Suspiria de Profundis by Thomas De Quincey (urban books to read .TXT) 📕

to the great burdens of man’s impassioned creations. These are the Sorrows; all three of whom I know.” The last words I say now; but in Oxford I said, “one of whom I know, and the others too surely I shall know.” For already, in my fervent youth, I saw (dimly relieved upon the dark background of my dreams) the imperfect lineaments of the awful Sisters.

These Sisters⁠—by what name shall we call them? If I say simply “The Sorrows,” there will be a chance of mistaking the term; it might be understood of individual sorrow⁠—separate cases of sorrow⁠—whereas I want a term expressing the mighty abstractions that incarnate themselves in all individual sufferings of man’s heart, and I wish to have these abstractions presented as impersonations⁠—that is, as clothed with human attributes of life, and with functions pointing to flesh. Let us call them, therefore, Our Ladies of Sorrow.

I know them thoroughly, and have walked, in all their kingdoms. Three sisters they are, of one mysterious household; and their paths are wide apart; but of their dominion there is no end. Them I saw often conversing with Levana, and sometimes about myself. Do they talk, then? O no! Mighty phantoms like these disdain the infirmities of language. They may utter voices through the organs of man when they dwell in human hearts, but amongst themselves is no voice nor sound; eternal silence reigns in their kingdoms. They spoke not as they talked with Levana; they whispered not; they sang not; though oftentimes methought they might have sung: for I upon Earth had heard their mysteries oftentimes deciphered by harp and timbrel, by dulcimer and organ. Like God, whose servants they are, they utter their pleasure not by sounds that perish, or by words that go astray, but by signs in heaven, by changes on Earth, by pulses in secret rivers, heraldries painted on darkness, and hieroglyphics written on the tablets of the brain. They wheeled in mazes; I spelled the steps. They telegraphed from afar; I read the signals. They conspired together; and on the mirrors of darkness my eye traced the plots. Theirs were the symbols; mine are the words.

What is it the Sisters are? What is it that they do? Let me describe their form and their presence, if form it were that still fluctuated in its outline, or presence it were that for ever advanced to the front or forever receded amongst shades.

The eldest of the three is named Mater Lachrymarum, Our Lady of Tears. She it is that night and day raves and moans, calling for vanished faces. She stood in Rama, where a voice was heard of lamentation⁠—Rachel weeping for her children, and refusing to be comforted. She it was that stood in Bethlehem on the night when Herod’s sword swept its nurseries of Innocents, and the little feet were stiffened forever which, heard at times as they trotted along floors overhead, woke pulses of love in household hearts that were not unmarked in heaven. Her eyes are sweet and subtle, wild and sleepy, by turns; oftentimes rising to the clouds, oftentimes challenging the heavens. She wears a diadem round her head. And I knew by childish memories that she could go abroad upon the winds, when she heard the sobbing of litanies, or the thundering of organs, and when she beheld the mustering of summer clouds. This Sister, the elder, it is that carries keys more than papal at her girdle, which open every cottage and every palace. She, to my knowledge, sat all last summer by the bedside of the blind beggar, him that so often and so gladly I talked with, whose pious daughter, eight years old, with the sunny countenance, resisted the temptations of play and village mirth, to travel all day long on dusty roads with her afflicted father. For this did God send her a great reward. In the spring time of the year, and whilst yet her own spring was budding, He recalled her to himself. But her blind father mourns forever over her: still he dreams at midnight that the little guiding hand is locked within his own; and still he wakens to a darkness that is now within a second and a deeper darkness. This Mater Lachrymarum also has been sitting all this winter of 1844⁠–⁠5 within the bedchamber of the Czar, bringing before his eyes a daughter (not less pious) that vanished to God not less suddenly, and left behind her a darkness not less profound. By the power of the keys it is that Our Lady of Tears glides, a ghostly intruder, into the chambers of sleepless men, sleepless women, sleepless children, from Ganges to the Nile, from Nile to Mississippi. And her, because she is the firstborn of her house, and has the widest empire, let us honour with the title of “Madonna.”

The second Sister is called Mater Suspiriorum, Our Lady of Sighs. She never scales the clouds, nor walks abroad upon the winds. She wears no diadem. And her eyes, if they were ever seen, would be neither sweet nor subtle; no man could read their story; they would be found filled with perishing dreams, and with wrecks of forgotten delirium. But she raises not her eyes; her head, on which sits a dilapidated turban, droops forever, forever fastens on the dust. She weeps not. She groans not. But she sighs inaudibly at intervals. Her sister, Madonna, is oftentimes stormy and frantic, raging in the highest against heaven, and demanding back her darlings. But Our Lady of Sighs never clamours, never defies, dreams not of rebellious aspirations. She is humble to abjectness. Hers is the meekness that belongs to the hopeless. Murmur she may, but it is in her sleep. Whisper she may, but it is to herself in the twilight. Mutter she does at times, but it is in solitary places that are desolate as she is desolate, in ruined cities, and when the sun