Thomas de Quincey

Thomas de Quincey (Manchester, 1785 - Edimburgo, 1859) fue uno de los más originales escritores del romanticismo ingles. Hijo de una rica familia, recibió una esmeradísima y estricta educación en los mejores colegios y con preceptores particulares, lo que le llevo a escaparse de casa a los 17 años llegando hasta Londres, donde sobrevivio durante unos cuantos años. Reconciliado con su familia, se aficiono a los estudios en Oxford y al opio, aunque finalmente pudo abandonar ambos y dedicarse a la literatura y al periodismo. Aunque esto ultimo tras gastarse su considerable fortuna. Fue amigo de Coleridge, Wordsworth y demas poetas lakistas. En su amplia obra, sobre todo de caracter ensayistico, destacan las Confesiones de un comedor de opio ingles (1821), libro de caracter autobiografico, el mas difundido entre los suyos, y El asesinato como una de las bellas artes (1827), que ahora reeditamos, obra maestra de imaginacion y sarcastica ironia que ha ejercido un amplio y dilatado magisterio a traves de los años y de las literaturas que llega hasta Jorge Luis Borges e incluso mas alla.

Veinticuatro años después de la aparición de las Confesiones de un inglés comedor De opio (L 5614), Thomas de Quincey (1785-1859) publicó en 1845, a lo largo de varios números del Blackwood''s EdinburghMagazine, unos textos autobiograficos que, bajo el titulo de Suspiria deprofundis, se proponian continuar la obra anterior. La narracion sirve de base para el analisis de esa rara facultad de soñar esplendidamente que el opio potencia. Adelantandose intuitivamente a las investigacionescientifi cas, De Quincey establece una relacion directa entre lossueños, el canal por el cual nos comunicamos con la sombra, y determinadas experiencias de la infancia y de la adolescencia maduradas por la soledad y el sufrimiento. En los sueños cristalizan, junto con lo visto y lo leido, las sensaciones mas hondas que llegan al hombre a traves de combinaciones de objetos concretos y experiencias compuestas de partes inseparables. Aunque inacabada, esta obra ejercio una gran infl uencia en la literatura posterior, especialmente Sobre Los paraisos artificiales de Charles Baudelaire.Veinticuatro años después de la aparición de las Confesiones de un inglés comedor De opio (L 5614), Thomas de Quincey (1785-1859) publicó en 1845, a lo largo de varios números del Blackwood''s EdinburghMagazine, unos textos autobiograficos que, bajo el titulo de Suspiria deprofundis, se proponian continuar la obra anterior. La narracion sirve de base para el analisis de esa rara facultad de soñar esplendidamente que el opio potencia. Adelantandose intuitivamente a las investigacionescientifi cas, De Quincey establece una relacion directa entre lossueños, el canal por el cual nos comunicamos con la sombra, y determinadas experiencias de la infancia y de la adolescencia maduradas por la soledad y el sufrimiento. En los sueños cristalizan, junto con lo visto y lo leido, las sensaciones mas hondas que llegan al hombre a traves de combinaciones de objetos concretos y experiencias compuestas de partes inseparables. Aunque inacabada, esta obra ejercio una gran infl uencia en la literatura posterior, especialmente Sobre Los paraisos artificiales de Charles Baudelaire.

Un tratado sobre el asesinato como un hecho que permite el goce estético, a partir del análisis de crímenes famosos de la historia y el estudio particular de los casos de Williams y M’Kean, asesinos

In "On Murder Considered as one of the Fine Arts," Thomas de Quincey presents a provocative analysis that intertwines aesthetics and ethics within the context of murder. Written in a fluid yet incisive prose style characteristic of the Romantic era, this essay examines the artistic dimensions of murder as an act, rather than solely a moral failing. De Quincey dissects historical murder cases, particularly focusing on the sensationalism surrounding them, revealing how society often elevates such acts to a disturbing form of art. His exploration of the souls darkest impulses, couched in a blend of philosophical inquiry and anecdotal evidence, challenges conventional perceptions of crime and beauty, ultimately reflecting the intricate relationship between violence and the human condition. Thomas de Quincey, an influential essayist and philosopher, is best known for his work in the Romantic movement, which scrutinized the complexities of morality and human experience. His own tumultuous life, marked by addiction and profound introspection, informed his fascination with the macabre. De Quinceys previous writings on substance use and literary critiques set the stage for this groundbreaking essay, positioning him as an innovator who sought to provoke thought about societal norms and personal darkness. For readers drawn to the intersections of art and morality, "On Murder Considered as one of the Fine Arts" is an essential work that compels one to confront uncomfortable truths about the human psyche. This text is not only relevant for scholars of Victorian literature but also for anyone intrigued by the philosophical implications of violence and its portrayal in society. De Quinceys engagement with such themes urges readers to reevaluate the often ambiguous line between beauty and horror.In this enriched edition, we have carefully created added value for your reading experience:- A succinct Introduction situates the works timeless appeal and themes.- The Synopsis outlines the central plot, highlighting key developments without spoiling critical twists.- A detailed Historical Context immerses you in the eras events and influences that shaped the writing.- An Author Biography reveals milestones in the authors life, illuminating the personal insights behind the text.- A thorough Analysis dissects symbols, motifs, and character arcs to unearth underlying meanings.- Reflection questions prompt you to engage personally with the works messages, connecting them to modern life.- Handpicked Memorable Quotes shine a spotlight on moments of literary brilliance.- Interactive footnotes clarify unusual references, historical allusions, and archaic phrases for an effortless, more informed read.

