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The Note-Book of an English Opium-Eater, and Miscellaneous Essays
The NoteBook of an English OpiumEater and Miscellaneous Essays Author:Thomas De Quincey General Books publication date: 2009 Original publication date: 1873 Original Publisher: J.R. Osgood and co. Notes: This is a black and white OCR reprint of the original. It has no illustrations and there may be typos or missing text. When you buy the General Books edition of this book you get free trial access to Million-Books.com where you... more » can select from more than a million books for free. Excerpt: SCHLOSSER'S LITERARY HISTORY OF THE EIGHTEENTH CENTURY. In the person of this Mr. Schlosser is exemplified a common abuse, not confined to literature. An artist from the Italian opera of London and Paris, making a professional excursion to our provinces, is received according to the tariff of the metropolis; no one being bold enough to dispute decisions coming down from the courts above. In that particular case there is seldom any reason to complain -- since really out of Germany and Italy there is no city, if you except Paris and London, possessing materials, in that field of art, for the composition of an "audience large enough to act as a court of revision. It would be presumption in the provincial audience, so slightly trained to good music and dancing, if it should affect to reverse a judgment ratified in the supreme capital. The result, therefore, is practically just, if the original verdict was just; what was right from the first cannot be made wrong by iteration. Yet, even in such a case, there is something not satisfactory to a delicate sense of equity; for the artist returns from the tour as if from some new and independent triumph, whereas, all is but the reverberation of an old one; it seems a new access of sunlight, whereas it is but a reflex illumination from satellites. In literature the corresponding case is worse. An author, passing by means of translation before a foreign people, ought de jure to find himself before a new tribunal; but de facto, he does not. Like the opera artist, but not with the same propriety, he comes before a court that n...« less