Narrative and Miscellaneous PapersDe Quincey, Thomas
General
Narrative and Miscellaneous Papers
De Quincey, Thomas
English essays; English fiction
But, in a field where of necessity we are so much limited, we willingly
pass from the consideration of these treasure or _khasne_ phantoms
(which alone sufficiently ensure a swarm of ghostly terrors for all
Oriental ruins of cities,) to the same marvellous apparitions, as they
haunt other solitudes even more awful than those of ruined cities. In
this world there are two mighty forms of perfect solitude--the ocean and
the desert: the wilderness of the barren sands, and the wilderness of
the barren waters. Both are the parents of inevitable superstitions--of
terrors, solemn, ineradicable, eternal. Sailors and the children of the
desert are alike overrun with spiritual hauntings, from accidents of
peril essentially connected with those modes of life, and from the
eternal spectacle of the infinite. Voices seem to blend with the raving
of the sea, which will for ever impress the feeling of beings more than
human: and every chamber of the great wilderness which, with little
interruption, stretches from the Euphrates to the western shores of
Africa, has its own peculiar terrors both as to sights and sounds. In
the wilderness of Zin, between Palestine and the Red Sea, a section of
the desert well known in these days to our own countrymen, bells are
heard daily pealing for matins, or for vespers, from some phantom
convent that no search of Christian or of Bedouin Arab has ever been
able to discover. These bells have sounded since the Crusades. Other
sounds, trumpets, the _Alala_ of armies, &c., are heard in other regions
of the Desert. Forms, also, are seen of more people than have any
right to be walking in human paths: sometimes forms of avowed terror;
sometimes, which is a case of far more danger, appearances that mimic
the shapes of men, and even of friends or comrades. This is a case
much dwelt on by the old travellers, and which throws a gloom over the
spirits of all Bedouins, and of every cafila or caravan. We all know
what a sensation of loneliness or 'eeriness' (to use an expressive term
of the ballad poetry) arises to any small party assembling in a
single room of a vast desolate mansion: how the timid among them fancy
continually that they hear some remote door opening, or trace the sound
of suppressed footsteps from some distant staircase. Such is the feeling
in the desert, even in the midst of the caravan. The mighty solitude is
seen: the dread silence is anticipated which will succeed to this brief
transit of men, camels, and horses. Awe prevails even in the midst of
society: but, if the traveller should loiter behind from fatigue, or
be so imprudent as to ramble aside--should he from any cause once lose
sight of his party, it is held that his chance is small of recovering
their traces. And why? Not chiefly from the want of footmarks where the
wind effaces all impressions in half an hour, or of eyemarks where all
is one blank ocean of sand, but much more from the sounds or the visual
Public-domain text, read in full here on John Shaqi.
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