In "Dinner Real and Reputed," Thomas de Quincey presents an engaging fusion of memoir, culinary critique, and philosophical inquiry. His literary style is characterized by its opulent prose and vivid imagery, typifying the Romantic eras fascination with the sublime and the grotesque. De Quincey deftly weaves personal anecdotes alongside cultural observations, illuminating the dynamics of societal dining practices while reflecting on the nature of reality versus perception in the culinary sphere. Each chapter serves as a lens through which readers can explore the intricate connections between food, class, and identity in early 19th-century England. Thomas de Quincey, best known for his confessional and often introspective essays, drew from his own life experiences to craft this work. A former opium addict and an ardent admirer of the philosophical underpinnings of Romanticism, de Quinceys exploration of dining reveals his complex relationship with pleasure, excess, and societal conventions. His background as a student of philosophy and literature and his travels through various social strata inform his nuanced perspective on the mundane yet profound act of dining. "Dinner Real and Reputed" is a must-read for those interested in the intricacies of food culture and its representation in literature. Readers will find themselves immersed in de QuinceyAos rich narrative style, which not only entertains but also provokes deeper thought about the roles food plays in social identity and collective memory. This book is an essential addition to the library of anyone who appreciates the intersection of culinary art and literary reflection.

"He was a man of very extraordinary genius. He has generally been treated by those who have spoken of him in print as a madman. But this is a mistake and must have been founded chiefly on the titles of his books. He was a man of fervid mind and of sublime aspirations: but he was no madman; or, if he was, then I say that it is so far desirable to be a madman. In 1798 or 1799, when I must have been about thirteen years old, Walking Stewart was in Bathwhere my family at that time resided. He frequented the pump-room, and I believe all public placeswalking up and down, and dispersing his philosophic opinions to the right and the left, like a Grecian philosopher. The first time I saw him was at a concert in the Upper Rooms; he was pointed out to me by one of my party as a very eccentric man who had walked over the habitable globe. I remember that Madame Mara was at that moment singing: and Walking Stewart, who was a true lover of music (as I afterwards came to know), was hanging upon her notes like a bee upon a jessamine flower. His countenance was striking, and expressed the union of benignity with philosophic habits of thought."

Selección y prólogo de Luis Chitarroni. La muerte de los filósofos suele tormarse más en serio que la de la mayoría de los mortales, tal vez porque otras muertes resultan débiles en relación a lo que

"Confessions of an English Opium-Eater" is an autobiographical narrative by English author Thomas De Quincey. First published in The London Magazine in two parts in 1821, then as a book, with an appendix, in 1822.De Quinceys rather majestic, classically learned and singular style inspires every page of his writing. His "Confessions of an English Opium-Eater" guarantees him a place in this series as a writer whose life and writing were equally expressive of an unquenchable originality of thought and behaviour. The highly poetic and imaginative prose of the Confessions makes it one of the enduring stylistic masterpieces of English literature.The avowed purpose of the first version of "Confessions of an English Opium-Eater" was to warn the reader of the dangers of opium, and it combined the interest of a journalistic expose of a social evil, told from an addicts point of view, with a somewhat contradictory and seductive picture of the subjective pleasures of drug addiction. The book begins with an autobiographical account of the authors addiction. It then describes in effective detail the euphoric and highly symbolic reveries that he experienced under the drugs influence and recounts the horrible nightmares that continued use of the drug eventually produced. Athough De Quincey ends his narrative at a point at which he is drug-free, he remained an opium addict for the rest of his life. In 1856 he rewrote "Confessions of an English Opium-Eater" and added descriptions of opium-inspired dreams.

Esto no es una biografía al uso, sino un recorrido por los últimos momentos de vida de Kant, cuando estaba ya aquejado de la enfermedad que lo sumió en la decrepitud. Kant nace en la ciudad de Könis

Confessions of an English Opium-Eater is an autobiographical account written by Thomas De Quincey, about his laudanum addiction and its effect on his life. De Quinceys account was organized into two parts. Part I contains Preliminary Confessions, and it is devoted to the authors childhood and youth, and concentrated upon the emotional and psychological factors that underlay the later opium experiences especially the period in his late teens that De Quincey spent as a homeless runaway in Oxford Street in London in 1802 and 1803. Part II is split into several sections, the main two being The Pleasures of Opium and The Pains of Opium. The Pleasures of Opium discusses the early and largely positive phase of the authors experience with the drug, from 1804 until 1812. The Pains of Opium recounts the extreme of the authors opium experience (up to that time), with insomnia, nightmares, frightening visions, and difficult physical symptoms.

