, moves under any impulse or purpose of mirth. It is but the coruscation of a restless understanding, often made ten times more so by irritation of the nerves, such as you will first learn to comprehend (its how and its why) some stage or two ahead. The image, the memorial, the record, which for me is derived from a palimpsest, as to one great fact in our human being, and which immediately I will show you, is but too repellent of laughter; or, even if laughter had been possible, it would have been such laughter as oftentimes is thrown off from the fields of ocean*, laughter that hides, or that seems to evade mustering tumult; foam-bells that weave garlands of phosphoric radiance for one moment round the eddies off gleaming abysses; mimicries of earthborn flowers that for the eye raise phantoms of gayety, as oftentimes for the ear they raise the echoes of fugitive laughter, mixing with the ravings and choir-voices of an angry sea.
*Note: Many readers will recall, though, at the moment of writing, my own thoughts did not recall, the well-known passage in the Prometheus—“O multitudinous laughter of the ocean billows!” It is not clear whether Æschylus contemplated the laughter as addressing the ear or the eye.
What else than a natural and mighty palimpsest is the human brain? Such a palimpsest is my brain; such a palimpsest, oh reader! is yours. Everlasting layers of ideas, images, feelings, have fallen upon your brain softly as light. Each succession has seemed to bury all that went before. And yet, in reality, not one has been extinguished. And if, in the vellum palimpsest, lying amongst the other diplomata of human archives or libraries, there is anything fantastic or which moves to laughter, as oftentimes there is in the grotesque collisions of those successive themes, having no natural connection, which by pure accident have consecutively occupied the roll, yet, in our own heaven-created palimpsest, the deep memorial palimpsest of the brain, there are not and cannot be such incoherencies. The fleeting accidents of a man’s life, and its external shows, may indeed be irrelate and incongruous; but the organizing principles which fuse into harmony, and gather about fixed predetermined centres, whatever heterogeneous elements life may have accumulated from without, will not permit the grandeur of human unity greatly to be violated, or its ultimate repose to be troubled, in the retrospect from dying moments, or from other great convulsions.
Such a convulsion is the struggle of gradual suffocation, as in drowning; and, in the original Opium Confessions, I mentioned a case of that nature communicated to me by a lady from her own childish experience. The lady is still living, though now of unusually great age; and I may mention that amongst her faults never was numbered any levity of principle, or carelessness of the most scrupulous veracity; but, on the contrary, such faults as arise from austerity, too harsh, perhaps, and gloomy, indulgent neither to others nor herself. And, at the time of relating this incident, when already very old, she had become religious to asceticism. According to my present belief, she had completed her ninth year, when, playing by the side of a solitary brook, she fell into one of its deepest pools. Eventually, but after what lapse of time nobody ever knew, she was saved from death by a farmer, who, riding in some distant lane, had seen her rise to the surface; but not until she had descended within the abyss of death, and looked into its secrets, as far, perhaps, as ever human eye can have looked that had permission to return. At a certain stage of this descent, a blow seemed to strike her, phosphoric radiance sprang forth from her eyeballs; and immediately a mighty theatre expanded within her brain. In a moment, in the twinkling of an eye, every act, every design of her past life, lived again, arraying themselves not as a succession, but as parts of a coexistence. Such a light fell upon the whole path of her life backwards into the shades of infancy, as the light, perhaps; which wrapt the destined Apostle on his road to Damascus. Yet that light blinded for a season; but hers poured celestial vision upon the brain, so that her consciousness became omnipresent at one moment to every feature in the infinite review.
This anecdote was treated sceptically at the time by some critics. But, besides that it has since been confirmed by other experience essentially the same, reported by other parties in the same circumstances, who had never heard of each other, the true point for astonishment is not the simultaneity of arrangement under which the past events of life, though in fact successive, had formed their dread line of revelation. This was but a secondary phenomenon; the deeper lay in the resurrection itself, and the possibility of resurrection, for what had so long slept in the dust. A pall, deep as oblivion, had been thrown by life over every trace of these experiences; and yet suddenly, at a silent command, at the signal of a blazing rocket sent up from the brain, the pall draws up, and the whole depths of the theatre are exposed. Here was the greater mystery: now this mystery is liable to no doubt; for it is repeated, and ten thousand times repeated, by opium, for those who are its martyrs.
Yes, reader, countless are the mysterious hand-writings of grief or joy which have inscribed themselves successively upon the palimpsest of your brain; and, like the annual leaves of aboriginal forests, or the undissolving snows on the Himalaya, or light falling upon light, the endless strata have covered up each other in forgetfulness. But by the hour of death, but by fever, but by the searchings of opium, all these can revive in strength. They are not dead, but sleeping. In the illustration imagined by myself, from the case of some individual palimpsest, the Grecian tragedy had seemed to be displaced, but was not displaced, by the monkish legend; and the monkish legend had seemed to be displaced, but was not displaced, by the knightly romance. In some potent convulsion of the system, all wheels back into its earliest elementary stage. The bewildering romance, light tarnished with darkness, the semi-fabulous legend, truth celestial mixed with human falsehoods, these fade even of themselves, as life advances. The romance has perished that the young man adored; the legend has gone that deluded the boy; but the deep, deep tragedies of infancy, as when the child’s hands were unlinked forever from his mother’s neck, or his lips forever from his sister’s kisses, these remain lurking below all, and these lurk to the last. Alchemy there is none of passion or disease that can scorch away these immortal impresses; and the dream which closed the preceding section, together with the succeeding dreams of this (which may be viewed as in the nature of choruses winding up the overture contained in Part I.), are but illustrations of this truth, such as every man probably will meet experimentally who passes through similar convulsions of dreaming or delirium from any similar or equal disturbance in his nature*.
*Note: This, it may be said, requires a corresponding duration of experience; but, as an argument for this mysterious power lurking in our nature, I may remind the reader of one phenomenon open to the notice of everybody,—namely, the tendency of very aged persons to throw back and concentrate the light of their memory upon scenes of early childhood, as to which they recall many traces that had faded even to themselves in middle life, whilst they often forget altogether the whole intermediate stages of their experience. This shows that naturally, and without violent agencies, the human brain is by tendency a palimpsest.
De Quincey, Thomas. “The palimpsest of the human brain.” 1845. Quotidiana. Ed. Patrick Madden. 1 Dec 2006. 20 Jun 2013 <http://essays.quotidiana.org/dequincey/palimpsest_of_the_human_brain/>.
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Death we can face: but knowing, as some of us do, what is human life, which of us is it that without shuddering could (if consciously we were summoned) face the hour of birth?
Facts—all facts—were precious to me, and I loved to feel them making piles and stacks and rows in my brain.
It is true that the movements of young children are quick, but a very little attention would prove how many apparent disconnexions there are between the lively motion and the first impulse; it is not the brain that is quick.
It is possible that we human beings, with our mere human faculty, may not understand the scheme, or nature, or fact of the universe!
Death serves to make us think, not of itself, but of what is about us.