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with Mysticism. The Mystic dwells in the mystery, is enveloped with it; it colors all his thoughts; it affects his optic nerve especially, and the commonest things get a rainbow edging from it. Mr. Poe, on the other hand, is a spectator ab extrd. He analyzes, he dissects, he watches

“ with an eye serene,
The very pulse of the machine,"

for such it practically is to him, with wheels and cogs and piston-rods, all working to produce a certain end.

This analyzing tendency of his mind balances the poetical, and, by giving him the patience to be minute, enables him to throw a wonderful reality into his most unreal fancies. A monomania he paints with great power. He loves to dissect one of these cancers of the mind, and to trace all the subtle ramifications of its roots. In raising images of horror, also, he has a strange success : conveying to us sometimes by a dusky hint some terrible doubt which is the secret of all horror. He leaves to imagination the task of finishing the picture, a task to which only she is competent.

“For much imaginary work was there ;

Conceit deceitful, so compact, so kind,
That for Achilles' image stood his spear
Grasped in an armed hand; himself behind
Was left unseen, save to the eye of mind."

Beside the merit of conception, Mr. Poe's writings have also that of form. His style is highly finished, graceful and truly classical. It would be hard to find a living author who had displayed such varied powers. As an example of his style we would refer to one of his tales, “ The House of Usher," in the first volume of his “ Tales of the Grotesque and Arabesque.” It has a singular charm for us, and we think that no one could read it without being strongly moved by its serene and sombre beauty. Had its author written nothing else, it would alone have been enough to stamp him as a man of genius, and the master of a classic style. In this tale occurs, perhaps, the most beautiful of his poems.

The great masters of imagination have seldom resorted to the vague and the unreal as sources of effect. They have not used dread and horror alone, but only in combination with other qualities, as means of subjugating the fancies of their readers. The loftiest muse has ever a household and fireside charm about her. Mr. Poe's secret lies mainly in the skill with which he has employed the strange fascination of mystery. and terror. In this his Success is so great and striking as to deserve the name of art, not artifice. We cannot call his materials the noblest or purest, but we must concede to him the highest merit of construction.

As a critic, Mr. Poe was æsthetically deficient. Unerring in his analysis of dictions, metres, and plots, he seemed wanting in the faculty of perceiving the profounder ethics art. His criticisms are, however, distinguished for scientific precision and coherence of logic. They have the exactness, and at the same time, the coldness of mathematical demonstrations. Yet they stand in strikingly refreshing contrast with the vague generalisms and sharp personalities of the day. If deficient in warmth, they are also without the heat of partizanship. They are especially valuable as illustrating the great truth, too generally overlooked, that analytic power is a subordinate quality of the critic.

On the whole, it may be considered certain that Mr. Poe has attained an individual eminence in our literature, which he will keep. He has given proof of power and originality. He has done that which could only be done once with success or safety, and the imitation or repetition of which would produce weariness.

DEATH OF EDGAR A. PO E.*

BY N.

P. WILLIS.

The ancient fable of two antagonistic spirits imprisoned in one bouy, equally powerful and having the complete mastery by turns—of one nian, that is to say, inhabited by both a devil and an angel-seems to have been realized, if all we hear is true, in the character of the extraordinary man whose name we have written above. Our own impression of the nature of Edgar A. Poe, differs in some important degree, however, from that which has been generally conveyed in the notices of his death. Let us, before telling what we personally know of him, copy a graphic and highly finisheu portraiture, from the pen of Dr. Rufus W. Griswold, which appeared in a recent number of the Tribune :

*

“Edgar Allan Poe is dead. He died in Baltimore on Sunday, October 7th. This announcement will startle many, but few will be grieved by it. The poet was known, personally or by reputation, in all this country; he had readers in England, and in several of the states of Continental Europe; but he had few or no friends; and the regrets for his death will be suggested principally by the consideration that in him literary art has lost one of its most brilliant but erratic stars."

“ His conversation was at times almost supra-mortal in its eloquence. His, voice was modulated with astonishing skill, and his large and variably expressive eyes looked repose or shot fiery tumult into theirs who listened, while his own face glowed, or was changeless in pallor, as his imagination gic, and by a crystalline process of accretion, built up his ocular demonstrations in forms of gloomiest and ghastliest grandeur, or in those of the most airy and delicious beauty—so minutely and distinctly, yet so rapidly, that the attention which was yielded to him was chained till it stood among his wonderful creations—till he himself dissolved the spell, and brought his hearers back to common and base existence, by vulgar fancies or exhibitions of the ignoblest passion.

ickened his blood drew it back frozen to his heart. His imagery was from the worlds which no mortals can see but with the vision of genius.Suddenly starting from a proposition, exactly and sharply defined, in terms of utmost simplicity and clearness, he rejected the forms of customary los

* These remarks were published by Mr. Willis, in the "Home Journal,” on the Saturday following Mr. Poe's death.