La Guerra de los Treinta Años asola Europa.Las fuerzas leales al emperador combaten sin tregua por mantener su dominiodentro de los extensos límites del Sacro Imperio Romano Germánico.Un ser misterioso y embozado, al que la imaginacion popular ha bautizadocon el nombre de La Mascara, provoca el panicoentre los habitantes de la vieja ciudad de Klosterheim y parece quererfrustrar los desleales designios del tiranico Landgrave de la plaza... Thomas De Quincey (1785-1859), a quien unilustre contemporaneo, Thomas Carlyle, describio como elchico mas hermoso: ojos azules, cara resplandeciente, si no hubierahabido algo en el que decia: eccovi... ¡estechico ha estado en el infierno!, es autor de deliciosas narracioneshistoricas y profundas meditaciones, como La rebelionde los Tartaros, Los ultimos dias de Kanty, sobre todo, las Confesiones de un comedor de opio ingles,recrea en Klosterheim, o La Mascara la epocay la atmosfera en la que los despotas, los castillos, lasmazmorras, las batallas, las virginales heroinas y los valientescaballeros componian un laberintico entramado con marcadostintes goticos.

QUESTO LIBRO E A LAYOUT FISSOQuesto ritrovato lo si poteva definire una panacea per tutti i mali, il segreto della felicita, sul quale i filosofi avevano per secoli disquisito: se non che tanta letizia la si poteva acquisire per pochi soldi e custodire nel taschino del panciotto; la si poteva sigillare in una bottiglia e la pace interiore confezionarla e spedirla in barili con un corriere postale.Con lopera Confessioni di un oppiomane, scritta nel 1821, Thomas De Quincey ottenne fama e successo, divenendo fonte dispirazione per scrittori come Baudelaire ed Edgar Allan Poe.Loppio, e gli effetti che esso produce, e lassoluto protagonista, idolo e nel contempo demone della narrazione. Dopo un iniziale periodo di benessere ed estasi, labuso di questa droga divenne per lautore causa di spaventosi incubi notturni, che ne compromisero ulteriormente il gia precario stato di salute. Solo la minaccia della morte incombente, gli permettera di emergere dalla spirale della dipendenza.Laffascinante testimonianza di un uomo, che intende sfatare le false convinzioni condivise in materia, divulgando gioie e dolori provocati dallassunzione delloppio, senza mai cadere in considerazioni di stampo moralistico.Thomas De Quincey (1785-1859), scrittore e giornalista inglese, pubblico, oltre alle Confessioni di un oppiomane, Klosterheim, Suspiria de Profundis, Storie di un visionario e Le avventure di una monaca vestita da uomo.

Aunque en sus páginas resuene la cruel ironía de Jonathan Swift al denunciar el dominio inglés sobre Irlanda, Del asesinato considerado como una de las bellas artes expresa, sin embargo, las obsesiones intimas de Thomas de Quincey (1785-1859). El libro esta compuesto por los dos articulos publicados por el autor de Confesiones de un ingles comedor de opio (LB 1029) en 1827 y 1829, y que constituyen una pieza clasica del humorismo ingles, y por el Post Scriptum de 1854, dominado por una tension mas oscura. Si el tono de los articulos -presentados como una conferencia leida ante la Sociedad de Conocedores del Asesinato y como las actas de una cena conmemorativa del club- concilia la erudicion y la brutalidad en una de las muestras mas acabadas de ironia literaria, el Post Scriptum, en cambio, aun sin perder este tenor -que queda mas en sordina-, es una reflexion sobre el horror, superpuesta a la escalofriante descripcion de los celebres crimenes de Williams y los MKean.

These papers I am anxious to put into the hands of your house, and, so far as regards the U.S., of your house exclusively; not with any view to further emolument, but as an acknowledgment of the services which you have already rendered me; namely, first, in having brought together so widely scattered a collectiona difficulty which in my own hands by too painful an experience I had found from nervous depression to be absolutely insurmountable; secondly, in having made me a participator in the pecuniary profits of the American edition, without solicitation or the shadow of any expectation on my part, without any legal claim that I could plead, or equitable warrant in established usage, solely and merely upon your own spontaneous motion. Some of these new papers, I hope, will not be without their value in the eyes of those who have taken an interest in the original series. But at all events, good or bad, they are now tendered to the appropriation of your individual house, the Messrs. TICKNOR & FIELDS, according to the amplest extent of any power to make such a transfer that I may be found to possess by law or custom in America.I wish this transfer were likely to be of more value. But the veriest trifle, interpreted by the spirit in which I offer it, may express my sense of the liberality manifested throughout this transaction by your honorable house.Ever believe me, my dear sir,Your faithful and obliged,THOMAS DE QUINCEY.