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“He was at all times a dreamer-dwelling in ideal realms--in heaven or hell-peopled with the creatures and the accidents of his brain. He walked the streets, in madness or melancholy, with lips moving in indistinct curses, or with eyes upturned in passionate prayer, (never for himself, for he felt, or professed to feel, that he was already damned, but) for their happiness who at the moment were objects of his idolatry ;-or, with his glances introverted to a heart gnawed with anguish, and with a face shrouded in gloom, he would brave the wildest storms; and all night, with drenched garments and arms beating the winds and rains, would speak as if to spirits that at such times only could be evoked by him from the Aidenn, close by whose portals his disturbed soul sought to forget the ills to which his constitution subjected him-close by the Aidenn where were those he loved—the Aidenn which he might never see, but in fitful glimpses, as its gates opened to receive the less fiery and more happy natures whose desting to sin did not involve the doom of death.

" He seemed, except when some fitful pursuit subjugated his will and engrossed his faculties, always to bear the memory of some controlling sorrow. The remarkable poem of The Raven was probably much more nearly than has been supposed, even by those who were very intimate with him, a reflection and an echo of his own history. He was that bird's

unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore-
Till the dirges of his Hope that melancholy burden bore

Of Never-never more.'

(“Every genuine author in a greater or less degree leaves in his works, whatever their design, traces of his personal character: elements of his immortal being, in which the individual survives the person. While we read the pages of the Fall of the House of Usher, or of Mesmeric Revelations, we see in the solemn and stately gloom which invests one, and in the subtle metaphysieal analysis of both, indications of the idiosyncracies—of what was most remarkable and peculiar—in the author's intellectual nature. But we see here only the better phases of his nature, only the symbols of his juster action, for his harsh experience had deprived him of all faith, in man or woman. He had made up his mind upon the numberless complexities of the social world, and the whole system with him was an imposture. This convietion gave a direction to his shrewd and naturally unamiable character. Still, though he regarded society as composed altogether of villains, the

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sharpness of his intellect was not of that kind which enabled him to cope with villany, while it continually caused him by overshots to fail of the success of honesty. He was in many respects like Francis Vivian in Bulwer's novel of The Caxtons.' Passion, in him, comprehended many of the worst emotions which militate against human happiness. You could not contradict him, but you raised quick choler; you could not speak of wealth, but his cheek paled with gnawing envy. The astonishing natural advantages of this poor boy—his beauty, his readiness, the daring spirit that breathed around him like a fiery atmosphere—had raised his constitutional self-confidence into an arrogance that turned his very claims to admiration into prejudices against him. Irascible, envious—bad enough, but not the worst, for these salient angles were all varnished over with a cold repellent synicism, his passions vented themselves in sneers. There seemed to him no moral susceptibility; and, what was more remarkable in a proud nature, little or nothing of the true point of honor. He had, to a morbid excess, that desire to rise which is vulgarly called ambition, but no wish for the esteem of the love of his species; only the hard wish to succeed—not shine, not serve-succeed, that he might have the right to despise a world which galled his self-conceit.

“We have suggested the influence of his aims and vicissitudes upon his literature. It was more conspicuous in his later than in his earlier writings. Nearly all that he wrote in the last two or three years—including much of his best poetry—was in some sense biographical ; in draperies of his imagination, those who had taken the trouble to trace his steps, could perceive, but slightly concealed, the figure of himself.”

Apropos of the disparaging portion of the above well-written sketch, let us truthfully say

Some four or five years since, when editing a daily paper in this city, Mr. Poe was employed by us, for several months, as critic and sub-editor. This was our first personal acquaintance with him. He resided with his wife and mother at Fordham, a few miles out of town, but was at his desk in the office, from nine in the morning till the evening paper went to press. With the highest admiration for his genius, and a willingness to let it atone for more than ordinary irregularity, we were led by common report to expect a very capricious attention to his duties, and occasionally a scene of violence and difficulty. Time went on, however, and he was invariably punctual and industrious. With his pale, beautiful and intellectual face, as a reminder of what genius was in him, it was impossible, of course, not to treat him always with deferential courtesy, and, to our occasional request that he would not probe too deep in a criticism, or that he would erase a passage colored too highly with his resentments against society and mankind, he readily and courteously assented—far more yielding than most men, we thought, on points so excusably sensitive. With a prospect of taking the lead in another periodical, he, at last, voluntarily gave up his employment with us, and, through all this considerable period, we had seen but one pre

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